J.S. Bach: St. John Passion, BWV 245 / Part One - No.3 Choral: "O große Lieb, o Lieb ohn alle...

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J.S. Bach: St. John Passion, BWV 245 / Part One — No.3 Choral: «O große Lieb, o Lieb ohn alle Maße» · English Baroque Soloists · John Eliot Gardiner · The Monteverdi Choir

Bach, J.S.: St. John Passion

℗ 1986 Deutsche Grammophon GmbH, Berlin

Released on: 1986-01-01

Producer: Dr. Andreas Holschneider
Producer: Charlotte Kriesch
Producer, Recording Producer, Studio Personnel, Balance Engineer: Karl-August Naegler
Studio Personnel, Recording Engineer: Wolf-Dieter Karwatky
Studio Personnel, Recording Engineer: Gregor Zielinsky
Studio Personnel, Editor: Gernot Von Schultzendorff
Composer: Johann Sebastian Bach
Author: Anonymous

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Bach : Messe en si BWV 232 (Raphaël Pichon, Pygmalion, Lea Desandre)

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Raphaël Pichon dirige lEnsemble Pygmalion dans la Messe en si de Bach, avec Joanne Lunn, Lea Desandre, Lucile Richardot, Emiliano Gonzalez Toro et Christian Immler. Concert enregistré vendredi 24 mai 2019 à la Philharmonie de Paris.

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0:00 • Introduction
2:03 • Kyrie Eleison
11:46 • Christe Eleison
16:24 • Kyrie Eleison
Gloria: 19:53
Et in terra pax: 21:32
Laudamus te: 26:30
Gratias agimus tibi: 30:40
Domine Deus: 33:56
Qui tollis peccata mundi: 39:23
Qui sedes ad dexteram Patris: 42:46
Quoniam tu solus sanctus: 46:45
Cum Sancto Spiritu: 50:50

II. SYMBOLUM NICENUM (CREDO)
Credo in unum Deum: 57:25
Patrem Omnipotentem: 59:07
Et in unum Dominum: 1:01:01
Et incarnatus est: 1:05:33
Crucifixus: 1:09:14
Et resurrexit: 1:12:17
Et in Spiritum Sanctum: 1:16:25
Confiteor: 1:20:59
Et expecto: 1:23:33

III. SANCTUS
Sanctus: 1:27:54

IV. OSANNA et BENEDICTUS, AGNUS DEI et DONA NOBIS PACEM
Osanna: 1:33:05
Benedictus: 1:35:39
Osanna (repetatur): 1:40:28
Agnus Dei: 1:43:10
Dona nobis pacem: 1:48:39

Programme
Johann Sebastian Bach (1685-1750)
Messe en si mineur BWV 232
Kyrie
Gloria
Credo
Sanctus
Benedictus
Distribution
Ensemble Pygmalion
Raphaël Pichon, direction
Joanne Lunn, soprano
Lea Desandre, mezzo-soprano
Lucile Richardot, alto
Emiliano Gonzalez Toro, ténor
Christian Immler, basse
Dans les dernières années de sa vie, Johann Sebastian Bach acheva une série d’œuvres qui constituèrent un magnifique testament musical de tous les styles qu’il pratiqua, que ce soit le contrepoint avec L’Offrande musicale (1747), les Variations canoniques pour orgue (1747-1748) et L’Art de la fugue (1742-1750), ou la musique religieuse avec la Messe en si mineur (1746-1749). Mais contrairement aux autres monuments contrapuntiques cités précédemment, la Messe ne fut pas véritablement composée entre 1746 et 1749. Hormis deux sections du Credo conçues vraisemblablement en 1749, Bach retravailla des pièces qu’il avait écrites auparavant dans diverses circonstances. Il réussit un tour de force en créant une œuvre nouvelle et originale à partir d’un matériau composite. Le compositeur délaissa également l’aria da capo et le récitatif, des formes qu’il avait abondamment utilisées dans les cantates et les Passions. Ainsi, il livre à la postérité non pas sa conception de ce que devait être une messe – attitude paradoxale pour un compositeur profondément attaché au rite luthérien – mais sa vision de la musique religieuse. La Messe en si mineur constitue ainsi une admirable synthèse des différents styles qu’il pratiqua sa vie durant.
La genèse de la Messe s’étendit donc sur plus de vingt années. Une première version du Credo fut sans doute exécutée pour la consécration de l’école Saint-Thomas de Leipzig, le 5 juin 1732. Un an plus tard, le 21 avril 1733, le Kyrie et le Gloria furent créés à l’occasion des vœux de fidélité du nouveau prince électeur de Saxe, Auguste III. Quatre mois après cette exécution, Bach adressa au souverain le manuscrit précédé de la supplique suivante: « Je m’offre avec la plus consciencieuse obéissance de démontrer en toute occasion mon zèle infatigable en composant de la musique sacrée aussi bien que pour l’orchestre chaque fois que Votre Majesté me fera la grâce de l’exiger. » La mise au point tardive de la Messe en si mineur explique pourquoi celle-ci ne fut jamais jouée dans son intégralité du vivant de Bach. Après le décès du cantor, l’autographe fut transmis à son fils cadet Carl Philipp Emanuel qui, en 1786, remania le Credo afin de le « moderniser ». Si des extraits furent régulièrement donnés entre 1811 et 1834, notamment par l’Académie de chant de Berlin, il fallut attendre 1859 pour que cette œuvre fût exécutée dans son intégralité (en traduction allemande !), sous la direction de Carl Riedel.

