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Johann Sebastian Bach - Motets - Capella Cracoviensis, Fabio Bonizzoni (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Capella Cracoviensis, Fabio Bonizzoni
Title: Motets
Genre: Classical
Label: © Alpha Classics / Outhere Music France
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88.2kHz/24bit
Source: highresaudio.com
Duration: 01:06:21
Recorded: at The Krzysztof Penderecki European Centre for Music in Lusławice, Poland between March 25th – 29th 2014


Capella Cracoviensis, recently discovered on the Alpha release Te Deum, returns here under the direction of Fabio Bonizzoni. Together they present a highly vigorous reading of these monumental works - Their virtuosity brings out to the full the magnificent counterpoint while never neglecting the text, so vital in the motet genre.
Each of the motets on this programme –most of which for double chorus – was intended for highly reduced forces, most likely made up solely of soloists. The writing is indeed complex, woven in an extremely skilful counterpoint that requires great transparency in order for the interlacing to be experienced fully.
The ensemble and soloists of La Capella Cracoviensis give a reading of considerable vitality, both informed and removed from too exclusively a religious approach.
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Johann Sebastian Bach - Mass in B minor, BWV 232 - Netherlands Bach Society, Jos Van Veldhoven (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

omposer: Johann Sebastian Bach (1685–1750)
Artist: Netherlands Bach Society, Jos Van Veldhoven
Title: Bach, J.S. - Mass in B minor, BWV 232
Genre: Classical, Choral
Label: © Channel Classics Records B.V.
Release Date: 2007
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:45:45
Recorded: Waalse Kerk, Amsterdam, the Netherlands, December 2006


From the moment that a decision was made to record Bach's Mass in b minor, it was clear tome that the scoring would have to be small-scale. After our successful and highly-praised recording of the St.John Passion in 2004-in which a small group of singcrs performed both the solo parts and the chorus parts there was really no way back. We had come to know a new kind of collaboration between instrumentalists and singers, which gave us an ideal foundation for the interpretation of Bach's music and led to deeply expressive performances. Together, we discovered a new definition for the word 'choir'. But at the same time, the Mass in b minor is a large-scale score: Bach, in his last completed work, demanded every possible performing force available to him. For example, in this unique and incomparable score, he used nearly every imaginable combination of voices and virtually the entire spectrum of instrumentation of his day. The enormous wealth of genres and structures is dazzling for the listener: timeless polyphony, fugues, canrus-firmus techniques, polychoral work, vocal and instrumental concern, concern for groups of instruments, concern grossi, osninani, solo arias and duets - in scorings from three to seven voices and in remarkably varied combinations-and choruses ranging from four to eight parts. It is certain that Bach never performed his masterpiece in complete form, and it remains unclear for what purpose or occasion he composed it. The beautiful autograph score remains a closed book in many respects: it contains hardly any tempo indications or dynamic signs. The movements are simply called Kyrie, Gloria, or Agnus Dci. All of the parts of the enormous score indicate one-on-a-part settings for instrumentalists or singers. Nowhere does Bach give suggestions for how to score the continuo. Is it written for soloists, or is Bach writing for a 'real' chorus? How large should the string groups be, and is variable scoring another option?
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Johann Sebastian Bach - Mass in B minor, BWV 232 - Netherlands Bach Society, Jos Van Veldhoven (2007) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685–1750)
Artist: Netherlands Bach Society, Jos Van Veldhoven
Title: Bach, J.S. - Mass in B minor, BWV 232
Genre: Classical, Choral
Label: © Channel Classics Records B.V.
Release Date: 2007
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: channelclassics.com
Duration: 01:45:34
Recorded: Waalse Kerk, Amsterdam, the Netherlands, December 2006


