Joël Suhubiette, Gli Incogniti, Ensemble Jacques Moderne - Markuspassion: Passion selon Saint Marc de Reinhard Keiser (2015)

Posted By: ArlegZ
Joël Suhubiette, Gli Incogniti, Ensemble Jacques Moderne - Markuspassion: Passion selon Saint Marc de Reinhard Keiser (2015)

Joël Suhubiette, Gli Incogniti, Ensemble Jacques Moderne - Markuspassion: Passion selon Saint Marc de Reinhard Keiser (2015)
EAC | FLAC | Image (Cue & Log) ~ 371 Mb | Total time: 76:35 | Scans included
Classical | Label: Mirare | # MIR254 | Recorded: 2014

Recent musicological research tends to suggest that the 'Markuspassion' is not the work of Reinhard Keiser, essentially for stylistic reasons. However, it has not yet proved possible to attribute it positively to any other contemporary composer, such as Nicolaus Bruhns, or to Gottfried Keiser, Reinhard’s father, and so its paternity is currently uncertain.

Peter Van Heyghen, Les Muffatti, Vox Luminis - Keiser: Brockes-Passion (2014)

Posted By: ArlegZ
Peter Van Heyghen, Les Muffatti, Vox Luminis - Keiser: Brockes-Passion (2014)

Peter Van Heyghen, Les Muffatti, Vox Luminis - Keiser: Brockes-Passion (2014)
EAC | FLAC | Image (Cue & Log) ~ 625 Mb | Total time: 120:30 | Scans included
Classical | Label: Ramée | # RAM 1303 | Recorded: 2012

The Brockes-Passion can be considered the archetype of the German Passion oratorio. As such, it served as a model and source ofinspiration for famous later masterpieces, enjoying uninterrupted popularity throughout the 18th century when no less than 11 composers, including Handel and Telemann, set it to music. The superb version by Reinhard Keiser (1674-1739) is not only the first but also adheres most closely to the great rhetorical power and rich changes of affects of the poets text. In German literary history, Barthold Heinrich Brockes (1680-1747) is known above all for his innovative role during the second quarter of the 18th century.

Ralf Otto, Bachorchester Mainz, Bachchor Mainz - Bach: St John Passion / Johannes-Passion (2018)

Posted By: ArlegZ
Ralf Otto, Bachorchester Mainz, Bachchor Mainz - Bach: St John Passion / Johannes-Passion (2018)

Ralf Otto, Bachorchester Mainz, Bachchor Mainz - Bach: St John Passion / Johannes-Passion (2018)
EAC | FLAC | Image (Cue & Log) ~ 611 Mb | Total time: 132:02 | Scans included
Classical | Label: Naxos | # 8.573817-18 | Recorded: 2017

Johann Sebastian Bach’s St John Passion is, along with the St Matthew Passion, without doubt one of the most important works he ever composed. It established a new tradition for Good Friday vespers in Leipzig, and with sublime skill Bach managed to retain a spirit of church worship while creating an almost operatic narrative that movingly depicts Christ’s trial, death, and ultimate apotheosis. Bach’s numerous revisions always demand a certain amount of scholarly decision-making, and this recording of the St John Passion uses the final 1749 version that not only draws on and reinforces the best of Bach’s original concept, but incorporates the additional movements of the 1725 version.

Richard Egarr, Academy of Ancient Music, Choir of the AAM - Bach: St John Passion / Johannes-Passion (2014)

Posted By: ArlegZ
Richard Egarr, Academy of Ancient Music, Choir of the AAM - Bach: St John Passion / Johannes-Passion (2014)

Richard Egarr, Academy of Ancient Music, Choir of the AAM - Bach: St John Passion / Johannes-Passion (2014)
EAC | FLAC | Image (Cue & Log) ~ 529 Mb | Total time: 104:33 | Scans included
Classical | Label: AAM Records | # AMM 002 | Recorded: 2013

JS Bach's St John Passion is an intensely personal experience, bringing to life the humanity of the passion story. Combining raw viscerality with moments of exquisite intimacy, it was written soon after Bach’s arrival as Kantor at Leipzig’s Thomasschule. Keen to impress a new congregation, Bach produced a setting of the age-old passion story which overshadowed almost every piece of liturgical music the world had previously known. Our recording aims to capture the authenticity and vivacity of the very first Good Friday performance at Leipzig’s Nikolaikirche.

