Youngest son of J.S. Bach, Johann Christian Bach rose to prominence in England during the early Classical period much the same as his father dominated the German Baroque. His writing was influenced by his father, of course, but also by the fashions being explored by Haydn. J.C. Bach also served as a bridge to Mozart, whose work and early writings were also influenced by the junior Bach. A total of 15, three-movement symphonies were published under Opp. 6, 9, and 18.
The box contains all of the Bach recordings made by Christopher Hogwoood and the Academy of Ancient Music for the L'Oiseau Lyre label on Decca. The whole set is compact and takes up little room on a storage shelf. The spine measures just two and a quarter inches thick. The box is a clam shell box. Each album is contained in a card sleeve. And the front of each sleeve has the same picture as the outer box. The back of each sleeve has the information about the album content. The recordings are on period instruments and the sound is excellent.
As the mysterious opening bars of the Kyrie gradually emerge into the light, we know that this recording of Mozart’s glorious Great Mass in C minor is a special one: the tempi perfect, the unfolding drama of the choral writing so carefully judged, and, above it all, the crystalline beauty of soloist Carolyn Sampson’s soprano, floating like a ministering angel. Masaaki Suzuki’s meticulous attention to detail, so rewarding in his remarkable Bach recordings, shines throughout this disc, the playing alert, the choir responsive, the soloists thrilling. And there is the bonus of an exhilarating Exsultate, Jubilate with Sampson on top form.
This generously programmed disc provides excellent value and outstanding performances of both major and lesser-known masterpieces of French choral music. The Fauré Requiem has been recorded many times, and several excellent versions of the original orchestration are available on disc. This one is among them, owing to John Eliot Gardiner's experience and perfectionist mastery of details overlooked by less-successful choral conductors. The real bonus here is the inclusion of the popular but very difficult Debussy and Ravel chansons, and the rarely heard but eminently worthy little part songs by Saint-Saëns. These pieces are a lesson in how to achieve maximum effect with the simplest materials.
The legendary label, Deutsche Harmonia Mundi, releases a special 50 CD boxset featuring star performers such as Hille Perl, Nikolaus Harnoncourt, Dorothee Oberlinger, Simone Kermes, and Nuria Rial and more!
This collection displays the sheer variety available from theDHM archive. A perfect collection ranging through medieval, Renaissance, baroque and Romantic music.
JS Bach and Vivaldi s' Magnificat's: desert island repertoire to illustrate the splendour of the orchestra Le Concert des Nations and choir of La Capella Reial de Catalunya. Jordi Savall offers a vivid and striking performance of these two masterpieces, recorded live at the Royal Chapel in Versailles in 2013. Each of them is introduced by a concerto by the same composer in the same tonality. The superlative performance of Pierre Hantaï in the Concerto BWV1052 is another jewel to the crown of this album. The bonus DVD features both Magnificats and Bach s Concerto.
Gramophone Classical Music Awards 2014 Choral category winner! Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. John Butt brings to Mozart the microscopic care and musicological acumen that have made his Bach and Handel recordings so thought-provoking and satisfying.
Blegen’s technically flawless and musically peerless rendition is a pure celebration of beautiful singing and of the wonder of Mozart’s dazzling masterpiece. The sound is as clear and immediate as if it had been recorded yesterday, and Pinchas Zukerman’s direction is exemplary. … Although Helmut Rilling’s tempos are sometimes too plodding (the opening Introitus, for example), he makes up for it elsewhere–in an emphatic Recordare and smoothly flowing Benedictus. And while the chorus has a somewhat saturated, conglomerate sound, its impact is nevertheless substantial, not only in the fullest, loudest sections, but also in the quieter passages, which come off as more evenly balanced. Soloists, on the other hand, are absolutely clear if perhaps just a bit too up-front, and the orchestra, which fares well overall, gets swallowed in the mix when the entire chorus is singing. Rilling requires keen articulation from his players and singers, which although normally a good thing sometimes (as in the opening of the Confutatis) seems overly deliberate and stifles the music’s natural momentum. However, if you’re looking for a good, basic reading of the traditional edition of the Requiem–and an unrivalled performance of the Exsultate, jubilate –you won’t go wrong with this decently remastered release. (David Vernier)