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Felix & Fanny Mendelssohn - Lieder - Barbara Bonney, Geoffrey Parsons  

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"In the name of Mozart, Haydn and old Bach, I name thee journeyman." These are the words with Carl Friedrich Zelter admitted his pupil Felix Mendelssohn Bartholdy on 3rd February 1824, his 15th birthday, to the "guild" of composers. This was more than a playful ritual: with this formula the "divine, precious boy" (the words are Goethe's) was to be bound to the tradition in which he had, in any case, been reared. Mozart, Haydn and old Bach had constituted the foundations of Zelter's teaching. Their works had provided Felix and his sister Fanny, four years his senior, who was also a very talented musician and one of Zelter's pupils, with a model to emulate, a goal which they had enthusiastically pursued in Zelter's Singakademie since 1819. ...

Fanny and Felix Mendelssohn and their contemporaries expressed their attitude to life in song, that most intimate of genres, better than in almost any other form. Being pupils of Zelter, they had been raised in the spirit of 18th century aesthetics of song, the idea of "noble simplicity". This explains the fact that Felix was strangely unmoved by Schubert's vocal output. He considered himself an heir to the classical tradition in music; accordingly he wrote "Songs in the popular vein" with a simple structure that was strophic or strophic with variations, to simple tunes with texts which were declaimed without any emphasis whatsoever.

Ingeborg Allihn
Translation: Gery Bramall



Felix & Fanny Mendelssohn

Lieder

1. Auf Flügeln des Gesanges (Heine)
2. Die Liebende schreibt (Goethe)
3. Ferne (Droysen)
4. Es weiss und rät es doch leiner (Eichendorff)
5. Pagenlied (Eichendorf)
6. Suleika Op. 34,4 (Goethe/Willemer)
7. Suleika Op. 57,3 (Goethe/Willemer)
8. Frage (Voss)
9. Der Mond (Geibel)
10. Frühlingslied Op. 71,2 (Klingemann)
11. Frühlingslied, Op. 34,3 (Klingemann)
12. Verlust (Heine) - Fanny Mendelssohn
13. Die Nonne (Uhland) - Fanny Mendelssohn
14. Sehnsucht (Droysen) - Fanny Mendelssohn
15. Der Blumenstrauss (Klingemann)
16. Frühlingslied (Lenau)
17. Im Herbst (Klingemann)
18. Neue Liebe (Heine)
19. Sonntagslied (Klingemann)
20. Wenn sich zwei Herzen scheiden (Geibel)
21. Romanze (Aus dem Spanischen)
22. Frühlingsglaube (Uhland)
23. Winterlied (Aus dem Schwedischen)
24. Erster Verlust (Goethe)
25. Bei der Wiege (Klingemann)
26. Nachtlied (Eichendorff)
27. Andres Maienlied (Hölty)


Barbara Bonney, soprano
Geoffrey Parsons, piano


Recorded: TELDEC Studio Berlin, April 1991



Quality: mp3, varied kbps
Size: 125 MB



Fanny Mendelssohn

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Mozart - Grande Messe en Ut mineur & Exsultate, Jubilate - Barbara Bonney, Concentus Musicus Wien, Nikolaus Harnoncourt  

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The Große Messe No. 17 in C minor K. 427 by Wolfgang Amadeus Mozart is the best-known and most widely performed of Mozart's mass settings, and is considered one of the composer's major works. It is often referred to as the "C Minor Mass"
The work was composed in 1782-3. It embodies all of the pomp and solemnity associated with the Salzburg traditions of the time, but it also anticipates the symphonic masses of Haydn in its solo-choral sharing. The mass shows the influence of Bach and Haendel, whose music Mozart was studying at this time.
The Mass was written as a result of a vow Mozart made with himself in relation to his wife Constanze and his father Leopold and their strained relationship. The Mass was first performed in the Church of St. Peter's Abbey in Salzburg on 26 October 1783. The premiere took place in its natural context of a Roman Catholic mass, and the performers were members of the "Hofmusik", that is the musicians employed at the court of Salzburg's ruler, Prince-Archbishop Hieronymus Colloredo. The soprano solos at the première sang Mozart's wife Constance. There was a rehearsal in the nearby Kapellhaus on 23 October.
The work is incomplete, missing all of the Credo following the aria "Et incarnatus est" (the orchestration of the Credo is also incomplete) and all of the Agnus Dei. The Sanctus is partially lost and requires editorial reconstruction. There is a good deal of speculation concerning why the work was left unfinished. Given the absolute necessity of a complete text for liturgical use, it is likely that Mozart spliced in movements from his earlier Masses for the premiere. For purposes of modern performances, the editions and completions available are those by H. C. Robbins Landon (Eulenburg), Helmut Eder (Bärenreiter), Richard Maunder (Oxford University Press), Philip Wilby (Novello) and Robert Levin (Carus Verlag).
Mozart later reused the music from the Kyrie and Gloria, almost without changes except for the text, in the cantata "Davidde Penitente" K. 469.
From Wikipedia (edited)


Mozart

Grande Messe en Ut mineur, K. 427 (K6 417a)

Krisztina Láki, Zsuzsanna Dénes, soprano
Kurt Equiluz, tenor
Robert Holl, bass

Konzertvereinigung Wiener Staatsopernchor

Exsultate, jubilate K. 165 (K6 158a)

Barbara Bonney, soprano

Concentus Musicus Wien
Nikolaus Harnoncourt


Quality: mp3, varied kbps
Size: 137 MB

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Fauré - Requiem & Mélodies - Bonney, Hagegard, Jones - Boston Symphony Orchestra - Seiji Ozawa  

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Fauré

Requiem, Op. 48 - 13 Mélodies

Barbara Bonney, soprano
Hakan Hagegard, baritone
Warren Jones, piano

Boston Symphony Orchestra
Tanglewood Festival Chorus (John Oliver)

Seiji Ozawa

DL Fauré Requiem & Mélodies

Quality: mp3, varied kbps
Size: 96 MB

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