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Have you ever wondered what Marilyn Monroe, Pamela Anderson, Dolly Parton, Farrah Fawcett, and Cindy Crawford all have in common? It's not just their legendary status in the entertainment industry - they've all graced the pages of Playboy Magazine at some point in their illustrious careers. Experience the timeless allure of these global icons and many more in the complete Playboy Archive!

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Reinhard Goebel, Trevor Pinnock, Karl Richter - C.P.E. Bach: Symphonies & Concertos [6CDs] (2014)

Gesendet von: ArlegZ
Reinhard Goebel, Trevor Pinnock, Karl Richter - C.P.E. Bach: Symphonies & Concertos [6CDs] (2014)

Reinhard Goebel, Trevor Pinnock, Karl Richter - C.P.E. Bach: Symphonies & Concertos [6CDs] (2014)
EAC | FLAC | Image (Cue & Log) ~ 1,49 Gb | Total time: 05:20:37 | Scans included
Classical | Label: Archiv Produktion | # 0289 479 2499 9 | Recorded: 1969-1986

C.P.E. Bach eclipsed his legendary father s fame to become the mid-18th century s leading German composer. This wide-ranging collection of symphonies, concertos and vocal works by the great forerunner of Haydn and Mozart is performed by authoritative interpreters including Trevor Pinnock and The English Concert. The evident delight of the musicians in this music makes for rewarding listening … Impressive and fascinating.

MDR Leipzig Radio Choir, Desdner Philharmonie, Marek Janowski - Haydn: Die Schöpfung (2024)

Gesendet von: delpotro
MDR Leipzig Radio Choir, Desdner Philharmonie, Marek Janowski - Haydn: Die Schöpfung (2024)

Christiane Karg, Benjamin Bruns, Tareq Nazmi, MDR Leipzig Radio Choir, Desdner Philharmonie & Marek Janowski - Haydn: Die Schöpfung (2024)
WEB FLAC (tracks) - 401 Mb | MP3 CBR 320 kbps - 236 Mb | 01:41:47
Classical, Sacred, Oratorio | Label: Pentatone

Marek Janowski, the Dresdner Philharmonie and the MDR Leipzig Radio Choir present Haydn’s oratorio Die Schöpfung (1798), together with soprano Christiane Karg, tenor Benjamin Bruns and bass Tareq Nazmi. During his London sojourns, the aging Haydn was astounded by the audience engagement at performances of Handel’s oratorios, and he aimed to realize something similar in his own work. From the legendary breakthrough of light in the orchestral introduction all the way to the hymn to the almighty creator in the finale, Haydn offers a sweeping, colourful tableau of God’s creation of the world. As such, the work offers the apotheosis of the eighteenth-century oratorio while also serving as an inspiring example to nineteenth-century Romantic composers. Janowski and his forces realize both the Classical transparency and Romantic drive of this epoch-making piece.

Ton Koopman, Amsterdam Baroque Orchestra & Choir - C.P.E. Bach: Matthäus-Passion 1769 (2002)

Gesendet von: ArlegZ
Ton Koopman, Amsterdam Baroque Orchestra & Choir - C.P.E. Bach: Matthäus-Passion 1769 (2002)

Ton Koopman, Amsterdam Baroque Orchestra & Choir - C.P.E. Bach: Matthäus-Passion 1769 (2002)
EAC | FLAC | Image (Cue & Log) ~ 308 Mb | Total time: 101:57 | Scans included
Classical | Label: ORF | # ORF CD 316 | Recorded: 2001

Carl Philipp Emanuel Bach, as part of his regular duties as kapellmeister in Hamburg, composed 19 passion settings, alternating the four Gospel texts so that a new setting of a given text appeared once every four years, as his predecessor Georg Philipp Telemann had done. Until the discovery of the Berlin Sing-Akademie collection in Kiev in 1999, all that remained of this considerable body of work were bits and fragments of individual pieces, most of them extant because they were used in other contexts.

Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 18 [3CDs] (2005)

Gesendet von: ArlegZ
Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 18 [3CDs] (2005)

Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 18 [3CDs] (2005)
EAC | FLAC | Tracks (Cue & Log) ~ 846 Mb | Total time: 03:14:02 | Scans included
Classical | Label: Challenge Classics | # CC 72218 | Recorded: 2001-2003

The 18th set of Bach's cantatas contains exclusively works of the third yearly cycle from Leipzig. Unlike the first two Leipzig yearly cycles, this one extends over a longer period: from June 1725 until 1727. The works in this set belong essentially to the years 1725-26 and are in some cases chronologically contiguous (BWV 187 and 45; BWV 98, 55, 52), with the result that the original sequence can be easily grasped.

