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Voces Intimae - Robert Schumann: Piano Trios Op. 63 & 110 (2011)

Posted By: tirexiss
Voces Intimae - Robert Schumann: Piano Trios Op. 63 & 110 (2011)

Voces Intimae - Robert Schumann: Piano Trios Op. 63 & 110 (2011)
XLD | FLAC (tracks+.cue, log) | Covers Included | 58:38 | 258 MB
Genre: Classical | Label: Challenge Classics | Catalog: CC72520

The historical-performance movement has extended its reach into much of the 19th century, but this is the world-premiere recording of Robert Schumann's trios on historical instruments. Actually only the piano dates from Schumann's lifetime, but it's especially the violin and cello that differ markedly from their contemporary counterparts with their gut strings. The result is a pair of Schumann chamber music performances of a quieter cast than the common run, yet also moody and full of strong affect and characterization.

Daniel Rowland & Borys Fedorov - The Messenger (2022)

Posted By: ciklon5
Daniel Rowland & Borys Fedorov - The Messenger (2022)

Daniel Rowland & Borys Fedorov - The Messenger (2022)
FLAC (tracks), Lossless / MP3 320 kbps | 1:21:58 | 187 / 302 Mb
Genre: Classical / Label: Challenge Classics

Alfred Schnittke and Arvo Pärt have both called the Ukrainian Valentyn Silvestrov "one of the greatest composers of our time”. He is also one of its true originals; though a leading figure in the former Soviet Union’s avant-garde in the 1960s, he subsequently came to realise that "the most important lesson of the avant-garde was to be free of all preconceived ideas – particularly those of the avant-garde. Over time, Silvestrov’s compositional practice evolved into what he would come to call his "metaphorical style" or "meta-music". The composer wishes his works to be seen as "codas" to musical history: "I do not write new music. My music is a response to and an echo of what already exists".

Ton Koopman - Five Great Suites for Harpsichord (London, 1720) (2022)

Posted By: ciklon5
Ton Koopman - Five Great Suites for Harpsichord (London, 1720) (2022)

Ton Koopman - Five Great Suites for Harpsichord (London, 1720) (2022)
FLAC (tracks), Lossless / MP3 320 kbps | 67:12 | 417 / 156 Mb
Genre: Classical / Label: Challenge Classics

George Frideric Handel made a name for himself as a brilliant organist and harpsichordist early on in his career. As a young man, he travelled from Germany to Italy in 1707. We do not know exactly how much or what Handel composed for harpsichord while in Italy, but we know more starting from the time he settled in England. Handel composed all sorts of works for harpsichord in England. In November 1720, he published the Suites de Pièces pour le Clavecin, now known as the "Eight Great Suites", his most important work for harpsichord.

Sergio Foresti, Abchordis Ensemble, Andrea Buccarella - L'aureo Serto (2022)

Posted By: ciklon5
Sergio Foresti, Abchordis Ensemble, Andrea Buccarella - L'aureo Serto (2022)

Sergio Foresti, Abchordis Ensemble, Andrea Buccarella - L'aureo Serto (2022)
FLAC (tracks), Lossless | 1:02:27 | 300 Mb
Genre: Classical / Label: Challenge Classics

Born in Naples in 1686 and deceased in the same city in 1768 Nicola Antonio Porpora is today considered as one of the most important composers of his generation, as well as a fundamental point of reference for the history of eighteenth-century music. That Porpora was an excellent writer for the human voice and an excellent singing teacher is a fact that seems to have never been forgotten over the centuries that separate us from his artistic and biographical exploit.

La Sfera Armoniosa - Hellendaal: Six Grand Concertos Op. 3 (2022)

Posted By: ciklon5
La Sfera Armoniosa - Hellendaal: Six Grand Concertos Op. 3 (2022)

La Sfera Armoniosa - Hellendaal: Six Grand Concertos Op. 3 (2022)
FLAC (tracks), Lossless | 79:19 | 420 Mb
Genre: Classical / Label: Challenge Classics

A live recording of the complete set of Concerti Grossi in the Handelian style by the foremost Dutch composer of the late Baroque. Following on from the great examples of and Handel's works, Hellendaal develops his own proper approach to the Concertos for string orchestra. This is the fourth recording by Dutch leading Baroque group La Sfera Armoniosa and its leader Mike Fentross for Challenge Classics.

