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John Eliot Gardiner, Orchestre Revolutionnaire et Romantique, Monteverdi Choir - Brahms: Ein Deutsches Requiem (1991)

Posted By: ArlegZ
John Eliot Gardiner, Orchestre Revolutionnaire et Romantique, Monteverdi Choir - Brahms: Ein Deutsches Requiem (1991)

John Eliot Gardiner, Orchestre Révolutionnaire et Romantique, Monteverdi Choir - Brahms: Ein Deutsches Requiem (1991)
EAC | FLAC | Image (Cue & Log) ~ 265 Mb | Total time: 65:48 | Scans included
Classical | Label: Philips | # 432 140-2 | Recorded: 1990

Musical settings of the Requiem understandably encompass a vast expressive gamut, from Mozart's fear and trembling to the seraphic gentleness of Fauré. But the focus in Brahms's German Requiem–his first large-scale work–is not so much on the departed as on those left behind and the work of memory. In lieu of the traditional Latin liturgy, Brahms uses texts culled from the Lutheran Bible that range from despair at our mortal condition to the solace offered by faith. John Elliott Gardiner and his forces here attempt to replicate the orchestral sound and style of Brahms's own time, using period bowing practices for the strings and mellow Viennese horns, to cite a few examples. The result is a magnificent and deeply moving performance that features excellent integration of the orchestra and chorus.

Rene Clemencic, Clemencic Consort - Johann Joseph Fux: Requiem “Missa Pro Defunctis” (2001)

Posted By: ArlegZ
Rene Clemencic, Clemencic Consort - Johann Joseph Fux: Requiem “Missa Pro Defunctis” (2001)

Rene Clemencic, Clemencic Consort - Johann Joseph Fux: Requiem “Missa Pro Defunctis” (2001)
EAC | FLAC | Image (Cue & Log) ~ 258 Mb | Total time: 54:20 | Scans included
Classical | Label: Arte Nova | # 74321 27777 2 | Recorded: 2000

Fux was born to a peasant family in Hirtenfeld in Styria. Relatively little is known about his early life, but likely he went to nearby Graz for music lessons. In 1680 he was accepted at the Jesuit university there, where his musical talent became apparent. From 1685 until 1688 he served as organist at St. Moritz in Ingolstadt. Sometime during this period he must have made a trip to Italy, as evidenced by the strong influence of Corelli and Bolognese composers on his work of the time.

Gyorgy Vashegyi, Orfeo Orchestra, Purcell Choir - Johann Michael Haydn: Der Kampf der Busse und Bekehrung (2014)

Posted By: ArlegZ
Gyorgy Vashegyi, Orfeo Orchestra, Purcell Choir - Johann Michael Haydn: Der Kampf der Busse und Bekehrung (2014)

György Vashegyi, Orfeo Orchestra, Purcell Choir - Johann Michael Haydn: Der Kampf der Buße und Bekehrung (2014)
EAC | FLAC | Image (Cue & Log) ~ 378 Mb | Total time: 79:55 | Scans included
Classical | Label: Carus | # 83.351 | Recorded: 2009

The oratorio "Der Kampf der Buße und Bekehrung" (the struggle for penance and conversion) is among Johann Michael Haydn's lesser-known works. The Purcell Choir together with the Orfeo Orchestra, under the direction of György Vashegyi now present a recording of the second and only surviving part of this three-part oratorio. It is impressive, especially for its unusual scoring: All of the the five solo roles are allotted to sopranos. The artistic mixture of majestic passages, surprising turns, Baroque rhetorical figures and virtuoso arias makes clear why later composers (e.g., Mozart, Schubert or Bruckner) repeatedly took Johann Michael Haydn's music as their model.

Joachim Carlos Martini, Barockorchester Frankfurt, Junge Kantorei - Handel: Deborah (2001)

Posted By: ArlegZ
Joachim Carlos Martini, Barockorchester Frankfurt, Junge Kantorei - Handel: Deborah (2001)

Joachim Carlos Martini, Barockorchester Frankfurt, Junge Kantorei - Handel: Deborah (2001)
EAC | FLAC | Image (Cue & Log) ~ 781 Mb | Total time: 162:24 | Scans included
Classical | Label: Naxos | # 8.554785.87 | Recorded: 1999

Joachim Carlos Martini is obviously a conscientious and intelligent musician. Like Robert King before him, he opts for the overture used in the 1744 revival, as only a continuo part survives of the original overture. Acknowledging that we cannot be certain of what the first performance did or did not include, he also picks and chooses items from the various editions and texts (among them Chrysander, Bernd Baselt and Robert King himself) available to him.