Bart Van Reyn & Il Gardellino - C.P.E. Bach: Die Auferstehung und Himmelfahrt Jesu, H. 777 (2022)

Gesendet von: delpotro
Bart Van Reyn & Il Gardellino - C.P.E. Bach: Die Auferstehung und Himmelfahrt Jesu, H. 777 (2022)

Bart Van Reyn, Kieran Carrel, Andreas Wolf, Lore Binon, Vlaams Radiokoor & Il Gardellino - C.P.E. Bach: Die Auferstehung und Himmelfahrt Jesu, H. 777 (2022)
EAC Rip | FLAC (tracks+log+.cue) - 370 Mb | MP3 CBR 320 kbps - 161 Mb | Digital booklet | 01:09:14
Classical, Sacred, Oratorio | Label: Passacaille

Radical, daring and extremely refined: that’s how Carl Philipp Emanuel Bach saw his new path for the Oratorio, after his father’s Passions had marked the climax of the baroque era. Encouraged by his godfather Telemann and liberated from the yoke of the capricious Frederick of Prussia, he found himself in Hamburg with an audience hungry for new music. And he brought them his oratorios, no longer in churches but in concert halls, where he demanded the listener’s undivided attention for sudden changes of mood and colour.

Michael Alexander Willens, Die Kölner Akademie - Johann Valentin Meder: Passionsoratorium nach Matthäus (2006)

Gesendet von: ArlegZ
Michael Alexander Willens, Die Kölner Akademie - Johann Valentin Meder: Passionsoratorium nach Matthäus (2006)

Michael Alexander Willens, Die Kölner Akademie - Johann Valentin Meder: Passionsoratorium nach Matthäus (2006)
EAC | FLAC | Tracks (Cue & Log) ~ 378 Mb | Total time: 74:58 | Scans included
Classical | Label: Raumklang | # RK 2506 | Recorded: 2006

Michael Alexander Willens führt dieses Werk in solistischer Besetzung auf und erzielt dadurch ein Höchstmaß an Klarheit, Homogenität und Stringenz. Ein wichtiger Baustein für die Geschichte der oratorischen Passion.

Freiburger Barockorchester, Vox Luminis & Lionel Meunier - Bach & Telemann: Himmelfahrt (2024)

Gesendet von: delpotro
Freiburger Barockorchester, Vox Luminis & Lionel Meunier - Bach & Telemann: Himmelfahrt (2024)

Freiburger Barockorchester, Vox Luminis & Lionel Meunier - Bach & Telemann: Himmelfahrt (2024)
WEB FLAC (tracks) - 320 Mb | MP3 CBR 320 kbps - 151 Mb | Digital booklet | 01:04:59
Classical, Sacred, Vocal | Label: Alpha Classics

Vox Luminis has teamed up with the Freiburger Barockorchester again, and together they celebrate music for Ascension Day. This topic inspired great composers such as Johann Sebastian Bach, four of whose Ascension cantatas have been preserved. The festive and colourful Cantata BWV 128 was composed towards the end of Bach’s second year in Leipzig. The Ascension Oratorio BWV 11 was written for larger forces and ends with a triumphant chorus. In the case of Georg Philipp Telemann, more than thirty cantatas for Ascension Day alone have survived. The cantata Ich fahre auf zu meinem Vater (I ascend unto my Father) was composed in 1721 and receives its world premiere recording here. Lionel Meunier’s ensemble and the FBO give a fervent rendering of this captivating music with its texts focusing on the afterlife.