From the moment that a decision was made to record Bach's Mass in b minor, it was clear tome that the scoring would have to be small-scale. After our successful and highly-praised recording of the St.John Passion in 2004-in which a small group of singcrs performed both the solo parts and the chorus parts there was really no way back. We had come to know a new kind of collaboration between instrumentalists and singers, which gave us an ideal foundation for the interpretation of Bach's music and led to deeply expressive performances. Together, we discovered a new definition for the word 'choir'. But at the same time, the Mass in b minor is a large-scale score: Bach, in his last completed work, demanded every possible performing force available to him. For example, in this unique and incomparable score, he used nearly every imaginable combination of voices and virtually the entire spectrum of instrumentation of his day. The enormous wealth of genres and structures is dazzling for the listener: timeless polyphony, fugues, canrus-firmus techniques, polychoral work, vocal and instrumental concern, concern for groups of instruments, concern grossi, osninani, solo arias and duets - in scorings from three to seven voices and in remarkably varied combinations-and choruses ranging from four to eight parts. It is certain that Bach never performed his masterpiece in complete form, and it remains unclear for what purpose or occasion he composed it. The beautiful autograph score remains a closed book in many respects: it contains hardly any tempo indications or dynamic signs. The movements are simply called Kyrie, Gloria, or Agnus Dci. All of the parts of the enormous score indicate one-on-a-part settings for instrumentalists or singers. Nowhere does Bach give suggestions for how to score the continuo. Is it written for soloists, or is Bach writing for a 'real' chorus? How large should the string groups be, and is variable scoring another option?
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Johann Sebastian Bach - Mass In B Minor, BWV 232 - Munchener Bach-Chor, Munchener Bach-Orchester, Karl Richter (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter
Title: Bach, J.S. - Mass In B Minor, BWV 232
Genre: Classical, Choral
Label: © Deutsche Grammophon/Archiv Produktion
Release Date: 1962/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 02:03:06
Recorded: 13 to 20, 22 to 26 Februari 1961, 5 to 9 April 1961 at at München, Musikhochschule


Die h-Moll-Messe von Johann Sebastian Bach, BWV 232, ist eine der bedeutendsten geistlichen Kompositionen. Es handelt sich um Bachs letztes großes Vokalwerk und seine einzige Komposition, der das vollständige Ordinarium des lateinischen Messetextes zugrunde liegt. Gelegentlich wird sie infolge einer Zuschreibung der Romantik auch Hohe Messe in h-Moll genannt. Dem Typus nach handelt es sich um eine Missa solemnis, die aus 18 Chorsätzen und 9 Arien besteht. Bach komponierte 1733 zunächst eine Missa aus Kyrie und Gloria. Gegen Ende seines Lebens stellte er die übrigen Sätze aus Bearbeitungen früher komponierter Sätze, überwiegend aus seinen Kantaten, und neuen Kompositionen zusammen. Das Manuskript von 1748/1749 gehört zum UNESCO-Weltdokumentenerbe.

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Johann Sebastian Bach - Brandenburg Concertos, BWV 1046-1051 - Florilegium (2014) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685–1750)
Artist: Florilegium, Ashley Solomon
Title: Bach, J.S. - Brandenburg Concertos, BWV 1046-1051
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 01:33:40
Recorded: St John the Evangelist Church, Upper Norwood, London, 24-27 November 2013


In a strange twist of fate, the Brandenburg Concertos have come to be named after a man who didn’t especially want them, never heard them, and may not have liked them had he done so. Johann Sebastian Bach met Christian Ludwig, Margrave of Brandenburg in 1719 during his tenure as music director at the court of Leopold of Anhalt-Cöthen, who was the young prince responsible for signing up some of the musicians who were previously employed by Frederick William I. Bach worked at Anhalt-Cöthen from 1717 to 1723, and he and Leopold developed an excellent working relationship there. The Prince enjoyed travel, fine art and, above all, music, and he respected and encouraged Bach in his work, even occasionally participating in the court concerts as violinist, viola da gambist or harpsichordist. Provided by Leopold with an excellent set of instruments and a group of fine players (and the second-highest salary of any of his court employees), Bach enjoyed a fruitful period at Cöthen. Many of his greatest works for keyboard, chamber ensembles and orchestra date from those years.
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Association P.C. - Rock Around the Cock (1973/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Association P.C.
Title: Rock Around the Cock
Genre: Jazz, Jazz Rock, Free Jazz, Fusion, Free Improvisation
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1973/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:41:51
Recorded: March 4th - 7th, 1973 at Windrose Studio, Hamburg