Hannes Minnaar - 24 Preludes and Fugues, Op. 87 (2022)

Posted By: ciklon5
Hannes Minnaar - 24 Preludes and Fugues, Op. 87 (2022)

Hannes Minnaar - 24 Preludes and Fugues, Op. 87 (2022)
FLAC (tracks), Lossless | 2:30:07 | 390 Mb
Genre: Classical / Label: Challenge Classics

After Bach's Goldberg Variations, which won him worldwide honours (including a "Diapason d'Or"), Hannes Minnaar challenges and confronts what has become a "classic" of the 20th century repertoire: Shostakovich's Preludes and Fugues, composed in 1951. Here again, the qualities of his pianism, for which he is recognised as one of the leading musicians of our time, come under the spotlight: the diversity of touch and the suppleness between tension and tranquillity to characterise every Prelude and Fugue, the precision of tone, the lack of any affectation, a natural finesse in phrasing and articulation, and a familiarity with the score going hand in hand with a freshness that conjures a sense of improvisation. Here we encounter a new landmark in the crowded field of interpretations of this wonderful music.

Matteo Cicchitti, Musica Elegentia - Ricercare E Canzoni (2022)

Posted By: ciklon5
Matteo Cicchitti, Musica Elegentia - Ricercare E Canzoni (2022)

Matteo Cicchitti, Musica Elegentia - Ricercare E Canzoni (2022)
FLAC (tracks), Lossless | 51:13 | 164 Mb
Genre: Classical / Label: Challenge Classics

The absolute protagonist of this recording is the solo viola da gamba which guides us on a musical journey from 1553 (Tratado de glosas by Diego Ortiz) to 1698/99 (Ricercare per diversi toni by Angelo Michele Bertalotti and The Complete Violist by Benjamin Hely). In so doing, it puts us in touch with a repertoire that may not be universally known, but still deserves to be discovered. Above all, it must be disclosed because it gives tangible testimonies that partially rectify some deep-rooted convictions about the viola da gamba. In fact, contrary to what is often believed, after blossoming in the Renaissance, this instrument did not leave the stage ex abrupto in the mid-17th century, crushed beneath the increasing weight of the cello. Instead, it continued to enjoy its own literature, certainly less striking but not less relevant. We are referring not only to the better-documented compositions for consort, but also to the solo repertoire which frequently had didactic and artistic value - often characterized by chamber allure due to its reserved nature.

Ayako Ito - Sonata in B Flat Major D.960 | Drei Klavierstucke D.946 (2022)

Posted By: ciklon5
Ayako Ito - Sonata in B Flat Major D.960 | Drei Klavierstucke D.946 (2022)

Ayako Ito - Sonata in B Flat Major D.960 | Drei Klavierstucke D.946 (2022)
FLAC (tracks), Lossless | 1:08:39 | 214 Mb
Genre: Classical / Label: Challenge Classics

Ayako Ito: Nowadays, in concert halls, we generally see a single type of piano that normally has 88 keys and is normally black. Things were quite different in the Vienna of the 19th century: the piano had fewer keys, was decorated with wooden inlay and had no steel subframe. All this made them sound quite different.

Accademia Strumentale Italiana, Alberto Rasi - Jean-Philippe Rameau: Pièces De Clavecin En Concerts (2022)

Posted By: ciklon5
Accademia Strumentale Italiana, Alberto Rasi - Jean-Philippe Rameau: Pièces De Clavecin En Concerts (2022)

Accademia Strumentale Italiana, Alberto Rasi - Jean-Philippe Rameau: Pièces De Clavecin En Concerts (2022)
FLAC (tracks), Lossless | 1:04:08 | 393 Mb
Genre: Classical / Label: Challenge Classics

Following their recording of Bach's Kunst der Fuge, Alberto Rasi and his Accademia Strumentale Italiana take on a new challenge, recording the French masterpiece by Jean-Philippe Rameau.
Fifteen years after his Nouvelles Suites de Pieces de Clavecin, Rameau once again turns his attention to an instrumental work, for what will be the last time, inspired by the new potential for chamber music glimpsed in the use of the concertante keyboard. The 1741 collection is the only new work he produced between 1740 and 1744, before returning to the musical theatre to which he will dedicate the rest of his life.

Delta Piano Trio - Origin (2022)

Posted By: ciklon5
Delta Piano Trio - Origin (2022)

Delta Piano Trio - Origin (2022)
FLAC (tracks), Lossless | 59:10 | 205 Mb
Genre: Classical / Label: Challenge Classics

Quite often, a work becomes a journey of discovery towards a certain origin, translated into sound. Martin, Mansurian and Dvořák composed three such colourful works for piano trio – voyages of discovery taken here by the Delta Piano Trio through scintillating sound worlds. When an Irish-American benefactor asked him to write a work based on Irish folk songs, Martin grasped this as an exquisite opportunity to combine two of the quests occupying him at the time – music from distant cultures and rhythm. His Trio sur des mélodies populaires irlandaises (1925) is a complex, mature and multi-layered score.

Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Matthäus Passion, BWV 244 (2006)

Posted By: tirexiss
Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Matthäus Passion, BWV 244 (2006)

Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Matthäus Passion, BWV 244 (2006)
WEB | FLAC (tracks) - 755 MB | 02:33:11
Genre: Classical | Label: Challenge Classics

Ton Koopman has recorded Bach's St. Matthew Passion twice, and in many ways, he seems to have changed his mind about the work. His 1992 recording for Erato was, for an original instrument/historically informed performance, large in scale, broad in scope, dramatic in execution, and heavy in sound. This, his 2005 recording for Antonie Marchand, is likewise an original instrument/historically informed performance, but it is more intimate in scale, more concentrated in scope, and lighter in sound. But, even with these changes, Koopman's second Matthew Passion is not only still dramatic in execution, it is far more dramatic in execution, and thus in its way even more compelling. Musically, both performances are superb.

Ton Koopman, Amsterdam Baroque Orchestra - J.S. Latin Church Music Vol. 1 (2008)

Posted By: tirexiss
Ton Koopman, Amsterdam Baroque Orchestra - J.S. Latin Church Music Vol. 1 (2008)

Ton Koopman, Amsterdam Baroque Orchestra - J.S. Latin Church Music Vol. 1 (2008)
WEB | FLAC (tracks) - 765 MB | 02:20:36
Genre: Classical | Label: Challenge Classics

The present album collects a representative cross section of Bach’s Latin church music that complements his extensive and rich repertoire of cantatas for the Sundays and feast days of the ecclesiastical year, works which Ton Koopman has already recorded with great success for Challenge Classics. It covers a broad chronological range from Bach’s time as cantor and music director in Leipzig, and includes the Magnificat from 1723, the Sanctus from 1724, the four Kyrie-Gloria Masses from the later 1730s, and the Christmas Gloria from the mid 1740s.

Ton Koopman, Amsterdam Baroque Orchestra - Leopold Mozart: Peasant Wedding & Toy Symphony / W. A. Mozart: Symphony No. 1 (2017)

Posted By: tirexiss
Ton Koopman, Amsterdam Baroque Orchestra - Leopold Mozart: Peasant Wedding & Toy Symphony / W. A. Mozart: Symphony No. 1 (2017)

Ton Koopman, Amsterdam Baroque Orchestra - Leopold Mozart: Peasant Wedding & Toy Symphony / W. A. Mozart: Symphony No. 1 (2017)
WEB | FLAC (tracks) - 316 MB | 59:32
Genre: Classical | Label: Challenge Classics

This album attempt to show how Leopold Mozart could have influenced his well-known son Wolfgang Amadeus by placing the most famous works of Leopold Mozart against the early works of Wolfgang Amadeus. These works are performed by the Amsterdam Baroque Orchestra led by Ton Koopman, and Tini Mathot on pianoforte. One side note, while Die Bauernhochzeit and Cassatio ex ("toy symphony") are considered to be works by Leopold Mozart by the creators of this album, others argue the "toy symphony" must have been composed by Joseph Haydn or Edmund Angerer. There is little consensus within the musicological debate.

Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Cantatas for Marian Feasts (2008)

Posted By: tirexiss
Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Cantatas for Marian Feasts (2008)

Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Cantatas for Marian Feasts (2008)
WEB | FLAC (tracks) - 296 MB | 01:05:54
Genre: Classical | Label: Challenge Classics

You might not expect the figure of Mary to have called forth exceptional music from the Protestant Bach, but the Marian feast days survived the Lutheran paring of the Catholic calendar, and at least the first two of these three cantatas are imposing works. Best of all is the opening chorale of the Cantata No. 1, "Wie schön leuchtet der Morgenstern," BWV 1 (How brightly shines the morning star). This work, despite its numbering, was actually the last in the series of cyclical chorale cantatas Bach wrote in 1724 and 1725. The eight-minute opening chorale, a gloriously broad design for chorus, horns, strings, and a pair of oboes da caccia, bears affinities with the warm, generous chorales of the contemporaneous St. John Passion.

Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Solo Cantatas for Bass (2008)

Posted By: tirexiss
Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Solo Cantatas for Bass (2008)

Ton Koopman, Amsterdam Baroque Orchestra - J.S. Bach: Solo Cantatas for Bass (2008)
WEB | FLAC (tracks) - 307 MB | 01:03:03
Genre: Classical | Label: Challenge Classics

Four of J.S. Bach's more sorrowful cantatas featuring solo bass voice are featured here. The first two, Ich habe genug, BWV 82, and Ich will den Kreuzstab gerne tragen, BWV 56, have doleful, slow-opening arias balanced by consoling central arias, and both close with morbid sentiments – "Ich freue mich auf meinen Tod" (I Look Forward to my Death) in the former, and "Komm, o Tod" (Come, oh Death) in the latter. The third cantata, Der Friede sei mit dir, BWV 158, has a tender opening aria offset by a mournful closing chorale. Only the fourth cantata, Amore traditore, BWV 203, with its dance-like opening aria and bravura closing relieves the mood.