Sti Chora Ton Asmaton [Import]

1. Sto Livyko

2. Sti Skia Tou Oneirou

3. Me Tis Kardias Sou To Metro

4. Poios Xerei

5. To Tragoudi Ston Aera

6. Pikro Tsigaro

7. Kozani

8. Paei Kairos

9. Anoixi

10. Ta Magia Tis Anatolis

11. Kalimera Adeia Mou Zoi

12. Dyo Zoes Gia Sena Dino

13. Alepou

14. Vals

Tracks:

Pieta, Signore (Aria Di Chiesa)
Ave Maria, D.839 (Inno Alla Vergine)
Serse - Ombra Mai Fu (Largo)
Ave Maria
(OrchMottl): L'Ange
Requiem - Ingemisco
Adeste Fideles
Ave Maria
Ave Verum Corpus, KV 618
Petite Masse Solennelle - Domine Deus
Agnus Dei
Panis Angelicus
Granada
Vaghissima Sembianza
Ti Voglio Tante Bene
Mon Ciel, c'est Toi
Il Canto Della Rinuncia
I Love Thee
Because
Carretiere
Tu Lo Sai
Pourquoi Fermer Ton Coeur?

Tracks:

Mammina Mia
Te Quiero
Core 'ngrato
Senza Nisciuno
Adda Turna
'O Paese d' 'o Sole
Pecche?
Fenesta Che Lucive
Piscatore 'e Pusilleco
Tu, Ca nun chiagne!!
I' te Vurria Vasa
Tora a Surriento
Dicitencello Vuje
Gaupparia
Silenzio Cantatore
Voce 'e Notte!
'O Maranariello
Passione
'O Sole Mio
'O Surdato 'Nnammerato
'AVucchella
Torna!
Addio, Mia Bella Napoli

Customer Reviews:

An awesome display of vocal fireworks.......2004-05-21

If it's a tenor voice you want to hear look no further. Franco Corelli is undisputedly one of (if not the) greatest tenors of the 20th century. His voice is capable of unbelievable power and exquisite pianissimo's. The broad range of religious arias, Italian songs and arias is enough to keep anyone's attention and have them panting for more. I recommend this wholeheartedly. Enjoy...

A Great singer, BUT..........2002-11-05

First of all: in my opinion I think it would be hard to find any other tenor with more thrilling sound than Franco Corellis.
But what goes wrong when it comes to his studiorecordings? It sounds too often that he wants to surpass oneself, like he wants to give us even more broadly tones all the way up( of cource his high c in "Granada" is good and the ending of "sole mio" is unbelievable) and it only will go at the expense of his overtones, because he uses too much muscles and is too heavy. The result of it: you get tired listening to him. And for Heavens sake: Whats the use for him to sound more manful?!!!!
Of course some songs here are good, but maybe only 10 out of 44, and thats not good enough for such a GREAT singer.
At last, why does he sing "off the voice" in Bach/Gounods Ave Maria? It`s so unnecessary, beacause he really had breath enough!
In my conclusion I will not recommend this recording, Because it`s such a disappointment.

Review..........2002-01-18

I own this C.D. and I have listened to it many, many times. Allthough I understand the feelings of the reviewer saying the songs are sang by the same fiery tone, I don't understand them fully. I would come to this conclusion if I would have listened to this the songs on a (too) soft volume.

If you really listen to it, not as backround music , but so you can hear it well and you aren't doing anything else, you will notice with how much passion a lot of the songs are sang by Corelli. Core 'ngrato is filled with passion, and I think Corelli is unsurpassed with that song. He didn't have lack of musicality either... Perhaps some more lessons would have done him good, but almost everyone could use some more. I even say that listening to some of Corelli's recordings is like having a singing lesson.

I would really recommend this C.D. if you are interested in his voice. the Core 'ngrato, Ave Maria and O sole Mio are great for instance. If you want to try full opera recordings try Il trovatore, Norma or Andrea Chenier

Unequalled Neopolitan Songs.......2001-05-16

Franco Corelli, who sang from 1951 to 1975, was the greatest tenore di forza of the postwar era. A powerful and exciting singer, never a subtle, elegant, or refined one, he had his detractors (who called him crude, vulgar, self-indulgent, and who lambasted his execrable French), but there can be no argument about the quality of his voice, a big, vibrant tenor with a thrilling timbre (often described as rich, dark, or baritonal) and a brilliant, secure top that must have been the envy and despair of other tenors. A nervous performer repeatedly subject to pre-performance jitters and anxiety attacks (a wag once said of him that Corelli could always think of more reasons not to sing than to sing), once onstage he was a generous singer who gave fully of himself and, like Caruso, poured out his magnificent voice unstintingly, never holding back.

The voice itself was one of the glories of the generously-endowed operatic scene of the Fifties and Sixties, and one of greatest tenor voices of the century. Herbert von Karajan said of Corelli, "A voice of heroic power, yet with great beauty of tone; darkly sensuous, mysteriously melancholic . . . but above all, a voice of thunder and lightning, fire and blood." Harold C. Schonberg, senior music of the New York Times, reviewing Corelli's Metropolitan debut in 1961, noted that his voice "has something of an exciting animal drive about it, and when Mr. Corelli lets loose, he can dominate an ensemble," and later described his voice as "a force of nature, an act of God, the vocal equivalent of an earthquake, volcano or hurricane." The distinguished musicologist Paul Henry Lang writing in the New York Herald-Tribune called Corelli "a latter-day Caruso." Alan Rich of the New York Herald-Tribune wrote of him, "There is no tenor in modern times, Italian or otherwise, whose voice rings out with greater vibrancy, whose every tone carries with it emotion at white heat. The sounds he makes, seemingly without effort, are dazzlingly bright, urgent, and communicative." Since Corelli's retirement we haven't heard anything remotely like him, and those of us who know his voice (and Bjorling's) can perhaps be pardoned for finding the "three tenors" so popular today somewhat anemic in comparison.