Richard Egarr, Academy of Ancient Music, Choir of the AAM - Bach: St Matthew Passion / Matthäus-Passion (2015)

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Richard Egarr, Academy of Ancient Music, Choir of the AAM - Bach: St Matthew Passion / Matthäus-Passion (2015)

Richard Egarr, Academy of Ancient Music, Choir of the AAM - Bach: St Matthew Passion / Matthäus-Passion (2015)
EAC | FLAC | Image (Cue & Log) ~ 706 Mb | Total time: 144:32 | Scans included
Classical | Label: AAM Records | # AMM 004 | Recorded: 2014

In Spring 2015 the Academy of Ancient Music – described as “the finest period-instrument orchestra in the world” by Classic FM – releases a significant new recording of JS Bach St Matthew Passion BWV244, directed from the harpsichord by Richard Egarr.
Performed in the original 1727 version, and with a superlative roster of soloists, this recording is striking in its immediacy, clarity and directness, with numerous insightful and compelling details lost in subsequent versions.

Sigiswald Kuijken, La Petite Bande - Bach: Johannes-Passion (2012)

Posted By: ArlegZ
Sigiswald Kuijken, La Petite Bande - Bach: Johannes-Passion (2012)

Sigiswald Kuijken, La Petite Bande - Bach: Johannes-Passion (2012)
EAC | FLAC | Image (Cue & Log) ~ 487 Mb | Total time: 105:11 | Scans included
Classical | Label: Challenge Classics | # CC 72545 | Recorded: 2011

During Bach’s lifetime there were four different performances, each time with new modifications, some in response to the circumstances at the time, others influenced by which musicians and instruments he then had at his disposal. However Bach experimented to the greatest degree with the second version, dating from 1725: for instance, he used a different opening chorus (which was later to become the closing chorus of the first part of the St Matthew Passion, a work yet to be composed at this stage) and a couple of other arias near the end of the work. For the later performances he reverted to his first version from 1724, albeit with some differences in instrumentation.

Siegfried Heinrich, Hessisches Kammerorchester, Frankfurter Madrigalensemble - Telemann: Lukas-Passion 1744 (2001)

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Siegfried Heinrich, Hessisches Kammerorchester, Frankfurter Madrigalensemble - Telemann: Lukas-Passion 1744 (2001)

Siegfried Heinrich, Hessisches Kammerorchester, Frankfurter Madrigalensemble - Telemann: Lukas-Passion 1744 (2001)
EAC | FLAC | Image (Cue & Log) ~ 529 Mb | Total time: 97:11 | Scans included
Classical | Label: Cantate | # C 57623 | Recorded: 1973

Ausdrucksstarke und spannungsgeladene deutsche Passion und eine tolle und auch preiswerte Alternative zu den bekannten Bach-Werken. Von den zwanzig überlieferten Telemann-Passionen ist keine wie die andere, was diesen Komponisten immer wieder hörenswert macht.
Anders als sonst üblich wird dieses Werk bestimmt von dem stetigen Wechsel zwischen Rezitativ und Chor; auf Arien wird weitgehend verzichtet, was das Hören kurzweilig macht. Die Arien sind spannungsgeladen, fast weltlich.Vorliegende Einspielung des Hessischer Kammerorchesters ist musikalisch von guter Qualität und stimmlich gut besetzt.

Philippe Herreweghe, La Chapelle Royale - Michel-Richard de Lalande: Dies Irae, Miserere (1991)

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Philippe Herreweghe, La Chapelle Royale - Michel-Richard de Lalande: Dies Irae, Miserere (1991)

Philippe Herreweghe, La Chapelle Royale - Michel-Richard de Lalande: Dies Irae, Miserere (1991)
EAC | FLAC | Image (Cue & Log) ~ 297 Mb | Total time: 62:22 | Scans included
Classical | Label: Harmonia mundi | # HMC 901352 | Recorded: 1990

Originally composed for the funeral of the dauphine, Princess Marie-Anne-Christine-Victoire of Bavaria, on May 1, 1690, this remarkable setting of Dies irae was revised in 1711, either because of the dauphin's death, or that of Lalande's two daughters, both distinguished sopranos ; all died from smallpox within a period of six weeks. Lully's setting of Dies irae, for the death of the queen in 1683, had shown the possibilities of this text as a grand motet for soloists, choirs and orchestra. But it was Lalande, seven years later, who developed the concept, and produced a much more striking result - perhaps the first setting of Dies irae in the history of music where the composer exploited in such dramatic style the contrasts inherent in the 18 rhyming stanzas and final couplet of this 13th-century poem. This work ably demonstrates Lalande's penchant for the more reflective and sombre, calling forth an impressive musical response. His strong formal sense is shown in the musical design which is organised so as to group the 18 stanzas in four groups each of four, framing a central group of two. The two larger groups nearer the centre are each assigned to a solo voice (haute-contre, then baritone) while the others employ a variety of solo and choral textures.

