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Rossini - Messa di Gloria - Jo, Murray, Gimenez, Araiza, Ramey, Academy and Chorus of St. Martin in the Fields, Sir Neville Marriner

Posted in Academy of St. Martin-in-the-Fields, Ann Murray, Chorus of St. Martin in the Fields, Francisco Araiza, Philips, Raúl Gimenez, Rossini, Sacred Music, Samuel Ramey, Sir Neville Marriner, Sumi Jo

[...] The Messa di gloria was composed and premiered, as far as we know, in 1820, thus being the only major religious work by Rossini to date from his years as an opera composer. Philip Gossett’s notes (reproduced from the 1992 original release) are a model of what program notes should be. They explain the provenance of the work, talk intelligently about its style and its musical qualities, and make us want to hear the music at the same time as they make us more knowledgeable about it. Gossett says that Rossini had some assistance in completing this work by Pietro Raimondi. It would have been nice if Philips had caught the typo resulting in the misspelling of “Raimondo” the first time the name appears, a typo unrepaired for 15 years!

With or without the help of Raimondi, Rossini produced a magical work—melodically inspired, forceful and powerful, dramatic without being overtly theatrical. All lovers of Rossini’s operatic music or of the bel canto style in general should have this work in their collection.

Without question, this is the recording to get. The singing and the conducting are notably superior to the recorded competition. Herbert Handt on Hänssler plods along without giving any shape to the phrases or any lift to the rhythms. Salvatore Accardo’s recording on Warner Fonit is better led than Handt’s, but the singing is poorer, particularly the ladies. There is some very questionable intonation at times, and only the two tenors (Francisco Araiza, who sings for Marriner too, and Robert Gambill) bring important voices to the task.

Marriner’s soloists, by contrast, are a terrific group—they sing well individually and together. Marriner, a conductor whom I often find rather lackluster, seems truly inspired here, leading a buoyant, colorful performance with just the right sense of pacing. The recorded sound is very warm and well balanced. Highly recommended.

Extracted from ArkivMusic.com

Rossini

Messa di Gloria,
per soli, coro e orchestra

Sumi Jo, sopran
Ann Murray, contralto
Francisco Araiza, tenor
Raúl Gimenez, tenor
Samuel Ramey, bass

Academy and Chorus of St. Martin in the Fields
(chorus master: Laszlo Heltay)

Sir Neville Marriner

1 comments »

Bach - Magnificat & Cantate BWV 80 - Schlick, Mellon, Lesne, Crook, Kooy, La Chapelle Royale, Collegium Vocale - Philippe Herreweghe

Posted in Agnès Mellon, Bach, Barbara Schlick, Collegium Vocale, Gérard Lesne, Harmonia Mundi, Howard Crook, La Chapelle Royale, Peter Kooy, Philippe Herreweghe, Sacred Music

Bach

Magnificat BWV 243
Cantate BWV 80 "Ein feste Burg ist unser Gott"

Barbara Schlick, sopran 1
Agnès Mellon, sopran 2
Gérard Lesne, alto
Howard Crook, tenor
Peter Kooy, basse

La Chapelle Royale
Collegium Vocale

Philippe Herreweghe, dir.

Quality: mp3, 160 kbps
Size: 62 MB

2 comments »

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

Posted in Barbara Bonney, Concentus Musicus Wien, Konzertvereinigung Wiener Staatsopernchor, Krisztina Láki, Kurt Equiluz, Mozart, Nikolaus Harnoncourt, Robert Holl, Sacred Music, Zsuzsanna Dénes

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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Brahms - Ein Deutsches Requiem & Symphony nr. 1 - Arleen Augér, Franz Gerihsen, Münchner Philharmoniker, Sergiu Celibidache (2 Discs)

Posted in Arleen Augér, Brahms, EMI, Franz Gerihsen, Josef Schmidhuber, Münchner Philharmoniker, Orchestral Music, Requiem, Sacred Music, Sergiu Celibidache

...Celibidache always oriented himself in his work on the requirements of Brahms's tonal language: on its seriousness (Brahms himself is on record as saying he had never laughed in his music) and its controlled, internalized passion; on the severe, aristocratic strictness governing not only expression but even the most personal and intimate emotions; on the weight and the depth always to be found even in the most cheerful and gracious movements; on Brahms's particularly pronounced awareness of metrical forces and their contrasts; on his preference for dark colours (particularly clear in the absence of the violins from the opening movement of the German Requiem). "This is a man who knows no fat, only bones and muscles!" Celibidache resorted to images like this to keep his musicians and singers away from all sentimentality and sugar-sweetness, all programmed, stereotyped effects, all superficial and self-satisfied enthusiasm. ...