I have been an admirer of Corelli, a collector of his recordings, and a follower of his career since the late 1950s (when he had not yet sung in America, and his only recordings were Italian Cetra imports). I have just about everything he recorded. There is no tenor voice before the public today equal to this one, and I urge you not to miss it.

But the two-CD set under review here is not the place to start. If you are new to Corelli, I recommend the EMI single CD "Heroes" or the EMI two-CD set "Franco Corelli," with their heavy doses of his typical operatic fare, as ideal introductions to this rewarding singer. Corelli was above all a creature of the opera house, in his element singing Puccini, Verdi, and verismo Italian opera. The set under review here, misleadingly entitled "Songs and Arias," contains in fact only one aria, a very atypical one: Handel's "Ombra mai fu" from "Serse" (made famous by a Caruso recording). Indeed, some of the composers represented here-Handel, Schubert, Bach, Mozart, Rossini-are in fact stylistically very far from the kind of singing one associates with Corelli. A couple of the songs, "Because" and Grieg's "I Love Thee," are mildly comical in Corelli's overpoweringly Italianate and operatic renditions. But this is a set well worth owning for anyone who knows and likes Corelli. There is a first-rate Ingemisco from the Verdi Requiem, the traditional religious songs are all sung with seriousness and devotion, and most important, the bulk of the set comprises Neopolitan songs, which Corelli sings superbly. (I think he sings them better than anyone.) Of these my own favorite is "Core n'grato," a powerful song, and Corelli's recording of it is unequalled: there is a prodigious outpouring of bronzen tone here that must be heard to be believed. It's true that some of the orchestral arrangements are corny and dated, but with gloriously gutsy, full-blooded singing like this, from one of the greatest tenor voices of the century in its prime (all the recordings here are from 1961 to 1965), I can overlook the arrangements. These two CDs are very generously filled (22 songs,77 minutes for one and 23 songs, 78 minutes for the other), and include, I believe, everything Corelli recorded for EMI that wasn't opera.

If you like Corelli, if you like Neopolitan songs, you'll want this. But it's not the place to start in appreciating Franco Corelli.

Not a Corelli fan and even less now after hearing these CDs........2001-01-17

Corelli's voice was quite large,but I'm not very sure about it's beauty.He is much better in operas,but on these discs,I find his singing annoying.To the reviewer who wrote the Major Disappointment review and included Di Stefano in those not having a beautiful voice,I'd have to say that you obviously don't know what you're talking about.

Tracks:

I - Erste Kantate - For The First Day Of The Nativity: 'Jauchzet, frohlocket, auf, preiset die Tage'
I - Erste Kantate - For The First Day Of The Nativity: 'Es begab sich aber zu der Zeit'
I - Erste Kantate - For The First Day Of The Nativity: 'Nun wird mein liebster Brautigam'
I - Erste Kantate - For The First Day Of The Nativity: 'Bereite dich, Zion, mit zartlichen Trieben'
I - Erste Kantate - For The First Day Of The Nativity: 'Wie soll ich dich empfangen'
I - Erste Kantate - For The First Day Of The Nativity: 'Und sie gebahr ihren ersten Sohn'
I - Erste Kantate - For The First Day Of The Nativity: 'Er ist auf Erden kommen arm'
I - Erste Kantate - For The First Day Of The Nativity: 'Grosser Herr, o starker Koening'
I - Erste Kantate - For The First Day Of The Nativity: 'Ach, mein herzliebes Jesulein!'
II - Zweite Kantate - For The Second Day Of The Nativity: Sinfonia
II - Zweite Kantate - For The Second Day Of The Nativity: 'Und es waren Hirten in derselben Gegend'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Brich an, o schoenes Morgenlicht'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Und der Engel sprach zu ihnen'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Was Gott dem Abraham verheissen'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Frohe Hirten, eilt, ach eilet'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Und das habt zum Zeichen'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Schaut hin, dort liegt im finstern Stall'
II - Zweite Kantate - For The Second Day Of The Nativity: 'So geht denn hin'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Schlafe, mein Liebster'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Und asbald war da bei dem Engel'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Ehre sei Gott in der Hoehe'
II - Zweite Kantate - For The Second Day Of The Nativity: 'So recht, ihr Engel, jauchzt und singet'
II - Zweite Kantate - For The Second Day Of The Nativity: 'Wir singen dir in deinem Heer'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Herrscher des Himmels, erhoere das Lallen'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Und da die Engel von ihnen gen Himmel Fuhren'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Lasset uns nun gehen gen Bethlehem'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Er hat sein Volk getroest't'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Dies hat er alles uns getan'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Herrr, dein Mitleid, dein Erbarmen'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Und sie kamen eilend'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Schliesse, mein Herze'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Ja, ja, mein Herz'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Ich will dich mit Fleiss bewahren'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Und die Hirten kehrten wieder um'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Seid froh, dieweil'
III - Dritte Kantate - For The Third Day Of The Nativity: 'Herrscher des Himmels, erhoere das Lallen'

Tracks:

