J.S. Bach: Christmas Oratorio, BWV 248 / Part One — For The First Day Of Christmas — No. 1 Chorus: «Jauchzet, frohlocket» · The Monteverdi Choir · English Baroque Soloists · John Eliot Gardiner
Bach, J.S.: Christmas Oratorio — Arias and Choruses
℗ 1987 Deutsche Grammophon GmbH, Berlin
Released on: 1987-11-11
Producer: Dr. Andreas Holschneider
Producer: Charlotte Kriesch
Producer, Recording Producer, Studio Personnel, Balance Engineer: Karl-August Naegler
Studio Personnel, Recording Engineer: Gregor Zielinsky
Composer: Johann Sebastian Bach
Author: Christian Friedrich Henrici
Mass in B Minor, BWV 232: Symbolum nicenum: 6. Et resurrexit · Collegium Vocale Gent · Philippe Herreweghe
J.S. Bach: Mass in B Minor
℗ harmonia mundi
Released on: 2007-07-31
Artist: Collegium Vocale Gent
Orchestra: Collegium Vocale Gent
Artist: Philippe Herreweghe
Conductor: Philippe Herreweghe
Composer: Johann Sebastian Bach
J. S. Bach
Cantatas
BWV 61 [15:06]
BWV 62 [19:33]
BWV 36 [30:26]
Soprano:Joanne Lunn
Counter-tenor: William Towers
Tenor: Jan Kobow
Bass: Dietrich Henschel
Monteverdi Choir
English Baroque Soloists
John Eliot Gardiner
Live recordings from the Bach Cantata Pilgrimage:
St. Maria im Kapitol, Köln, Germany.
Volume 13 CD 1
Les six suites pour violoncelle de JS Bach, interprétées par Marc Coppey. Juin 2015
Production Séquence SDP / ARTE concerts
Réalisation: Paul Ouazan
Direction artistique — montage son: Cécile Lenoir
Prise de son: Cécile Lenoir et Jean-Yves Pouyat
Mixage: Jean-Yves Pouyat
Montage: David Renaud
Image: Stéphane Aveneau
01. Utrecht Te Deum in D major HWV 278 00:00
02. Utrecht Jubilate in D major HWV 279 24:44
03. Queen Caroline Te Deum in D major HWV 280 42:24
04. Chandos Te Deum in B flat major HWV 281 57:50
05. Te Deum in A major HWV 282 01:32:18
06. Dettingen Te Deum in D major HWV 283 01:48:22
Choir of Christ Church Cathedral, Oxford, The Academy of Ancient Music, Simon Preston
Netherlands Bach Society
Jos Van Veldhoven
Les Arts Florissants, William Christie
Gerhard Jenemann
Drottningholms Baroque Ensemble*
Vocalsolisten Frankfurt
Concerto Polacco
Alsfelder Vocal Ensemble
Helbich, Wolfgang
Choir of Westminster Abbey
The English Concert
Trevor Pinnock
Simon Preston
Henry Purcell (1659 — 1695). Fantasias for the Viols, 1680
* Fantasiaupon one note
3 Fantasias in 3 parts
* Fantasia I
* Fantasia II
* Fantasia III
3 Fantasias en 4 parts
* Fantasia IV
* Fantasia V
* Fantasia VI
* In Nomine in 6 parts
3 Fantasias in 4 parts
* Fantasia VII
* Fantasia VIII
* Fantasia IX
3 Fantasias en 4 parts
* Fantasia X
* Fantasia XI
* Fantasia XII
* In Nomine in 7 parts
HESPÈRION XX
— Jordi Savall, dessus de viole
— Wieland Kuijken, basse de viole
— Sophie Watillon, autecontre de viole
— Eunice Brandao, ténor de viole
— Sergi Casademunt, ténor de viole
— Marianne Müller, basse de viole
— Philippe Pierlot, basse de viole
Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the «classical music» canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term «baroque» comes from the Portuguese word barroco, meaning «misshapen pearl». Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term «baroque» was adopted from Heinrich Wölfflins art-history vocabulary to designate a historical period in music.
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Wolfgang Amadeus Mozart (1756-1791) — Piano Concertos 11,12,13,14,17,18,19.
*Click to activate the English subtitles for the presentation* (00:00-06:45)
A very big « THANKS » to Sony Music who authorized us to release this recording.
