James Gaffigan dirige lOrchestre national de France et le Choeur de Radio France dans le Requiem en ré mineur K.626 de Wolfgang Amadeus Mozart, avec la soprano Marita Solberg, la mezzo-soprano Karine Deshayes, le ténor Joseph Kaiser, et la basse Alexander Vinogradov. Concert enregistré le 29 juin 2017 en direct de la basilique de Saint-Denis dans le cadre du Festival de saint-Denis.

#Mozart #MozartRequiem #OrchestreNationalDeFrance

00:00 — Début du concert
01:19 — I. Introïtus
02:00 — Requiem
05:46 — II. Kyrie
08:13 — III. Sequentia. Dies Irae
10:09 — Tuba mirum
13:29 — Rex tremendae
15:31 — Recordare
20:27 — Confutatis
22:49 — Lacrimosa
25:52 — IV. Offertorium Domine Jesu Hostias
32:52 — V. Sanctus
34:30 — VI. Benedictus
38:52 — VII. Agnus Dei
41:45 — VIII. Communio — Lux Aeterna

A propos de l’œuvre:

Mozart croule sous les problèmes quand il entreprend l’écriture de son Requiem en 1791. Accablé par les dettes, le maestro viennois est aussi gravement malade. Pour ajouter à son malheur, sa musique ne séduit plus, la fréquentation de ses concerts diminue.

On ne compte plus les légendes qui entourent le contexte de création de l’œuvre. Mais parmi elles, une vérité se dessine. Le commanditaire de l’œuvre serait le comte von Walsegg, désireux d’obtenir une messe des morts pour célébrer le souvenir de son épouse, tout juste disparue. La demande est faite à Mozart de manière anonyme. Le comte souhaitait en effet se faire passer pour lauteur de l’œuvre, une supercherie dont il était familier!

Épuisé, Mozart s’éteint le 5 décembre 1791 à lâge de 35 ans. S’il a probablement composé entièrement les deux premières parties de l’œuvre, l’Introïtus et le Kyrie, le reste a été repris en main par l’un de ses élèves, Franz-Xaver Süssmayr, à partir d’esquisses plus ou moins détaillées.

Distribution:

Marita Solberg, soprano
Karine Deshayes, mezzo-soprano
Joseph Kaiser, ténor
Alexander Vinogradov, basse
Chœur de Radio France,
Nicolas Fink, chef de chœur
Orchestre National de France,
James Gaffigan, direction

A propos du compositeur Wolfgang Amadeus Mozart (1756 — 1791):

Wolfgang Amadeus Mozart est l’un des compositeurs les plus importants de l’histoire de la musique occidentale, et la figure majeure de la période du classicisme. Il fait partie avec Haydn et Beethoven de la « triade classique viennoise », incarnant l’un des trois maîtres dont l’influence a été la plus considérable sur les générations suivantes de compositeurs. Virtuose du clavecin et du violon, il connaît un succès précoce et une carrière fulgurante, en portant toutes les formes musicales existantes à un état d’accomplissement inégalé.

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The Married Beau: Overture · John Eliot Gardiner

Purcell Edition Volume 2: The Indian Queen, The Tempest, Dioclesian

Provided to YouTube by NAXOS of America

Komm, Jesu, komm, BWV 229 · Monteverdi Choir

Bach: Motets

℗ 2012 SDG

Released on: 2012-06-05

Choir: Monteverdi Choir
Conductor: John Eliot Gardiner
Composer: Johann Sebastian Bach

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This Concerto for Oboe and Violin in C Minor, performed by Emma Black and Shunske Sato for All of Bach, is a reconstruction of the supposed original form of the concerto for two harpsichords in C Minor. In this version, each instrument makes full use of its own timbre and characteristics. In the finale, the violin clearly gets more scope than the oboe to show off its most virtuoso side, while in the second movement – a rocking Siciliano – both instruments become closely entangled.

Recorded for the project All of Bach on December 6th 2019 at Stadsgehoorzaal, Leiden. If you want to help us complete All of Bach, please subscribe to our channel bit.ly/2vhCeFB and consider donating bit.ly/2uZuMj5.