Weihnacts-Oratorium: IV - Vierte Kantate - For The Feast Of The Circumcision Of Christ: Fallt mit Danken, fallt mit Loben
Weihnacts-Oratorium: IV - Vierte Kantate - For The Feast Of The Circumcision Of Christ: Recitativo: Und da acht Tage um waren
Weihnacts-Oratorium: IV - Vierte Kantate - For The Feast Of The Circumcision Of Christ: Recitativo: Immanuel, o suesses Wort!
Weihnacts-Oratorium: IV - Vierte Kantate - For The Feast Of The Circumcision Of Christ: Aria: Flosst, mein Heiland, flosst dein Namen
Weihnacts-Oratorium: IV - Vierte Kantate - For The Feast Of The Circumcision Of Christ: Recitativo: Wohlan, dein Name soll allein
Weihnacts-Oratorium: IV - Vierte Kantate - For The Feast Of The Circumcision Of Christ: Aria: Ich will nur dir zu Ehren leben
Weihnacts-Oratorium: IV - Vierte Kantate - For The Feast Of The Circumcision Of Christ: Jesus richte mein Beginnen
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Ehre sei dir, Gott, gesungen
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Recitativo: Da Jesus geboren war zu Bethlehem
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Recitativo: Wo ist der neugeborne Koenig der Juden?
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Dein Glanz all' Finsternis verzehrt
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Aria: Erleucht auch meine finstre Sinnen
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Recitativo: Da das der Konig Herodes horte
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Recitativo accompagnato: Warum wollt ihr erschrekken?
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Recitativo: Und liess versammeln alle Hohenpriester
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Aria Terzetto: Ach, wann wird die Zeit erscheinen
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Recitativo: Mein Liebster herrschet schon
Weihnacts-Oratorium: V - Funfte Kantate - For The Sunday After The Circumcision: Zwar ist solche Herzensstube
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Herr, wenn die stolzen Feinde schnauben
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Recitativo: Da berief Herodes die Weisen heimlich
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Recitativo: Du Falscher, suche nur den Herrn zu fallen
VI - Sechste Kantate - For Epiphany: Aria: Nur ein Wink von seinen Handen
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Recitativo: Als sie nun den Konig gehoret hatten
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Ich steh' an deiner Krippen hier
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Recitativo: Und Gott befahl ihnen im Traum
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Recitativo: So geht! Genug, mein Schatz
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Aria: Nun mogt ihr stolzen Feinde schrecken
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Recitativo: Wass will der Holle Schrecken nun
Weihnacts-Oratorium: VI - Sechste Kantate - For Epiphany: Nun seid ihr wohl gerochen

Amazon.com

When this recording was released in 1996, the words most often used to describe it were "luminous" and "radiant." The adjectives fit: the choir and orchestra have a glowing sound that makes the chorales in particular wondrous to hear. The most extroverted choruses and arias lack the extra measure of vigorous excitement of John Eliot Gardiner's performance, but Koopman's tender approach is beguiling. What's more, his male soloists are marvelous: bass Klaus Mertens is sensitive and energetic in equal measure; Christoph Prégardien manages the fearsome tenor arias easily and his singing of the Evangelist's recitatives strikes a fine balance between vocalism and narration. Lisa Larsson's soprano and Elisabeth von Magnus's contralto have a purity suggestive of the teenage boys for whom Bach wrote (though one sometimes hears a youthful fragility in the voices as well). Pointing out tiny flaws in performances as admirable as this one and those by Gardiner and Masaaki Suzuki can seem like quibbling, but all three are so good that those tiny flaws might be all one can use to choose between them. --Matthew Westphal

Average customer rating:

J.S. Bach: Cantatas, Vol. 15
Ton Koopman , Deborah York , Sandrine Piau , Christoph Pregardien , Paul Agnew , Klaus Mertens , and Amsterdam Baroque Orchestra & Choir
Manufacturer: Challenge Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

J.S. Bach: Cantatas, Vol. 16
J.S. Bach: Cantatas, Vol. 17
Bach: Complete Cantatas, Vol. 14
J.S. Bach: Cantatas Vol. 18
J.S. Bach: Cantatas Vol. 19

ASIN: B0001E3BHY
Release Date: 2004-06-08

Tracks:

Chorus 'Unser Mund Sei Voll Lachens'
Aria: 'Ihr Gedanken Und Ihr Sinnen'
Recitative: 'Dir, Herr, Ist Niemand Gleich'
Aria: 'Ach Herr, Was Ist Ein Menschenkind'
Aria: 'Ehre Sei Gott In Der Hohe'
Aria: 'Wacht Auf, Ihr Adern Und Ihr Glieder'
Chorale: 'Alleluja! Gelobt Sei Gott'
Sinfonia
Chorus: 'Wir Mussen Durch Viel Trubsal In Das Reich Gottes Eingehen'
Aria: 'Ich Will Nach Dem Himmel Zu'
Recitative: 'Ach! Wer Doch Schon Im Himmel War'
Aria: 'Ich Sae Meine Zahren'
Recitative: 'Ich Bin Bereit'
Aria: 'Wie Will Ich Mich Freuen, Wie Will Ich Mich Laben'
Choral: 'Freu Dich Sehr, O Meine Seele'
Aria: 'Gottlob! Nun Geht Das Jahr Zu Ende'
Chorus: 'Nun Lob, Mein Seel, Den Herren'
Recitative - Arioso: 'So Spricht Der Herr'
Recitative: 'Gott Ist Ein Quell, Wo Lauter Gute Fleusst'
Aria: 'Gott Hat Uns Im Heurigen Jahr Gesegnet'
Chorale: 'All Solch Dein Gut Wir Preisen'

Tracks:

Aria: 'Tue Rechnung! Donnerwort'
Recitative: 'Es Ist Nur Fremdes Gut'
Aria: 'Kapital Und Interessen'
Recitative: 'Jedoch, Erschrocknes Herz'
Aria: 'Herz, Zerreiss Des Mammons Kette'
Chorale: 'Stark Mich Mit Deinem Freudengeist'
Recitative: 'Er Rufet Seinen Schafen Mit Namen'
Aria: 'Komm, Leite Mich'
Recitative: 'Wo Find Ich Dich?'
Aria: 'Es Dunket Mich, Ich Seh Dich Kommen'
Recitative: 'Sie Vernahmen Aber Nicht'
Aria: 'Offnet Euch, Ihr Beiden Ohren'
Chorale: 'Nun, Werter Geist, Ich Folg Dir'
Aria: 'Bisher Habt Ihr Nichts Gebeten In Meinem Namen'
Recitative: 'O Wort, Das Geist Und Seel Erschreckt'
Aria: 'Vergib, O Vater, Unsre Schuld'
Recitative: 'Wenn Unsre Schuld Bis An Den Himmel Steigt'
Aria: 'Bisher Habt Ihr Nichts Gebeten In Meinem Namen'
Aria: 'Ich Will Leiden, Ich Will Schweigen'
Choral: 'Muss Ich Sein Betrubet?'
Chorus: 'Ach Gott, Wie Manches Herzeleid'
Choral And Recitative: 'Wie Schwerlich Lasst Sich Fleisch Und Blut'
Aria: 'Empfind Ich Hollenangst Und Pein'
Recitative: 'Es Mag Mir Leib Und Geist Verschmachten'
Aria: 'Wenn Sorgen Auf Mich Dringen'
Chorale: 'Erhalt Mein Herz Im Glauben Rein'

Tracks:

Chorus: 'Es Ist Ein Trotzig Und Verzagt Ding'
Recitative: 'Ich Meine, Recht Verzagt'
Aria: 'Dein Sonst Hell Beliebter Schein'
Recitative: 'So Wundre Dich, O Meister, Nicht'
Aria: 'Ermuntert Euch, Furchtsam Und Schuchterne Sinne'
Choral: 'Auf Dass Wir Also Allzugleich'
Aria: 'Es Ist Euch Gut, Dass Ich Hingehe'
Aria: 'Mich Kann Kein Zweifel Storen'
Recitative (Tenor): 'Dein Geist Wird Mich Also Regieren'
Choral: 'Wenn Aber Jener, Der Geist Der Wahrheit, Kommen Wird'
Aria: 'Was Mein Herz Von Dir Begehrt'
Chorale: 'Dein Geist, Den Gott Vom Himmel Gibt'
Aria: 'Ich Bin Ein Guter Hirt'
Aria: 'Jesus Ist Ein Guter Hirt'
Chorale: 'Der Herr Ist Mein Getreuer Hirt'
Recitative: 'Wenn Die Mietlinge Schlafen'
Aria: 'Seht, Was Die Liebe Tut'
Chorale: 'Ist Gott Mein Schutz Und Treuer Hirt'
Chorus: 'Auf Christi Himmelfahrt Allein'
Recitative: 'Ich Bin Bereit, Komm, Hole Mich'
Aria: 'Aur, Auf, Mit Hellem Schall'
Aria: 'Sein Allmacht Zu Ergrunden'
Chorale: 'Alsdenn So Wirst Du Mich'
Recitative: 'Sie Werden Euch In Den Bann Tun'
Aria: 'Ich Furchte Nicht Des Todes Schrecken'
Recitative: 'Ich Bin Bereit, Mein Blut Und Armes Leben'
Aria: 'Hochster Troster, Heilger Geist'
Chorale: 'Du Bist Ein Geist, Der Lehret'

Album Description

The acclaimed series of complete Bach cantatas from Ton Koopman and The Amsterdam Baroque, originally begun on the now-defunct Erato label, has been rescued by Challenge Classics. The cantatas in this 15th volume belong mostly to the transitional period between the second and the third yearly cycle of cantatas, i.e. the spring of 1725. This series was awarded the Deutsche Schallplattenpreis "Echo Klassik" in 1997.

Wolfgang Amadeus Mozart: Kronungsmesse (Coronation Mass)

Average customer rating:

Good---But Not the Best
Great music, great performances

Wolfgang Amadeus Mozart: Kronungsmesse (Coronation Mass)

Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Mozart: Coronation Mass K317; Vespers K339 /Kirkby * Robbin * Ainsley * George * Winchester Cathedral Choir * AAM * Hogwood

ASIN: B000005E3O
Release Date: 1995-11-07

Tracks:

Kronungsmesse KV 317: Kyrie
Kronungsmesse KV 317: Gloria
Kronungsmesse KV 317: Credo
Kronungsmesse KV 317: Sanctus
Kronungsmesse KV 317: Benedictus
Kronungsmesse KV 317: Agnus Dei
Ave verum Corpus KV 618
Versperae Solennes De Confessore KV 339: Dixit Dominus
Versperae Solennes De Confessore KV 339: Confitebor
Versperae Solennes De Confessore KV 339: Beatus vir
Versperae Solennes De Confessore KV 339: Laudate Pueri
Versperae Solennes De Confessore KV 339: Laudate Dominum
Versperae Solennes De Confessore KV 339: Magnificat
Exsultate, Jubilate KV165:: Allegro
Exsultate, Jubilate KV165:: Recitativo
Exsultate, Jubilate KV165:: Andante
Exsultate, Jubilate KV165:: Allegro (Alleluja)

Customer Reviews:

Good---But Not the Best.......2007-02-28

This Mass is one of my very favorite Mozart compositions. Despite the fact that he was unhappy in 1779 and desperate to leave Salzburg, K 317 is no doubt one his most glorious works. At times, the music is so exuberant and rich it feels more like an opera than a sacred mass! But I have mixed feelings about this particular recording of this Mozart masterpiece. There are parts of the Mass that are very well done, such as the Agnus Dei, but there are many sections that feel rushed and quite forced to me. I also feel the accoustical balance between the orchestra and the choir is sometimes uneven. Perhaps the best track on the disc is the eerily beautiful Ave Verum Corpus. Altogether a very respectable recording, but not the best version of the Coronation mass that I've heard.

Great music, great performances.......2001-01-12

This is a very good recording of some music that should be in eveyone's collection.

The Coronation Mass and Solemn Vespers receive lively, idiomatic and tasteful performances from Koopman and his band.