Purcell: King Arthur (Complete)

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King Arthur, or The British Worthy, a semi-opera by Henry Purcell (1691).

1-3. King arthur overture
4. King arthur act I: woden, first to thee
5. King arthur act I: the lot is cast-brave souls
6. King arthur act I: I call to wodens hall
7. King arthur act I: come if you dare-first act tune
8. King arthur act II: hither, this way
9. King arthur act II: let not a moon-born elf
10. King arthur act II: hither, this way
11. King arthur act II: come, follow me
12. King arthur act II: how blest are shepherds
13. King arthur act II: symphony-shepherd, leave decoying
14. King arthur act II: come shepherds, lead up-hornpipe
15. King arthur act II: second act tune
16. King arthur act III: prélude-what ho!
17. King arthur act III: what power art thou
18. King arthur act III: thou doting fool
19. King arthur act III: great love
20. King arthur act III: no part of my dominion
21. King arthur act III: prélude
22. King arthur act III: see we assemble-dance
23. King arthur act III: tis I that have warmd ye
24. King arthur act III: sound a parley-tis love
25. King arthur act III: third act tune: hornpipe
26. King arthur act IV: aire
27. King arthur act IV: two daughters of this aged stream
28. King arthur act IV: passacaglia
29. King arthur act V: trumpet tune
30. King arthur act V: ye blustring brethren of the skies
31. King arthur act V: symphony
32. King arthur act V: round thy coasts
33. King arthur act V: for folded flocks
34. King arthur act V: your hay it is mowed
35. King arthur act V: fairest isle
36. King arthur act V: you say tis love
37. King arthur act V: trumpet tune
38. King arthur act V: saint george
39. King arthur act V: our natives
40. King arthur act V: chaconne

Wendy Roobol, soprano
Mijke Sekhuis, soprano
Klaartje van Veldhoven, soprano
Derek Lee Ragin, countertenor
Gunther Vandeven, countertenor
Lester Lardenoye, countertenor
Mattijs Hoogendijk, tenor
Joost van Velzen, tenor
Pieter Hendriks, baritone
Ragnar van Linden van den Heuvell, baritone
Bas Kuijlenburg, baritone
Wiebe Pier Cnossen, baritone

BarokOpera Amsterdam
Frédérique Chauvet, direction

2 Hours Bach Violin Concertos | Classical Baroque Music | Focus Reading Studying

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2004 ITS Philharmonic Orchestra, Louis Jullien / All Rights Reserved
Violin Concerto in A minor, BWV 1041
00:00:00 Allegro moderato
00:03:46 Andante
00:09:26 Allegro assai

Violin Concerto in E major, BWV 1042
00:12:56 Allegro
00:20:47 Adagio
00:26:38 Allegro assai

Double Violin Concerto in D minor, BWV 1043
00:29:16 Vivace
00:32:59 Largo, ma non tanto
00:39:19 Allegro

Concerto for 3 Violins and Strings in D major, BWV 1064r
00:43:55 Adagio
00:50:30 Allegro
00:56:07 Allegro

Violin Concerto G minor, BWV 1056r
01:00:42 Allegro
01:04:23 Largo
01:06:58 Presto

Concerto for Violin and Oboe in C minor, BWV 1060r
01:10:06 Allegro
01:14:52 Adagio/ Largo
01:19:31 Allegro

Violin Concerto in D minor BWV 1052a
01:23:03 Allegro
01:31:03 Adagio
01:37:31 Allegro

Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044
01:45:32 Allegro
01:53:51 Adagio ma non tanto e dolce
01:59:44 Tempo di Allabreve

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Telemann Edition, Vol.1

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Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Tidal, Google Play):
brilliant-classics.lnk.to/TelemannEditionVol1
Physical Purchase:
www.brilliantclassics.com/articles/t/telemann-edition/

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Composer: Georg Philipp Telemann
Artists: various

About this Album:
Born in 1681, Georg Philip Telemann would inevitably suffer from comparisons with one of the towering figures of western Classical music, born just four years later: Johann Sebastian Bach. Although after his death Telemann may have been constantly cast into the Leipzig composer’s shadow, during his lifetime he was exalted as Bach’s equal and was considered one of the greatest German composers of the early 18th century. Certainly, the size of his output compares very favourably with Bach’s; Telemann was also a highly productive composer, writing over 3,000 works during his lifetime (although not all have survived). Despite his popularity falling away in the 19th century, today Telemann is almost as highly regarded as he was in his own lifetime – the large number of new recordings on this edition pays tribute to the flurry of interest that has grown around the composer Telemann over the past 30 years. After starting his career in Leipzig, Telemann became Kapellmeister in Sorau (now Żary in Poland), where by his own estimation he wrote over 200 overtures, imbued with the Polish and French influences of the court that surrounded him. The cornerstone of his output, many of these diverse overtures make up a large part of this disc. Telemann then moved first to Eisenach, in central Germany, followed by Frankfurt, his fame steadily increasing along with his output. Among his new compositions were church cantatas, psalms and other sacred works, as well as instrumental music; he became known for his concertos in the French style, which he valued above the Italian style that was more popular at the time. It was in Frankfurt that he began to write concertos for various different instruments, many of which are to be found in this edition.