Patrick Lang

Brahms

Ein deutsches Requiem, Op. 45
Symphony nr. 1, in C minor, Op. 68

Aleen Augér, soprano
Franz Gerihsen, baritone
Philharmonischer Chor München -
Members of the Münchener Bach-Chor
Chorus Master: Josef Schmidhuber

Münchner Philharmoniker
Segiu Celibidache

Quality: mp3, varied kbps
Size: 110 MB (disc 1)/ 103 MB (disc 2)

Sergiu Celibidache and members of the Münchner Philharmoniker

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Schütz - Geistliche Chormusik - Collegium Vocale - Philippe Herreweghe

Posted in Collegium Vocale, Harmonia Mundi, Philippe Herreweghe, Sacred Music, Schütz

Schütz

Geistliche Chormusik

Collegium Vocale

Philippe Herreweghe

DL Schütz Geistliche Chormusik

DL Missing Track:
06. Wann unsre augen schlafen ein

Quality: mp3, varied kbps

Size: 87 MB

[The links above were corrected, and are working now... :-)]

5 comments »

Mozart - Requiem - Price, Schmidt, Araiza, Adam - Rundfunkchor Leipzig, Staatskapelle Dresden - Peter Schreier

Posted in Francisco Araiza, Margaret Price, Mozart, Peter Schreier, Philips, Requiem, Rundfunkchor Leipzig, Sacred Music, Staatskapelle Dresden, Theo Adam, Trudeliese Schmidt

Mozart

Requiem, KV 626

01.I. Introitus: Requiem
o2.II. Kyrie
III. Sequentia
03.Dies irae
04.Tuba mirum
05.Rex tremendae
06.Recordare
07.Confutatis
08.Lacrimosa
09.IV. Offertorium

10.Hostias
11.V. Sanctus
12.VI. Benedictus
13. VII. Agnus Dei
14.VIII. Communio: Lux aeterna

Margaret Price, soprano
Trudeliese Schmidt, mezzo-soprano
Francisco Araiza, tenor
Theo Adam, basso

Rundfunkchor Leipzig
Staatskapelle Dresden

Peter Schreier

DL Mozart Requiem

Quality: mp3, 192 kbps
Size: 70 MB

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Brahms - Ein Deutsches Requiem - Charlotte Margiono, Rodney Gilfry - Monteverdi Choir, Orchestre Révolutionnaire et Romantique - John Eliot Gardiner

Posted in Brahms, Charlotte Margiono, John Eliot Gardiner, Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Philips, Requiem, Rodney Gilfry, Sacred Music

Brahms

Ein Deutsches Requiem
(A German Requiem)

Charlotte Margiono, soprano
Rodney Gilfry, baritone

Monteverdi Choir
Orchestre Révolutionnaire et Romantique

John Eliot Gardiner

DL Brahms Requiem

Quality: mp3, 192 kbps
Size: 91 MB

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Cherubini - Requiem in D minor - Ambrosian Singers, New Philharmonia Orchestra, Riccardo Muti

Posted in Cherubini, EMI, John McCarthy, New Philharmonia Orchestra, Requiem, Riccardo Muti, Sacred Music, The Ambrosian Singers

Cherubini

Requiem in D minor
for male voices and orchestra
1. Introitus et Kyrie
2. Graduale
3. Dies Irae
4. Offertorium
5. Sanctus
6. Pie Jesu
7. Agnus Dei

The Ambrosian Singers
(John McCarthy, dir.)
New Philharmonia Orchestra
Riccardo Muti

DL Cherubini Requiem

Quality: mp3, 192 kbps
Size: 72 MB

0 comments »