The soloists are fine.

Ave verum corpus is a gem, beautifully performed here.

The Exsultate is done very well by soprano Barbara Schlick.

Tracks:

Easter Oratorio BWV 249: Sinfonia
Easter Oratorio BWV 249: Adagio
Easter Oratorio BWV 249: Chorus: 'Kommt, eilet und laufet'
Easter Oratorio BWV 249: Recitativo: 'O kalter Manner Sinn!'
Easter Oratorio BWV 249: Aria: 'Seele, deine Spezereien'
Easter Oratorio BWV 249: Recitativo: 'Hier ist die Gruft'
Easter Oratorio BWV 249: Aria: 'Sanfte soll mein Todeskummer'
Easter Oratorio BWV 249: Recitativo: 'Indessen seufzen wir'
Easter Oratorio BWV 249: Aria: 'Saget, saget mir geschwinde'
Easter Oratorio BWV 249: Recitativo: 'Wir sind erfreut'
Easter Oratorio BWV 249: Chorus: 'Preis und Dank'
Magnificat BWV 243: Chorus: 'Magnificat anima mea Dominum'
Magnificat BWV 243: Aria: 'Et exsultavit spiritus meus in Deo'
Magnificat BWV 243: Aria: 'Quia respexit humilitatem'
Magnificat BWV 243: Chorus: 'Omnes generationes'
Magnificat BWV 243: Aria: Quia fecit mihi magna qui potens est'
Magnificat BWV 243: Aria: 'Et misericordia'
Magnificat BWV 243: Chorus: 'Fecit potentiam in brachio suo'
Magnificat BWV 243: Aria: 'Deposuit potentes de sede'
Magnificat BWV 243: Aria: 'Esurientes implevit bonis'
Magnificat BWV 243: Chorus: 'Suscepit Israel puerum suum'
Magnificat BWV 243: Chorus: 'Sicut locutus est ad patres nostros'
Magnificat BWV 243: Chorus: 'Gloria Patri, gloria Filio'

Amazon.com essential recording

Bach's celebration of Easter is a mostly joyous one, opening with a three-movement sinfonia, richly orchestrated, and complete with trumpets and drums: the third movement includes the chorus inviting listeners to rejoice and hasten to the tomb of Jesus, "For our Savior has awakened." There follow recitatives and arias for Mary Magdalen, Mary, the mother of James, Peter, and John. Each character goes through grief to love and gratefulness, and Bach's endlessly inventive scoring, melodic lines, and changing orchestral textures take us on a rich, 40-minute musical journey to peace. Only a too-long soprano aria tends to wear. The Oratorio is coupled on this CD with Bach's justly famous 12-movement setting (in 25 minutes) of the Magnificat text from Luke. Also elaborately scored, with the vocal choices, tempos, and mood changing every couple of minutes, this is one of the great works of Western liturgical music (Gardiner's masterly reading of this work is a must-have). The performances, on Baroque instruments and with crisp, clean, unsentimental Baroque style, are exemplary. Rejoice! --Robert Levine

Customer Reviews:

What a fun performance and glorious sound!.......2002-07-08

This recording is full of energy and joy. The period instruments sound so wonderful and lush. It was recorded in just the right environment and sounds superb.

The approach to both pieces is spot on and you will want to listen to this recording many times just for the sheer fun of it.

The provided booklet provides some helpful notes on the background of the pieces - when and why Bach wrote them. And also the libretto (which is ALWAYS nice to have). I like to have all that information available and knowing when and why can deepen our appreciation of the music. However, the first and most important thing is to hear the music.

This recording is among the best of these works. So, you would do well to begin here!

Powerful Kantor's Easter & Magnificat Efforts.......2002-05-09

1723-25 were powerful, productive years for Bach in Leipzig as Kantor. In 1723-24 Christmas, comes this Magnificat. Especially attractive to me is track 14, "Aria" "Quia respexit humilitatem" which is a powerful soprano and oboe movement aided by the full chorus piping in "To all Generations!"

The Easter Oratorio was a gift for an honorarium by Duke Christian composed around four aria recitatives for Mary Magdelene, Mary, John and Peter. The opening Sinfonia is breathtaking with its gracious oboe work by Marcel Ponseele.
Building to the heights of the finale, "Praise and Thanks" ends in triumphant declaration by full choir "The Lion of Judah approaches in triumph!"

Strong vocalist performances by soprano Lisa Larsson and bass Klaus Mertens. Amsterdam Baroque Orchestra and Chorus directed by Ton Koopman is well done with passion and pace.

With translation in French, German and English, this is excellent performance of important Sacred Large-Scale Composition for soloists, choir and orchestra.

What an up!.......2000-04-13

Ok, I don't speak German. It doesn't matter.The opening bars of this CD are so pleasing, excited, joyous, thrilled they break the language barrier. You know easter is here. Then they turn to the Magnificat. A wonderful rendition.This is the version that will be my standard.

Bach - Johannes-Passion / Schlick · Wessel · de Mey · Türk · Mertens · Kooy · ABO · Koopman

Average customer rating:

Jesus is poignant and pugnacious: he knows what is coming
Saint John is a Cry for Peace
A Bach lover
Koopman, a genius
Looking for 'the best performance'? Don't miss Koopman's!