Isabelle Desrochers, Mauricio Buraglia, Nima Ben David, Pierre Trocellier - Michel de Lalande: Leçons de Ténèbres (1996)

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Isabelle Desrochers, Mauricio Buraglia, Nima Ben David, Pierre Trocellier - Michel de Lalande: Leçons de Ténèbres (1996)

Isabelle Desrochers, Mauricio Buraglia, Nima Ben David, Pierre Trocellier - Michel-Richard de Lalande: Leçons de Ténèbres (1996)
EAC | FLAC | Image (Cue & Log) ~ 299 Mb | Total time: 73:05 | Scans included
Classical | Label: Astrée | # E 8592 | Recorded: 1996

The three very moving Leçons de Ténèbresby Michel De Lalande, published in 1730, are sung by the soprano Isabelle Desrochers, and this recording also includes four ‘tombeaux’, instrumental pieces commemorating a dead person. Two of them are by Marin Marais: Tombeau de Sainte-Colombeand Tombeau pour Monsieur de Lully.

Gary Graden, REbaroque, S:t Jacobs Chamber Choir - Bach: St John Passion (2012)

Posted By: ArlegZ
Gary Graden, REbaroque, S:t Jacobs Chamber Choir - Bach: St John Passion (2012)

Gary Graden, REbaroque, S:t Jacobs Chamber Choir - Bach: St John Passion / Johannes-Passion (2012)
EAC | FLAC | Image (Cue & Log) ~ 570 Mb | Total time: 33:59+72:12 | Scans included
Classical | Label: Proprius | # PRCD2065 | Recorded: 2011

Gary Graden and the St. Jacobs Chamber Choir have performed the St. John Passion in the St. Jacobs Church regularly since 1990, the last 13 years together with Maria Lindal and her REbaroque ensemble. Though the St. John Passion has become something of a staple in Sweden's churches at Easter, there have been very few recordings with Swedish performers. This release documents not only the long collaboration between the St. Jacobs Chamber Choir and REbaroque, but is also the first recording of a tradition that has existed in the St. Jacobs Church for almost seven decades.

Rupert Gottfried Frieberger, Barockorchester Munchen - Telemann: Matthaus-Passion 1730 (1994)

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Rupert Gottfried Frieberger, Barockorchester Munchen - Telemann: Matthaus-Passion 1730 (1994)

Rupert Gottfried Frieberger, Barockorchester München, Collegium Vocale der Schlägler Musikseminare - Telemann: Matthäus-Passion 1730 (1994)
EAC | FLAC | Image (Cue & Log) ~ 455 Mb | Total time: 117:33 | Scans included
Classical | Label: Christophorus | # CD 74517 | Recorded: 1984

Georg Philipp Telemann schrieb insgesamt 46 Passionen, von denen die hier aufgenommene Matthäus-Passion in der Behandlung der Chöre und Arien eine der schönsten ist. Sie entstand im Jahre 1730 und zeigt eine besonders illustrierende Schreibweise des Komponisten. Die zweistimmige Anlage der Chöre erweist sie sich mit dem Orchestersatz zusammen als eine überaus gekonnte Komposition mit einfachen Mitteln. Die Choräle sind als Gemeindegesang gedacht. Das Passionsgeschehen wird in Telemanns Matthäus-Passion in eine frohe Darstellung des dramatischen Geschehens als Freude über die Erlösung gekehrt.