Maria Zadori, Pal Nemeth, Capella Savaria - Handel: Latin Motets (1997)

Posted By: ArlegZ
Maria Zadori, Pal Nemeth, Capella Savaria - Handel: Latin Motets (1997)

Mária Zádori, Pál Németh, Capella Savaria - Handel: Latin Motets (1997)
EAC | FLAC | Image (Cue & Log) ~ 330 Mb | Total time: 68:49 | Scans included
Classical | Label: Hungaroton | # HCD 31649 | Recorded: 1996

Motety religijne Händla, choć oparte zostały na bogobojnych tekstach łacińskich, mają w istocie charakter solowych kantat o skocznych tempach i pogodnym, wesołym, nastroju. Głos Marii Zadori - jasny, lekki, niewinny, dziecinny - idealnie pasuje do atmosfery tych utworów. Barwą i giętkością przypomina trochę Emmę Kirkby. Bez najmniejszych problem?w węgierska śpiewaczka radzi sobie z bogatą ornamentyką, z koloraturą i z fragmentami lirycznymi (początek motetu "Silete venti"). Nie szarżuje, nie przeciąga najwyższych dźwięków. Biegłość techniczna i nienaganna intonacja pozwalają jej skupić się na interpretacji, co najpiękniejszy efekt daje w motecie "Coelestis dum spirat aura".

Konrad Junghanel, Cantus Colln -Telemann: Trauer-Actus. Kantaten (2002)

Posted By: ArlegZ
Konrad Junghanel, Cantus Colln -Telemann: Trauer-Actus. Kantaten (2002)

Konrad Junghänel, Cantus Cölln -Telemann: Trauer-Actus. Kantaten (2002)
EAC | FLAC | Image (Cue & Log) ~ 354 Mb | Total time: 79:49 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901768 | Recorded: 2001

This collection of five cantatas by Telemann (out of the nearly 1,500 he composed!) are all dark-hued and contemplative. They are concerned mostly with death, faith in God to the end, life's ephemeral nature, and the desire for a clean soul. But out of such somber, austere subject matter comes not only very beautiful music, but greater variety than one might suppose. In "Sei getreu bis in den tod" (Be faithful unto death), Telemann gives us four arias for separate voice types, and while the accompanying instrumentation remains sparse–organ and strings–he varies the moods by subtle shifts in tempi, the occasional use of pizzicato strings against a solo violin, and so forth. When a chorus is called for, Junghänel uses the five soloists. The effect is very intimate and just right for the meditative quality of the works.

Reinhard Kammler, Collegium Aureum, Augsburger Domsingknaben - Mozart: Missae breves (2011)

Posted By: ArlegZ
Reinhard Kammler, Collegium Aureum, Augsburger Domsingknaben - Mozart: Missae breves (2011)

Reinhard Kammler, Collegium Aureum, Augsburger Domsingknaben - Mozart: Missae breves (2011)
EAC | FLAC | Image (Cue & Log) ~ 568 Mb | Total time: 62:10+62:43 | Scans included
Classical | Label: Deutsche Harmonia Mundi | # RD77090 | Recorded: 1991

The words in Latin "Lord have mercy, Christ have mercy, Lord have mercy" might be affecting to someone with more belief than I have, and I confess are even touching to me who have nearly none, but I have at one time had many recordings of this little mass and they all have some opera lady singing the solo part in the Kyrie which was written for a little boy to sing - and they are stilted, poised and SUCK. But this recording has all the melancholy of adolescence with its thesis of sexual discovery and antithesis of gerontion or whatever. Anyway the boy in question, and this may be a little homo-erotic, but only subconsciously if at all, sounds like he is an aging chorister and his voice is about to change, and he sounds like he's in a bit of a pout (nasty priests can't keep their mits to themselves) and he starts off all alone singing, like a low growl kyrie almost baritone and then the clouds burst open in sunshine and the sweetest ANGEL alto honey spray ELEISON. God, it is the most beautiful thing in the world.