Bach - Johannes-Passion / Schlick · Wessel · de Mey · Türk · Mertens · Kooy · ABO · Koopman
Netherlands Bach Society Choir , Klaus Mertens , Kai Wessel , Gerd Türk , and Peter Kooy
Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Passions | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Bach - Easter Oratorio · Magnificat / Koopman
Bach: Matthäus Passion

ASIN: B000005EBW
Release Date: 1994-03-08

Tracks:

Johannes - Passion BWV 245: Chor: Herr, unser Herrscher
Johannes - Passion BWV 245: Rezitativ: Jesus ging mit seinen Jungern (Evangelist, Jesus)
Johannes - Passion BWV 245: Chor: Jesum von Nazareth
Johannes - Passion BWV 245: Rezitativ: Jesus spricht zu ihnen: Ich bin's (Evangelist, Jesus)
Johannes - Passion BWV 245: Chor: Jesum von Nazareth
Johannes - Passion BWV 245: Rezitativ: Jesus antwortete: Ich hab's euch gesagt (Evangelist, Jesus)
Johannes - Passion BWV 245: Choral: O grobe Lieb', o Lieb' ohn' alle MaBe
Johannes - Passion BWV 245: rec:Auf dadas Wort erfw
Johannes - Passion BWV 245: koraal:Dein Will' gescheh', Herr Gott
Johannes - Passion BWV 245: rec: Die Schar aber und der Auberhauptmann
Johannes - Passion BWV 245: aria: Von den Stricken meiner S
Johannes - Passion BWV 245: rec: Simon Petrus aber folgete Jesu nach
Johannes - Passion BWV 245: aria: Ich folge dir gleichfalls mit freudigen Schritten
Johannes - Passion BWV 245: rec: Derselbiger Jwar dem Hohenpriester bekannt
Johannes - Passion BWV 245: koraal: Wer hat dich so geschlagen, mein Heil
Johannes - Passion BWV 245: rec: Und Hannas sandte ihn gebunden
Johannes - Passion BWV 245: koor: Bist du nicht seiner Jeiner?
Johannes - Passion BWV 245: rec: Er leugnete aber und sprach
Johannes - Passion BWV 245: aria: Ach, mein sinn, wo willt du endlich hin
Johannes - Passion BWV 245: koraal: Petrus der nicht denk zur
Johannes - Passion BWV 245: koraal: Christus der uns selig macht
Johannes - Passion BWV 245: rec: Da fen sie Jesum vor Kaiphas
Johannes - Passion BWV 245: koor: W dieser nicht ein eltr
Johannes - Passion BWV 245: rec: Da sprach Pilatus zu ihnen: so nehmet ihr ihn hin
Johannes - Passion BWV 245: koor: Wir d niemand t
Johannes - Passion BWV 245: rec: Auf daerfwas Wort Jesu
Johannes - Passion BWV 245: koraal: Ach gror K, grozu allen Zeiten
Johannes - Passion BWV 245: rec: Da sprach Pilatus zu ihm: So bist du dennoch
Johannes - Passion BWV 245: koor: Nicht diesen, diesen nicht
Johannes - Passion BWV 245: rec: Barrabas aber war ein Mr
Johannes - Passion BWV 245: arioso: Betrachte, meine Seel', mit stlichem Vergn
Johannes - Passion BWV 245: aria: Erw, wie sein blutgefter R
Johannes - Passion BWV 245: rec: Und die Kriegsknechte flochten eine Krone
Johannes - Passion BWV 245: koor: Sei gegrlieber Judenk
Johannes - Passion BWV 245: rez: Und gaben ihn Backenstreiche
Johannes - Passion BWV 245: koor: Kreuzige
Johannes - Passion BWV 245: rec: Pilatus sprach zu ihnen: nehmet ihr ihn hin
Johannes - Passion BWV 245: koor: Wir haben ein Gesetz, und nach dem Gesetz
Johannes - Passion BWV 245: rec: Da Pilatus das Wort he, ft er sich
Johannes - Passion BWV 245: koraal: Durch dein Gefnis, gottes Sohn

Tracks:

Johannes - Passion BWV 245: Die Juden aber schrien
Johannes - Passion BWV 245: Lasset du diesen los, so bist du des kaisers Freund nicht
Johannes - Passion BWV 245: Da Pilatus das Wort hortete, fuhrete er Jesum
Johannes - Passion BWV 245: Weg mit dem, kreugzige ihn
Johannes - Passion BWV 245: Spricht Pilatus zu ihnen: soll ich euren Kvnig
Johannes - Passion BWV 245: Wir haben keinen Kvnig
Johannes - Passion BWV 245: Da |berantwortete er ihn da_ er gekreuziget w|rde
Johannes - Passion BWV 245: Eilt, ihr angefocht'nen Seelen
Johannes - Passion BWV 245: Allda kreuzigten sie ihn
Johannes - Passion BWV 245: Schreibe nicht: der Juden Kvnig
Johannes - Passion BWV 245: Pilatus antwortet: Was ich geschrieben habe
Johannes - Passion BWV 245: In meines Herzens Grunde, dein Nam'
Johannes - Passion BWV 245: Die Kriegsknechte aber, da sie Jesum gekreuziget
Johannes - Passion BWV 245: Lasset uns den nicht zerteilen
Johannes - Passion BWV 245: Auf da_ erf|llet w|rde die Schrift
Johannes - Passion BWV 245: Er nahm alles wohl in acht
Johannes - Passion BWV 245: Und von Stund' an nahm sie der J|nger zu sich
Johannes - Passion BWV 245: Es ist vollbracht, o Trost - Der Held aus Juda siegt
Johannes - Passion BWV 245: Und neigte das Haupt und verschied
Johannes - Passion BWV 245: Mein teurer Heiland, la_ dich fragen
Johannes - Passion BWV 245: Und siehe da, der Vorhang in Tempel zerri_
Johannes - Passion BWV 245: Mein Herz! in dem die ganze Welt
Johannes - Passion BWV 245: Zerflie_e, mein Herze, in Fluten der Zdhren
Johannes - Passion BWV 245: Die Juden aber, dieweil es R|sttag war
Johannes - Passion BWV 245: O hilf, Christe, Gottes Sohn
Johannes - Passion BWV 245: Darnach bat Pilatum Joseph vom Arimathia
Johannes - Passion BWV 245: Ruht wohl, ihr heiligen Gebeine
Johannes - Passion BWV 245: Ach, Herr, laB dein lieb' Engelein