Paul McCreesh, Gabrieli Players - Bach: St Matthew Passion / Matthaus-Passion (2003)

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Paul McCreesh, Gabrieli Players - Bach: St Matthew Passion / Matthaus-Passion (2003)

Paul McCreesh, Gabrieli Players - Bach: St Matthew Passion / Matthäus-Passion (2003)
EAC | FLAC | Image (Cue & Log) ~ 738 Mb | Total time: 80:16+81:16 | Scans included
Classical | Label: Archiv Produktion | # 474 200-2 | Recorded: 2002

In this new recording on Archiv, Paul McCreesh and the Gabrieli players have offered the polar extreme, adding much to the credibility of recent theories about the small forces Bach employed in his own performances of the work. There is no gilding the lily; just what the score prescribes: 9 singers, one on a part, and a couple dozen players. The sum is a performance that is both lighter than air and deeply moving. Brisk tempi and crystalline textures do everything to highlight what is, after all, the heart of the work: the biblical text and the artful interpolations by Christian Picander. A buoyant organ continue underpins solo playing that is articulate, imitative of the diction of the singers who, for their part, combine natural vocalism with a reverential but never pedantic faithfulness to Bach's score (this is not Handel; Bach tended to write precisely the ornamentation he wanted rather than leave it to notoriously capricious singers).

Rene Jacobs, Akademie fur Alte Musik Berlin, RIAS Kammerchor - Telemann: Brockes-Passion (2009)

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Rene Jacobs, Akademie fur Alte Musik Berlin, RIAS Kammerchor - Telemann: Brockes-Passion (2009)

René Jacobs, Akademie für Alte Musik Berlin, RIAS Kammerchor - Telemann: Brockes-Passion (2009)
EAC | FLAC | Image (Cue & Log) ~ 766 Mb | Total time: 139:51 | Scans included
Classical | Label: Harmonia Mundi | # HMC 902013.14 | Recorded: 2008

The narrative of Christ’s Passion as retold by Barthold Brockes (a dominant figure in early 18th-century German literature) is of such dramatic power that it was set to music by 13 different composers (including Handel, Keiser, and Mattheson)! Telemann’s version, premiered on 2 April 1716, became so famous that J. S. Bach, no immature youngster at the time, copied it out in full 23 years later . . . René Jacobs has striven to restore this quite extraordinary score to life in all its rich complexity.

Sebastien Dauce, Ensemble Correspondances - Ballet Royal de la Nuit (2018)

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Sebastien Dauce, Ensemble Correspondances - Ballet Royal de la Nuit (2018)

Sébastien Daucé, Ensemble Correspondances - Ballet Royal de la Nuit: Francesco Cavalli, Michel Lambert, Luigi Rossi, Louis Constantin, Antoine Boësset, Jean de Cambefort (2018)
EAC | FLAC | Image (Cue & Log) ~ 0,98 Gb | Total time: 64:21+66:51+53:37 | Digital booklet
Classical | Label: Harmonia Mundi | # HMM90260306 | Recorded: 2017

Following an initial reconstruction on disc in 2015, the Ballet Royal de la Nuit enjoyed a triumphal modern premiere at the Théâtre de Caen in November 2017. That staged version, presented in this outstanding box set, at last includes the entire musical score (twenty-seven additional dances). The meticulous reconstitution of Sébastien Daucé, the incomparable poetry of Francesca Lattuada, an oneiric universe featuring more than 120 costumes designed by Olivier Charpentier, all contribute to an incredible enchantment further enhanced by the exploits of virtuoso jugglers and circus artists. In this ballet, a masterly achievement from every point of view, the spell remains unbroken from first note to last.

Edward Higginbottom, Collegium Novum, The Choir of New College Oxford - Bach: St. John Passion (2003)

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Edward Higginbottom, Collegium Novum, The Choir of New College Oxford - Bach: St. John Passion (2003)

Edward Higginbottom, Collegium Novum, The Choir of New College Oxford - Bach: St. John Passion / Johannes-Passion (2003)
EAC | FLAC | Image (Cue & Log) ~ 511 Mb | Total time: 35:25+74:52 | Scans included
Classical | Label: Naxos | # 8557296-97 | Recorded: 2001-2002

Bach's St John Passon shows the composer's towering imagination at its most intensely dramatic, moving and vivid. Christ's trial and death are retold by soloists acting as participants in the event but also meditating upon it in reflective arias; the choir's role alters from rowdy mob baying for crucifixion to that of a congregation singing quiet, redemptive chorales. Criticised in its day for being too operatic, the work is now revered for its originality, for its faith and above all for its incomparable beauty of musical thought. The new reading is a testament to the vitality of the choral tradition: all soloists are former or current members of New College Choir. It also presents a new level of authenticity, not only with period instruments but also with boys's voices as Bach would have used at St Thomas in Leipzig.