Dirk Kaftan, Grazer Philharmonisches Orchester - Bohuslav Martinů: Die Griechische Passion (The Greek Passion) (2017)

Posted By: ArlegZ
Dirk Kaftan, Grazer Philharmonisches Orchester - Bohuslav Martinů: Die Griechische Passion (The Greek Passion) (2017)

Dirk Kaftan, Grazer Philharmonisches Orchester, Chor & Extrachor der Oper Graz - Bohuslav Martinů: Die Griechische Passion (The Greek Passion) (2017)
EAC | FLAC | Image (Cue & Log) ~ 578 Mb | Total time: 137:03 | Scans included
Classical | Label: Oehms Classics | # OC 967 | Recorded: 2016

The style of the Czech composer Bohuslav Martinů was enriched by numerous influences which are reflected in The Greek Passion; magnificent choirs contrast vividly with intimate chamber music, and folkloristic elements are placed next to complex, classically worked-out orchestral movements. A highly emotional mixture of oratorio and dramatic opera takes the listener into a world in which catastrophes abound. Lorenzo Fioroni, who has directed operas in Nuremberg, Augsburg and Heidelberg, has produced this dramatic contest against fear in Graz.

Sachsisches Vokalensemble, Matthias Jung - Petr Eben - Salve Regina: Sacred Choral Works (2013)

Posted By: Designol
Sachsisches Vokalensemble, Matthias Jung - Petr Eben - Salve Regina: Sacred Choral Works (2013)

Petr Eben - Salve Regina: Sacred Choral Works (2013)
Sächsisches Vokalensemble; Matthias Jung, conductor

EAC | FLAC | Image (Cue&Log) ~ 257 Mb | Mp3 (CBR320) ~ 153 Mb | Scans included
Classical, Choral, Sacred | Label: cpo | # cpo777627-2 | Time: 00:59:48

Petr Eben drew upon the Old Testament and sacred texts from early church fathers for his powerful sacred vocal works. Latin was his preferred language for these settings, and he favoured Gregorian chant which he used as inspiration for his weaving polyphonic lines, complex rhythms and irregular patterning. This body of work, written in the teeth of party opposition in Czechoslovakia – born a Jew, Eben became a practising Catholic – is one of the most important by a Czech composer in the twentieth-century.

Schola Hungarica & Matthias Ank - Das Gänsebuch: German Medieval Chant (2005) {Naxos 8.557412}

Posted By: ruskaval
Schola Hungarica & Matthias Ank - Das Gänsebuch: German Medieval Chant (2005) {Naxos 8.557412}

Schola Hungarica & Matthias Ank - Das Gänsebuch: German Medieval Chant (2005) {Naxos 8.557412}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 309 Mb | MP3 @320 -> 171 Mb
Full Artwork @ 600 dpi (jpg) -> 47 Mb | 5% repair rar
© 2005 Naxos | 8.557412
Classical / Medieval / Renaissance / Organ / Sacred / Vocals

I admit it was the cover that got my attention–first, the title, referring to an 1120-page manuscript collection containing the only existing original copies of pre-Reformation liturgical music from Nuremburg; second, the illustration, an illumination from the collection that depicts a wolf directing a choir of geese singing from a large music book, a hungry-looking fox sitting on hind-quarters just behind the choir. Upon listening to the music, I was reassured that there was more to appreciate here than the intriguing, colorful illustration and charming title.

Philippe Herreweghe, Orchestre des Champs-Elysees - Mozart: Requiem K.626, Kyrie K.341 (1997)

Posted By: ArlegZ
Philippe Herreweghe, Orchestre des Champs-Elysees - Mozart: Requiem K.626, Kyrie K.341 (1997)

Philippe Herreweghe, Orchestre des Champs-Élysées - Mozart: Requiem K.626, Kyrie K.341 (1997)
EAC | FLAC | Image (Cue & Log) ~ 289 Mb | Total time: 53:57 | Scans included
Classical | Label: Harmonia Mundi | # HMC 901620 | Recorded: 1996

December 1791, the final Requiem. Tired by his many voyages around Europe ever since he had been rejected in Vienna, Mozart could not find the strength to honour his promise to compose a Requiem in record time for the person who had commissioned it… He was in fact to be struck down by illness during its composition and it was his pupil Süssmayr who finished the work according to his instructions. This version remains the most convincing, for the presence and grandeur of Mozart are present everywhere - in the baroque imagination and the classical style, in the universal unrest and the sheer terror of a man alone in the face of Death.

Jamie Savan, The Gonzaga Band - Amadio Freddi: Vespers (1616) (2019)

Posted By: ArlegZ
Jamie Savan, The Gonzaga Band - Amadio Freddi: Vespers (1616) (2019)

Jamie Savan, The Gonzaga Band - Amadio Freddi: Vespers (1616) (2019)
EAC | FLAC | Image (Cue & Log) ~ 257 Mb | Total time: 58:10 | Digital booklet
Classical | Label: Resonus | # RES10245 | Recorded: 2019

Following the international success of their first album on Resonus, Venice 1629, Jamie Savan with his acclaimed period group The Gonzaga Band continue their exploration of lesser-known music in the Baroque Venetian orbit. Here they uncover the Vespers (1616), a forgotten masterpiece by Amadio Freddi, maestro di cappella of Treviso Cathedral during Monteverdi’s tenure at St Mark’s in Venice.