Customer Reviews:

Jesus is poignant and pugnacious: he knows what is coming.......2004-04-01

This passion is extremely beautiful, intense and dense. But its starting at the moment when Christ is arrested erases from the story the last supper and the message of optimism about the future that comes before and along the trial. It also erases a great part of the prophecy that comes from the Old Testament and that is spoken by Christ, both a prophecy that says what he is going to suffer, and a prophecy about what his own suffering is going to bring to the world. What's more Jesus is extremely pugnacious in this passion. He defends himself, he uses logical arguments to prove his point and his innocence, and yet he knows it is in vain, but he does not submit without a legal fight. The third element that characterizes this passion is the extreme violence that is imposed onto Christ. It is the only passion, it is derived from the only gospel in which Christ carries his cross. His suffering is by far more explicit and more extreme in this passion that in the three others, in this gospel than in the three others. In this passion those responsible for the death of Christ are clearly identified : they are the High Priests, the members of the Council of the Temple, and particularly Caiphas who feels unrest among the people and wants to prevent it by killing one man as an example. Bach uses his choruses to impersonate the High Priests, the soldiers or the crowd. The music then becomes systematically hysterical expressing political calculation or just frenzy. Ton Koopman uses these choruses in too soft a way : he does not get to the frantic atmosphere they can express : he gives a simple image of mass-disorder. This then justifies the criticism that this passion may be seen as antisemitic, which it is not if the emphasis is put on the political plot of the High Priests and the use by them of the collective frenzy the crowd is driven into by the high priests themselves. What's more and finally, this passion is by far the most dramatic one, the one that uses dramatic means to give life to many scenes, like the arrest, the trial, the crucifixion and what happens from the sixth hour to the ninth hour. We can even think the dialogue is dramatic in a way and is not a plain story told to us. Finally this passion, and the gospel behind, is heavily presented as a direct and eye testimony of what happened and John gives a great quantity of details to emphasize this live rendition of the sacrifice of Jesus and the sadistic opportunistic violence of those who watch and enjoy the show, because it is a show for them.

Dr Jacques COULARDEAU

Saint John is a Cry for Peace.......2003-08-06

This Passion, like all Passions by J.S. Bach are church operas without any setting. The story is a real plot. The use of voices and chorus are operatical. The lyricism of the music and the singing is undeniable. We are here in total continuity with old biblical operas from the Midlle Ages and the Renaissance. The first important element is that Bach finds a refuge and a compensation in his music for the hardness and hardships of his life : the loss of a job, the next job which is far from being ideal and good in Leipzig, the mercantile city that is not exactly art-minded, the loss of a wife and his second wife who has to drop her singing career. Bach is thus personally motivated in his depicting of the suffering of Jesus. The second element is the tremendous fluidity of the language and the use of the music of the German language of the text to sustain and enhance the music itself. At this level we can even hear from time to time what will be characteristic of the great German deeply sombre and dramatic operas of the 19th century, from Beethoven to Wagner or even further on. I will not cover all aspects of this Passion but I will insist on two particular levels. Bach punctuates his Passion with the use of the chorus and this chorus gives the deep meaning of the Passion itself. This Passion has often been accused of being antisemitic. If we listen to the chorus carefully, we are far from that. The chorus is used in four different directions. First it takes the form of a psalm of a hymn and it opens to some kind of heavenlike reflection by the modern audience. Second it represents the crowd of the Jews or the High Priests. Then it becomes a chaotic canon or fugue on a popular music that wants to express the frenzy of the crowd, to illustrate the famous saying of Jesus : « Forgive them father because they do not know what they are doing ». This crowd is beside themselves, they have lost their selfcontrol. They are irresponsible. Third it may even represent the joy of a modern and popular crowd in front of the realization of the prediction like in « Sei gegrusset, lieber Judenkönig ! ». Finally it also represents the soldiers for example sharing Jesus's clothes. Then it expresses greed and totally unconscious brutality or beastlike cecity. There is no accusation against the Jews. They were manipulated by the high priests, by Pilate, and they also were out of their minds, in other words carrying out God's decision without knowing it. This explains the very strange declaration: « Der Held aus Juda siegt mit Macht, and schliesst den Kampf ». Jesus is a hero, Jesus wins the battle, Jesus conquers power and Jesus ends the fight, which means he gets the world on his side at the very moment of his death. No antisemitism at this moment since the fight is finished, hence there is no reason to fight against the Jews any more. And that's what the « Ruht wohl » means and expresses in a beautiful Tenebrae turned upside down into a lullaby, transforming the descent into darkness of the Tenebrae into an ascent into light of this famous piece of music and singing. Death becomes a desired passage from strife to calm humility and submission to the longed-for liberation and regeneration. In other words Bach is calling for peace on earth, peace and order, in Germany like elsewhere, human reasonable governing of things after the long period of war that is just in the process of coming to a close. Bach is a pacifist and a social peacemaker at the end of an extremely troubled period.

Dr Jacques COULARDEAU, University of Perpignan

A Bach lover.......2002-11-18

It's hard to go wrong with Koopman. This is a beautiful recording, with great sensitivity shown in many finely wrought and shaped musical phrases. (By the way, don't buy ANY John Gardiner Bach, they are absurdly too fast in tempi, articulated like a loud ticking clock, and phrases are rarely shaped.) This may be the best available recording of this wonderful work, which has been neglected in the shadow of the St. Matthew Passion. The other fine version is by Karl Ritcher, I believe.
But you will not regret buying this marvelous one.