Association P.C.’s 3rd album in 18 months attested to the group’s popularity. This ‘free fusion’ quintet consisted of some of the top names in European jazz, including pianist Joachim Kühn. For Kühn, “it is essential to be open; I don’t want to be tied down by a particular style. This is what I admire so much about Association: it’s openness.” All but one of the pieces are freely improvised. The album begins with Dutch drummer Pierre Courbois with German guitarist Toto Blanke playing the Japanese nogoya harp in an explosive duo on Phenis. Polar Anna rocks wildly with breathtaking tenor and guitar solos whereas Mirrored Dimensions is a short multi-dimensional reflection on the ending of Stanley Kubrick’s masterwork, 2001 – A Space Odyssey. There’s a mid-Eastern flare to Shirocco, which features bassist Siggi Busch and tenor saxophonist Wiberny on a Chinese double-reed instrument, the suono. With its stop-and-start tempos, the musicians labelled Rock Around the Cock ‘busted-up rock’. There’s more than a touch of electric Miles here. Symbolizing the colorful richness of Autumn without its incipient dissolution, Autumn in March features Kühn’s positive romantic intro followed by exquisite guitar and keyboard solos, while Cap Carnival rockets off in a pyrotechnic free-for-all. Joachim Kühn said the album was “the result of our searching” – and what the listener will find is one exciting adventure.
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Anne-Line - Yiddish Love Songs (1965/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Anne-Line
Title: Yiddish Love Songs
Genre: Pop, Folk, Vocal, Ballad
Label: © Monument Records
Release Date: 1965/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:28:27
Recorded: 1965
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Aida Garifullina - Aida (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Charles Gounod (1818 - 1893), Léo Delibes (1836 - 1891), Nikolai Rimsky-Korsakov (1844 - 1908), Peter Ilyich Tchaikovsky (1840 - 1893), Sergey Vasil'yevich Rachmaninov (1873 - 1943)
Artist: Aida Garifullina, ORF Radio-Symphonieorchester Wien, Cornelius Meister
Title: Aida
Genre: Classical
Label: © Decca Music Group Limited
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 00:58:51
Recording: May 2016, ORF Große Sendesaal, Wien, Austria


Aida Garifullina’s debut album is one of the most eagerly awaited operatic events of the year! Since her triumphant win at Plácido Domingo’s Operalia 2013, the young star soprano from Kazan has become the hottest newcomer of the opera world – winning audiences over with stand-out performances at Vienna State Opera and Mariinsky Theatre, recitals at the Wigmore Hall and Vienna Musikverein and a US tour with Andrea Bocelli. Boosting a unique media profile Aida has made her feature film debut in Florence Foster Jenkins alongside Meryl Streep and Hugh Grant. She has appeared on German, Austrian, French and Russian TV multiple times, including televised performances at Vienna and Dresden Opera Balls, Rolando Villazon’s Stars von Morgen on ZDF, and the 2016 Bastille Day Concert in Paris in front of the Eiffel Tower, watched by millions. Aida has duetted with some of opera’s greatest stars, including Plácido Domingo, Andrea Bocelli, Juan Diego Florez, Dmitri Hvorostovsky and Rolando Villazón.
Her debut album showcases Aida at her very best – treasures of her beloved Russian opera are combined with two of her signature arias: Delibes’ ‘Bell Song’ (as featured in her stand out performance in Florence Foster Jenkins) and Gounod’s ‘Je veux vivre’, which she performed to rave reviews at the Vienna Opera Ball. The selection also includes the hauntingly beautiful folk song ‘Alluki’ sung in Aida’s native Tatar language, recorded here for the first time, and ‘Midnight in Moscow’, adding her vocal to a Balalaika orchestra recording from the early 1960s in this classic Russian tune.
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A Madame : Divertissement pour Adelaide - Olivier Baumont, Julien Chauvin (2017) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Simon Simon (c.1735–c.1802), Antoine Dauvergne (1713–1797), Jean-Philippe Rameau (1683–1764), Claude Balbastre (1724–1799), Jean-Pierre Guignon (1702–1774), Jean-Baptiste Cardonne (1730–après 1792)
Artist: Olivier Baumont, Julien Chauvin
Title: À Madame : Divertissement pour Adelaïde
Genre: Classical
Label: © Aparté Music
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:52:21
Recorded: 20 au 22 juillet 2015 au château de Versailles, dans les appartements de Mesdames, fi lles de Louis XV, sur les instruments des collections