Piano Concerto #11 in F major, K.413_ I.Allegro (00:00)
Piano Concerto #11 in F major, K.413_ II.Larghetto (09:24)
Piano Concerto #11 in F major, K.413_ III.Tempo di menuetto (17:14)
Piano Concerto #12 in A major, K.414_ I.Allegro (23:04)
Piano Concerto #12 in A major, K.414_ II.Andante (32:41)
Piano Concerto #12 in A major, K.414_ III.Rondo. Allegretto (41:06)
Piano Concerto #13 in C major, K.415_ I.Allegro (47:39)
Piano Concerto #13 in C major, K.415_ II.Andante (58:15)
Piano Concerto #13 in C major, K.415_ III.Rondeau_Allegro-Adagio-Allegro (1:05:43)
Piano Concerto #14 in E flat major, K.449_ I.Allegro vivace (1:14:04)
Piano Concerto #14 in E flat major, K.449_ II.Andantino (1:23:08)
Piano Concerto #14 in E flat major, K.449_ III.Allegro ma non troppo (1:29:10)
Piano Concerto #17 in G major, K.453_ I.Allegro (1:35:41)
Piano Concerto #17 in G major, K.453_ II.Andante (1:47:16)
Piano Concerto #17 in G major, K.453_ III.Allegretto — Finale_ Presto (1:56:19)
Piano Concerto #18 in B flat major, K.456_ I.Allegro vivace (2:04:33)
Piano Concerto #18 in B flat major, K.456_ II.Andante un poco sostenuto (2:16:26)
Piano Concerto #18 in B flat major, K.456_ III.Allegro vivace (2:26:43)
Piano Concerto #19 in F major, K.459_ I.Allegro (2:34:12)
Piano Concerto #19 in F major, K.459_ II.Allegretto (2:46:43)
Piano Concerto #19 in F major, K.459_ III.Allegro assai (2:55:02)
Piano: Lili Kraus
Vienna Festival Orchestra
Direction: Stephen Simon
Recorded in 1965-66
New Mastering 2017 by AB for CMRR
Find CMRRs recordings on Spotify: spoti.fi/3016eVr
COMMENTAIRE COMPLET: VOIR PREMIER COMMENTAIRE ÉPINGLÉ.
La véritable conception du concerto, l’essence du genre consiste dans la lutte qui se livre entre lorchestre, dune part, et linstrument ou le groupe dinstruments solos de lautre. Cette lutte est entrecoupée de trêves pendant lesquelles orchestre et soliste collaborent amicalement, et elle se termine par une réconciliation; elle nen est pas moins une lutte véritable. Tantôt, les armes sont communes aux deux adversaires: ce sont les thèmes principaux qui reviennent dans les soli et dans les tuttis; tantôt, chacun a les siennes: ce sont dautres thèmes réservés au soliste, et dautres, enfin, qui nappartiennent quà lorchestre.
Les péripéties de la lutte sont diverses: elle peut rester indécise et solo et orchestre se renvoient alors les thèmes de lun à lautre; le tutti peut remporter une victoire momentanée et claironner bruyamment son triomphe; ou bien, le soliste, à coups daccords, de gammes et darpèges, peut voir ses efforts couronnés de victoire, et, dans un trille étincelant, narguer lorchestre vaincu. Mais, quelle que soit lissue momentanée, nous savons quen fin de compte ni lun ni lautre ne triomphera et que la dernière cadence scellera paix et alliance entre les ennemis réconciliés.
Or, de tous les concertos, ceux de Mozart forment le groupe le plus important. Cest une raison pour laquelle ils ont droit à une étude spéciale. Il en existe une autre. Il ny a pas, dans toute lœuvre de leur compositeur, de genre où il se soit exprimé dune manière aussi complète. Ses concertos pour piano, échelonnés à travers ses années depuis sa dix-huitième jusquà sa trente-sixième, nous le présentent à tous les âges; ils constituent le témoignage le plus varié et le plus étendu de sa vie artistique.
Nous y retrouvons ses joies et ses tristesses, ses espérances et ses déceptions; nous pénétrons par eux dans ce sanctuaire intérieur, où lhomme harassé et surmené retrouvait la vie fraîche et rayonnante qui ne cessa jamais de renaître au fond de son coeur. Dans presque tous les genres si divers où il a prodigué ses richesses, on trouve une ou deux œuvres qui comptent parmi ses plus belles, mais aucun de ces genres n’offre une succession de chefs-dœuvre aussi abondante que celle des concertos pour piano.