Johannes Moesus - Antonio Rosetti: Jesus in Gethsemane; Halleluja; Salve Regina (2008) 2 CDs

Posted By: Designol
Johannes Moesus - Antonio Rosetti: Jesus in Gethsemane; Halleluja; Salve Regina (2008) 2 CDs

Antonio Rosetti: Jesus in Gethsemane; Halleluja; Salve Regina (2008) 2 CDs
Gabriele Hierdeis, soprano; Ruth Sandhoff, contralto; Jan Kobow, tenor; Thomas E. Bauer, bass
NDR Chor & Mecklenburgisches Barockorchester, conducted by Johannes Moesus

EAC | FLAC | Image (Cue&Log) ~ 475 Mb | Mp3 (CBR320) ~ 270 Mb | Scans included
Classical, Sacred, Choral | Label: cpo | # CPO 777 254-2 | Time: 01:45:57

Antonio Rosetti, who was almost always mentioned in the same breath as Mozart and Haydn by his contemporaries, composed over 40 symphonies, about six dozen solo concertos and chamber music and a considerable number of sacred vocal works. Ranked amongst his greatest achievements in the latter genre are the large-scale passion oratorio "Jesus in Gethsemane" and the "Hallelujah" cantata. Both show the virtuoso mastery of a whole array of musical techniques. Thanks to their melodic ingenuity, sophisticated harmony, a distinctive sense of proportion and the, as always, accomplished manipulation of orchestral tones, both of these late works are counted among Rosetti's most meaningful creations. There is no better conductor for this disc of Rosseti masterpieces than Johannes Moesus who is president of the International Rosetti Society.

Valery Polyansky, Russian State Symphonic Cappella - Grechaninov: Liturgia Domestica (1995)

Posted By: ArlegZ
Valery Polyansky, Russian State Symphonic Cappella - Grechaninov: Liturgia Domestica (1995)

Valery Polyansky, Russian State Symphonic Cappella, Russian State Symphony Orchestra - Grechaninov: Liturgica domestica, op.79 (1995)
EAC | FLAC | Image (Cue & Log) ~ 230 Mb | Total time: 55:17 | Scans included
Classical | Label: Chandos| # CHAN 9365 | Recorded: 1989

Grechaninov was one of the many composers who did not like the takeover of power by the Bolsheviks in Russia. He seized the first opportunity to leave with both hands and took refuge in Paris. Just before the Second World War, in 1939, he chose New York as his permanent residence. Grechaninov wrote his first opera "Dobrinya Nikitich", in which the famous Shalyapin played the title role, under the inspiring leadership of his teacher Rimsky-Korsakov. As a convinced Russian Orthodox believer, he also wrote many religious works. "Liturgia domestica" from 1917 is based on the liturgy of St. John Chrysostom. Ironically, the same church that inspired him to do this work forbade its execution because it was an unorthodox instrumental occupation. So it's good to listen to this CD. The Russian State Symphony Choir and Orchestra are conducted by Valéry Polyansky.

Carlo Maria Giulini, The Philharmonia Chorus & Orchestra - Mozart: Requiem (2010)

Posted By: ArlegZ
Carlo Maria Giulini, The Philharmonia Chorus & Orchestra - Mozart: Requiem (2010)

Carlo Maria Giulini, The Philharmonia Chorus & Orchestra, Kathleen Battle, Robert Sadin, The American Boychoir, André Previn, Orchestra of St. Luke’s - Mozart: Requiem; Laudate Dominum; Exsultate, jubilate: Alleluia (2010)
EAC | FLAC | Image (Cue & Log) ~ 276 Mb | Total time: 66:02 | Scans included
Classical | Label: Sony | # 88697721022 | Recorded: 1989

One old-school Mozart maestro who would have nothing to do with modern notions of Classical ''authenticity'' is Carlo Maria Giulini, a great conductor who has made a specialty of Mozart`s music throughout his long career, which spanned some 23 seasons in Chicago. Giulini`s second recording of the unfinished Requiem Mass-his second with the Philharmonia Orchestra and Chorus, even more attentive to his musical desires this time around-must be the slowest ever recorded. As such it is characteristic of the late Giulini manner: The reading is suffused by an ultra-serene religiosity that obeys no rules of performance style other than its own.