Saif Al-Khayyat — Oud
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Rageed William — Duduk
www.rageedwilliam.com
www.facebook.com/rageedwilliamnay
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ytimg.preload(https://r2---sn-pivhx-n8v6.googlevideo.com/generate_204);ytimg.preload(https://r2---sn-pivhx-n8v6.googlevideo.com/generate_204?conn2);Hans Zimmer — Elysium [1HOUR] — YouTube<link rel=«alternate» type=«application/json oembed» href=«www.youtube.com/oembed?format=json

John Eliot Gardiner: Monteverdi Choir, English Baroque soloists

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J.S. Bach: Mass in B Minor, BWV 232 / Credo — Et resurrexit · English Baroque Soloists · John Eliot Gardiner · The Monteverdi Choir

Bach, J.S.: Mass In B Minor BWV 232

℗ 1985 Deutsche Grammophon GmbH, Berlin

Released on: 1985-01-01

Producer, Executive Producer: Dr. Andreas Holschneider
Producer, Executive Producer: Charlotte Kriesch
Producer, Recording Producer: Dr. Steven Paul
Studio Personnel, Balance Engineer: Karl-August Naegler
Studio Personnel, Recording Engineer, Editor: Klaus Behrens
Studio Personnel, Editor: Gregor Zielinsky
Composer: Johann Sebastian Bach
Author: Anonymous

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J. S. Bach
Cantatas:
BWV 55 [14:35]
BWV 89 [11:17]
BWV 115 [25:56]
BWV 60 [16:05]
Soprano:Joanne Lunn
Counter-tenor: Robin Tyson
Tenor: James Gilchrist
Bass: Peter Harvey
Monteverdi Choir E
English Baroque Soloists
John Eliot Gardiner
From the Bach Cantata Pilgrimage
All Saints church, Tooting, England (not live recording)

Sublime, extreme and all-embracing… only superlatives will do to describe Bach’s Mass in B minor, the Hohe Messe, performed by the Netherlands Bach Society for All of Bach. In between an awe-inspiring Kyrie and the jubilant final Dona nobis pacem, there are nine completely unique arias and duets, fourteen impressive ensemble sections for four, five, six and even eight voices, a broad spectrum of instrumental solos, and an incredible variety of styles.

Recorded for the project All of Bach on December 15th 2016 at the Grote Kerk, Naarden. If you want to help us complete All of Bach, please subscribe to our channel bit.ly/2vhCeFB or consider donating bit.ly/2uZuMj5.

For the interview with musicians from the Netherlands Bach Society on the Mass in B minor go to www.youtube.com/watch?v=QU9596vrep8
For more information on BWV 232 and this production go to allofbach.com/en/bwv/bwv-232/

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 her 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.

Jos van Veldhoven, conductor
Hana Blažíková, soprano 1
Anna Reinhold, soprano 2
David Erler, alto
Thomas Hobbs, tenor
Peter Harvey, bass

Soundtrack from the movie: England, my England: The story of Henry Purcell (selection of the best-known works by Henry Purcell)

01 Trumpet Sonata in D Major, Z. 850: I. Allegro 00:00
02 Trumpet Sonata in D Major, Z. 850: II. Adagio
03 Trumpet Sonata in D Major, Z. 850: III. Allegro
04 The Married Beau: Overture
05 «Come ye sons of art», Z. 323: II. Ritornello

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J.S. Bach: Matthäus-Passion, BWV 244 / Erster Teil — No. 1 «Kommt, ihr Töchter, helft mir klagen» · English Baroque Soloists · The Monteverdi Choir · The London Oratory Junior Choir · John Eliot Gardiner

Bach, J.S.: St. Matthew Passion, BWV 244

℗ 1989 Deutsche Grammophon GmbH, Berlin

Released on: 1989-01-01

Producer: Dr. Andreas Holschneider
Producer: Charlotte Kriesch
Producer, Recording Producer: Karl-August Naegler
Studio Personnel, Recording Engineer: Klaus Behrens
Studio Personnel, Balance Engineer, Editor: Ulrich Vette
Studio Personnel, Editor: Werner Roth
Associated Performer, Chorus Master: Patrick Russill
Composer: Johann Sebastian Bach
Author: Christian Friedrich Henrici

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Primera parte de Grandes Obras para órgano de Johann Sebastian Bach, interpretadas por Hans-André Stamm.

While functioning as Kapellmeister (Director of Music) to the court of Prince Leopold of Anhalt-Köthen (1694 — 1728) J. S. Bach presented in 1721 to Christian Ludwig Margrave of Brandenburg-Schwedt (1677 — 1734) the Baroque masterworks known as the «Brandenburg Concertos». This delightful performance of the orchestral works by the Freiburger Barockorchester conducted by Gottfried von der Goltz takes place in the Hall of Mirrors at the Palace of Cothen (Der Spiegelsaal im Schloss Köthen), where the great german composer himself served from 1717 to 1723.

From Wikipedia:

Bachs dedication to the Margrave was dated 24 March 1721. Most likely, Bach composed the concertos over several years while Kapellmeister at Köthen, and possibly extending back to his employment at Weimar (1708--17). The first sentence of Bachs dedication reads:

«As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highnesss commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness deigned to honour me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highnesss most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him.»

The dedication page Bach wrote for the collection indicates they are «Concerts avec plusieurs instruments» (Concertos with several instruments). Bach used the «widest spectrum of orchestral instruments [...] in daring combinations», as Christoph Wolff has commented (Christoph Wolff, «Johann Sebastian Bach: The Learned Musician» (WW Norton, New York, 2000). «Every one of the six concertos set a precedent in scoring, and every one was to remain without parallel». Heinrich Besseler has noted that the overall forces required (leaving aside the first concerto, which was rewritten for a special occasion) tallies exactly with the 17 players Bach had at his disposal in Köthen (Besselers preface to the «Neue Bach-Ausgabe» edition of the Brandenburg Concertos is reprinted with a translation in «Bärenreiters Study Score of the Six Brandenburg Concertos», Bärenreiter TP9, 1988).

Because King Frederick William I of Prussia (1688 — 1740) was not a significant patron of the arts, Christian Ludwig seems to have lacked the musicians in his Berlin ensemble to perform the concertos. The full score was left unused in the Margraves library until his death in 1734, when it was sold for 24 groschen (as of 2008, about US$22.00) of silver. The autograph manuscript of the concertos was only rediscovered in the archives of Brandenburg by Siegfried Wilhelm Dehn in 1849; the concertos were first published in the following year. [Malcolm Boyd, Bach: The Brandenburg Concertos (Cambridge UP, 1993)]