At the court of Versailles, the daughters of Louis XV (referred to as ‘Mesdames’), and in particular Adélaïde, devoted themselves to a regular practice of music and, apparently, demonstrated talent. Numerous composers (Simon, Rameau, Balbastre, Cardonne, Guignon) played for them, worked with them, and dedicated several works to them. ‘À Madame’, Divertissement pour Adélaïde, is an anthology, subjectively put together, of compositions that resounded in their drawing room.
All the works on this programme are world premieres. These lovely, rare nuggets are mixed with a few unusual sonorities of marvellous carillons of the Marc-Antoine Le Nepveu clock (currently in the Cabinet de la Méridienne, located at the heart of the palace, on the first floor).
The recording, made in the Grand Cabinet de Madame Victoire at Versailles and featuring two precious historical instruments from the palace’s collections, faithfully reproduces the forgotten beauties of the Age of Enlightenment. An original invitation to travel back in time, as testimony to a musical afternoon at Versailles in the company of Mesdames.
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Himmelrand - Uranienborg Vokalensemble, Elisabeth Holte (2016) High-Fidelity FLAC Stereo 24bit/352,8kHz

Сomposer: Various
Artist: Uranienborg Vokalensemble, Elisabeth Holte
Title: Himmelrand (holistic mix)
Genre: Classical, Choral
Label: © 2L, Lindberg Lyd
Location: Uranienborg Church, Norway
Release date: August 2016
Recording date: October 2015
Quality: Digital eXtreme Definition FLAC Stereo 352,8kHz/24bit
Original source: DXD (352.8kHz/24bit)
Source: klicktrack.com
Duration: 01:00:36


The Church of Norway's new Hymnal came into use in 2013. Its goal is twofold: to hold on to traditions from earlier hymnals and to bring in something new, with texts in a modern idiom and with new melodies and new harmonic ideas. The texts of Nordic hymns belong to a shared Scandinavian heritage. They deal with sorrow and joy, faith and doubt, and express in words some of life's most painful events. There is nothing static about the hymn tradition; on the contrary, it is constantly evolving and continues to be interpreted by our contemporary composers, hymnographers and performers. This is precisely where the strength of the hymn tradition lies. An old hymn in a fresh musical setting loses none of its power; it simply undergoes a change – sometimes small, sometimes more substantial – to its character.
In this recording there are also three newly composed arrangements by the Norwegian composers Marianne Reidarsdatter Eriksen, Ola Gjeilo and Ørjan Matre. The hymns are sung by Uranienborg Vokalensemble, conducted by Elisabeth Holte, with Inger-Lise Ulsrud on the organ.
Immersive Audio is a sonic sculpture that you can literally move around and relate to spatially; surrounded by music you can move about in the aural space and choose angles, vantage points and positions. Dolby Atmos and the Auro-3D on this Pure Audio Blu-ray deliver a new standard in immersion, fully enveloping the audience in a cocoon of life-like audio. Recorded in discrete 11.1 at DXD resolution.
Whereas the regular stereo mix is individually optimized for each piece of music – the organ or the choir, or the combination of the two – this holistic mix provides a unified perspective for the complete album experience, placing you as a listener in the middle of the church. Special Edition: Holistic Mix mix all-digital-services PAGE
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