For more information on BWV 1060r and this production go to allofbach.com/en/bwv/bwv-1060r/

All of Bach is a project of the Netherlands Bach Society / Nederlandse Bachvereniging, offering high-quality film recordings of the works by Johann Sebastian Bach, performed by the Netherlands Bach Society and its guest musicians. Visit our free online treasury for more videos and background material allofbach.com/en/. For concert dates and further information go to www.bachvereniging.nl/nederlandse-bachvereniging.

Netherlands Bach Society
Emma Black, oboe
Shunske Sato, violin and direction

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00:00:00 — Overture (Suite) No. 3 in D Major, BWV 1068: II. Air, «Air on a G String»
00:04:57 — Brandenburg Concerto No. 2 in F Major, BWV 1047
00:09:25 — Concerto for 2 Violins in D Minor, BWV 1043
00:12:58 — Harpsichord Concerto in F Minor, BWV 1056: II. Largo
00:15:48 — Harpsichord Concerto in D Major, BWV 1045
00:23:10 — Violin Concerto in E Major, BWV 1042
00:30:32 — Concerto for Flute, Violin, Harpsichord and Strings in A Minor, BWV 1044, «Triple Concerto»
00:38:19 — Brandenburg Concerto No. 3 in G Major, BWV 1048
00:43:01 — Concerto for Violin and Oboe in C Minor, BWV 1060: I. Allegro
00:48:00 — Harpsichord Concerto in E Major, BWV 1053
00:55:36 — Orchestral Suite No. 2 in B Minor, BWV 1067: VII. Badinerie
00:56:55 — Toccata and Fugue in D Minor, BWV 565: Toccata
00:59:52 — Goldberg Variations, BWV 988: I. Aria
01:03:49 — Cello Suite No. 1 in G Major, BWV 1007: Prelude
01:06:20 — Concerto in the Italian Style, BWV 971, «Italian Concerto»: I. Allegro
01:10:07 — Herz und Mund und Tat und Leben, BWV 147: X. Jesu, joy of mans desiring (arr. M. Hess)
01:13:21 — Violin Partita No. 3 in E Major, BWV 1006: I. Preludio
01:17:20 — Brandenburg Concerto No. 4 in G Major, BWV 1049: I. Allegro
01:23:41 — Well-Tempered Clavier, Book I: Prelude and Fugue No. 1 in C Major, BWV 846
01:28:04 — Anna Magdalena Notenbuch: Minuet in G Major, BWV Anh 114
01:29:36 — Violin Concerto in A Minor, BWV 1041: III. Allegro assai
01:33:21 — Kommt, eilet und laufet, BWV 249, «Easter Oratorio»: Adagio
01:38:24 — Cantata Nº 208, Sheep May Safely Graze, BWV 208
01:42:55 — Air on the G String Suite No. 3, BWV 1068
01:46:21 — Double Violin Concerto in D minor BWV1043 — Largo ma non tanto

Ludwig van Beethoven ( 1770 — 1827 )

Piano Sonata No.17 in D Minor, Op.31 No.2 «The Tempest»

00:00 I. Largo — Allegro
09:20 II. Adagio
16:44 III. Allegretto

Sviatoslav Richter, piano
( Praga )

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.

#Baroque
#BaroqueMusic
#BaroqueHistory

Georg Friedrich Haendel
Admeto, Re di Tessaglia: ouverture

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St Matthew Passion, BWV 244, Pt. 1: Chorale. «Herzliebster Jesu, was hast du verbrochen» · Nikolaus Harnoncourt · Choir of Kings College, Cambridge · Regensburger Domspatzen

Bach: St Matthew Passion, BWV 244

℗ 1970 TELDEC CLASSICS INTERNATIONAL GMBH

Choir: Choir of Kings College, Cambridge
Orchestra: Concentus Musicus Wien
Conductor: Nikolaus Harnoncourt
Chorus: Regensburger Domspatzen
Composer: Johann Sebastian Bach

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Prom 26: Bach — Mass in B minor
Johann Sebastian Bach — Mass in B minor

Joélle Harvey soprano
Carolyn Sampson soprano
Iestyn Davies counter-tenor
Ed Lyon tenor
Matthew Rose bass

Choir of the English Concert
The English Concert
Harry Bicket conductor

Royal Albert Hall
2 August 2012

0:00:07 — Kyrie eleison
0:10:33 — Christe eleison
0:15:20 — Kyrie eleison
0:19:06 — Gloria in excelsis Deo
0:25:35 — Laudamus te
0:29:40 — Gratias agimus tibi