Eric Milnes, Montréal Baroque Orchestra - Johann Sebastian Bach: Saint Michel Cantatas 130, 19, 149 (2005)

Gesendet von: ArlegZ
Eric Milnes, Montréal Baroque Orchestra - Johann Sebastian Bach: Saint Michel Cantatas 130, 19, 149 (2005)

Eric Milnes, Montréal Baroque Orchestra - Johann Sebastian Bach: Saint Michel Cantatas 130, 19, 149 (2005)
EAC | FLAC | Image (Cue & Log) ~ 226 Mb | Total time: 54:09 | Scans included
Classical | Label: ATMA Classique | # SACD22401 | Recorded: 2005

Even by Bach’s standards, they are exceptional. All three of them were conceived as grateful celebrations of the ancient feastday of the Archangel Michael . St Michael’s day commemorates the apocalyptic combat and eventual victory of Michael and the angels of Heaven against the armies of Satan. All three of these cantatas are set for a festive orchestra with strings plus three trumpets, drums, and other luxuries (an extra third hautboy, a traverso in Cantata 130, and hautboys doubling on hautbois d’amour or playing oboe da caccia in Cantata 19).

Joshua Rifkin, The Bach Ensemble - Johann Sebastian Bach: Three Weimar Cantatas BWV 182, 12, 172 (1996)

Gesendet von: ArlegZ
Joshua Rifkin, The Bach Ensemble - Johann Sebastian Bach: Three Weimar Cantatas BWV 182, 12, 172 (1996)

Joshua Rifkin, The Bach Ensemble - Johann Sebastian Bach: Three Weimar Cantatas BWV 182, 12, 172 (1996)
EAC | FLAC | Image (Cue & Log) ~ 339 Mb | Total time: 73:55 | Scans included
Classical | Label: Dorian | # DOR-93231 | Recorded: 1995, 1996

On 2 March 1714, barely three weeks before his twenty-ninth birthday, the Weimar court organist Johann Sebastian Bach received "the title of Concertmaster." Shortly before he had turned down an important organist's position in Halle; the promotion to concertmaster, granted "at his most humble request," clearly represented a quid pro quo on the part of his employer, Duke Wilhelm Ernst of Saxe-Weimar. As the principal condition of his new post Bach had the obligation "to perform new pieces every month"—in today's parlance, to produce a new cantata on a monthly basis.

The Purcell Quartet - Heinrich Schütz: Symphoniae Sacrae, Op.10 (1994)

Gesendet von: ArlegZ
The Purcell Quartet - Heinrich Schütz: Symphoniae Sacrae, Op.10 (1994)

The Purcell Quartet - Heinrich Schütz: Symphoniae Sacrae, Op.10 (1994)
EAC | FLAC | Image (Cue & Log) ~ 589 Mb | Total time: 70:27+68:35 | Scans included
Classical | Label: Chandos | # CHAN 0566/7 | Recorded: 1993

The 2nd book of these Symphoniae, written in the dark years of the devastating 30 Years War and published in 1647, stands among his central body of works and holds many affecting and beautiful moments. The British recording being reviewed here presents the 2nd book in its order of publication, which is not structured as a coherent work end-to-end work but rather is organized by range and number of soloists, indicating that each of the symphoniae is a single piece standing on its own. Book II starts with the symphoniae for solo voice, works its way down the vocal range from soprano to bass, then proceeds on to the duets and trios and concluding with a few more ambitious works for a full set of vocal soloists.

Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 17 [3CDs] (2004)

Gesendet von: ArlegZ
Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 17 [3CDs] (2004)

Ton Koopman, Amsterdam Baroque Orchestra & Choir - Johann Sebastian Bach: Complete Cantatas Vol. 17 [3CDs] (2004)
EAC | FLAC | Tracks (Cue & Log) ~ 827 Mb | Total time: 03:09:53 | Scans included
Classical | Label: Challenge Classics | # CC 72217 | Recorded: 2001-2003

Volume 17 in the Bach cantata series contains exclusively works from the third yearly cycle of cantatas from Leipzig, which, unlike the previous two Leipzig cycles, extends over a longer period of time, from June 1725 until 1727. The cantatas in this volume can be divided into three chronologically distinct groups: December-January 1725-26 (BWV 57, 32), September-October 1726 (BWV 35, 17, 19, 169 and 56) and January-February 1727 (BWV 58 and 84).

Kurt Redel, Schweizerisches Festspielorchester - Georg Philipp Telemann: Matthäus-Passion; Magnificat (1992)

Gesendet von: ArlegZ
Kurt Redel, Schweizerisches Festspielorchester - Georg Philipp Telemann: Matthäus-Passion; Magnificat (1992)

Kurt Redel, Schweizerisches Festspielorchester - Georg Philipp Telemann: Matthäus-Passion; Magnificat (1992)
EAC | FLAC | Image (Cue & Log) ~ 674 Mb | Total time: 130:37 | Scans included
Classical | Label: Philips | 432 500-2 | Recorded: 1964, 1965

Kurt Redel conducts unaffectedly but with passion and is beautifully supported in this with an excellent orchestra and beautifully balanced choir of faultless intonation. The story moves at a good pace as the the tragedy unfolds and is interspersed with some stunning arias, many of them affording moments of still reflection as is befitting for a passion. The singers are faultless and often superb with Sena Jurinac at the height of her artistry, Theo Altmeyer a fine evangelist who knows how to tell a story. Franz Crass always was a lovely, musical singer with a well-rounded, rich voice.

Klaus Mertens, Shalev Ad-El, Accademia Daniel - Georg Philipp Telemann: Passion Cantatas (2009)

Gesendet von: ArlegZ
Klaus Mertens, Shalev Ad-El, Accademia Daniel - Georg Philipp Telemann: Passion Cantatas (2009)

Klaus Mertens, Shalev Ad-El, Accademia Daniel - Georg Philipp Telemann: Ich will den Kreuzweg gerne gehen; Passion Cantatas (2009)
EAC | FLAC | Image (Cue & Log) ~ 328 Mb | Total time: 69:53 | Scans included
Classical | Label: CPO | 777 299-2 | Recorded: 2006-2007

The five cantatas presented on this disc share several elements. They are all for solo bass and orchestra, and Der am Ölberg zagende Jesus deals with Christ’s agonies in the garden of Gethsemane, with three recitatives setting the scene surrounding two arias for Jesus, ending with an aria by the narrator inviting all to contemplate Christ’s sacrifice. Jesus liegt in letzten Zügen is a meditation on the moment of Christ’s death. Ich will den Kreuzweg gerne gehen expresses the narrator’s desire to follow the way of the cross in Christ’s footsteps. The other two cantatas are more tangentially connected to the events of the passion, although they mention the passion as motivation for the sinner to prepare for eventual union with his Savior.

Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthäus Passion (2018)

Gesendet von: ArlegZ
Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthäus Passion (2018)

Paul O'Dette & Stephen Stubbs, Boston Early Music Festival Chamber Ensemble - Johann Sebastiani: Matthäus Passion (2018)
EAC | FLAC | Image (Cue & Log) ~ 300 Mb | Total time: 65:38 | Scans included
Classical | Label: CPO | 555 204-2 | Recorded: 2017

Johann Sebastiani's name no doubt will be familiar only to a few certified music experts. Born in Weimar in 1622, Sebastiani spent a good many years of his life in Konigsberg, where he arrived around 1650 and later was appointed court chapel master. He composed countless occasional works as well as a St. Matthew Passion (1672) – a welcome addition to CPO's picture of Lutheran church music and a work closing a gap in the history of Passion settings between Heinrich Schutz and Johann Sebastian Bach. Stephen Stubbs, Paul O'Dette, and their Boston Early Music Festival Chamber & Vocal Ensemble have fond memories of Bremen, where they have recorded in the radio broadcast hall on various occasions and produced Marc-Antoine Charpentier's Baroque opera La Descente d'Orphee aux Enfers, for which they won a Grammy Award in 2015. Their current release featuring Johann Sebastiani's St. Matthew Passion pays tribute to Konigsberg's music culture and to the composer who was one of its central representatives.

Hermann Max, Das Kleine Konzert, Rheinische Kantorei - J.S. Bach: Johannes-Passion (arr. Robert Schumann) (2007)

Gesendet von: ArlegZ
Hermann Max, Das Kleine Konzert, Rheinische Kantorei - J.S. Bach: Johannes-Passion (arr. Robert Schumann) (2007)

Hermann Max, Das Kleine Konzert, Rheinische Kantorei - Johann Sebastian Bach: Johannes-Passion (arr. Robert Schumann) (2007)
EAC | FLAC | Image (Cue & Log) ~ 507 Mb | Total time: 103:24 | Scans included
Classical | Label: CPO | 777 091-2 | Recorded: 2006

When Schumann was offered the post of music director in Düsseldorf in 1850, his first main project was to perform the St. John Passion, which had never been presented there, in April 1851: “It is much bolder, more powerful, and more poetic than the St. Matthew. This one seems to me not to be free of diffuseness and to be exceedingly long, but the other – how compact, how thoroughly genial, and of what art!” Robert Schumann