Koopman, a genius.......2001-03-10

The articulation and emotion of this performance is wonderful. If you are looking for an authentic recording of one of Bach's greatest works, then this one is for you! You might also check out the other recordings of Bach done by Ton Koopman and the Amsterdam Baroque.

Looking for 'the best performance'? Don't miss Koopman's!.......2001-01-03

In The Netherlands, a very Bach-loving country, Ton Koopman is regarded as 'Mr. Bach'. If you haven't heard performances of Bach's music by Koopman before, this John Passion is a great way to start acquiring a Koopman addiction. His approach is not very idiosyncratic (as was Harnoncourt's), but it is definitely 'authentic' and concentrated, in a way that pays properly due to musicality and emotion. The sound in this recording is highly transparent, but not dry. The tempi are such that you can follow both the passion story unfold and Bach's musical lines develop. Right from the start the strings and wind instruments will catch your breath and Koopman won't leave you alone for the next two hours. If you are looking for 'the best performance' of the John Passion, you should defnitely not leave Koopman's contribution from your wish list.

Average customer rating:

A superior, skillful performance which is almost unmatchable

Bach: Mass in B minor

Manufacturer: Erato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Masses | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Bach - Easter Oratorio · Magnificat / Koopman
Bach: Matthäus Passion
J.S. Bach: Cantatas, Vol. 20
Bach: Die Kunst der Fugue
J.S. Bach: Cantatas Vol. 19

ASIN: B000005EDL
Release Date: 1995-03-07

Tracks:

Mass In B-Minor: Kyrie eleison
Mass In B-Minor: Christe eleison
Mass In B-Minor: Kyrie eleison
Mass In B-Minor: Gloria in excelsis
Mass In B-Minor: Et in terra pax
Mass In B-Minor: Laudamus te
Mass In B-Minor: Gratias agimus tibi
Mass In B-Minor: Domine Deus
Mass In B-Minor: Qui tollis peccata mundi
Mass In B-Minor: Qui sedes ad dexteram Patris
Mass In B-Minor: Quoniam tu solus sanctus
Mass In B-Minor: Cum Sancto Spiritu

Tracks:

Mass In B-Minor: Credo in unum Deum
Mass In B-Minor: Patrem omnipotentem
Mass In B-Minor: Et in unum Dominum
Mass In B-Minor: Et incarnatus est
Mass In B-Minor: Crucifixus
Mass In B-Minor: Et resurrexit
Mass In B-Minor: Et in Spiritum sanctum Dominum
Mass In B-Minor: Confiteor
Mass In B-Minor: Et exspecto
Mass In B-Minor: Sanctus
Mass In B-Minor: Hosanna
Mass In B-Minor: Benedictus
Mass In B-Minor: Agnus Dei
Mass In B-Minor: Dona nobis pacem

Customer Reviews:

A superior, skillful performance which is almost unmatchable.......2004-10-10

I do not believe that I have ever heard such a high quality performance of Bach's glorious mass anywhere else. Ton Koopman may possess the most skilled ensemble to ever perform works of J.S. Bach and this work is certainly no exception.

The only competetors who even come close to matching the pure skill of Koopman and the Amsterdam Baroque are John Elliot Gardiner and Phillipe Herreweghe, who all have a very similar style and a similar number of performers. Another conductor who competes skillwise, yet is not in the same class in terms of ensemble strength is Andrew Parrott, who's one performer per part ensembles never cease to deliver clear, accurate, elegant music into the ears of the listener.

It certainly takes a dedicated Bach fan to appreciate Parrott's crystal clear rendering of the choral parts, while those fans new to the Bach circle are immediate push-overs to exposure to the grander sounding, full chorus and orchestra which types like Robert Shaw present. While Parrott is on one end of the spectrum of baroque styles in his clear rendering, while Shaw is on the other end with his triumphal, grand sound, there is a place in the middle of that spectrum which possesses the best qualities of both extremes. This is, I believe, the place where the types like Ton Koopman, John Eliot Gardiner, and Phillipe Herreweghe reside in their small, clear-sounding yet powerful ensembles.

I would rate all three of these conductor's recording with five stars if it were not for the fact that all three generally take Bach's tempos too fast as if they were rushing through it. Only Herreweghe takes the grand choruses of the mass with reasonable tempos, while both Koopman and Gardiner try to sprint to the finish line. It pains me to hear such skillful playing turned into a speed-reading pace when the music and note transitions could have been given their proper respect and attention; or in other words, each note given their proper time to shine.
However, despite the rapid tempos that these three conductors commonly use, especially in the excellent chorus parts, they should still be listened to and highly reguarded for their raw skill alone.

In my opinion, as one who admits to being a "push-over" leaning in favor of the grander style, yet still admiring the simpler style of Parrott, I would highly recommend this particular recording of Bach's mass by Ton Koopman. Of the three middle-grounders in that of Koopman, Gardiner, Herreweghe, and (don't forget Haroncourt)Koopman is superior because his performers carry out the clearest, purest sound than any mid-size ensemble I have ever heard. When I say clear and pure I mean that the sound which projects out Koopman's singers mouths is as clear as a spring and straight as an arrow. I may be going too far, but when I think of clarity, I think of purity; and when I think of straightness I think of an unwavering line stretching from a start point to the finish point without any crookedness or kinks in it whatsoever. The other extreme for this is vibrato in the voice, which may be symbolized as a wavering and crooked line. Yet, in Koopman's style, even the soloists perform clearly with not even a hint of vibrato.

It takes great dedication, practice and skill to sing as clearly and flawlessly as the Amsterdam singers perform, and one can tell that they do as they hear the purity of their singing. Not only do they sing clearly with presicion, but the music possesses a flowing quality; a quality of consistancy and steadiness just as a line is consistant in its straightness. While some conductors have their singers sing in a choppy, punctual manner as others sing in even in a romantic style, Koopman remains faithful to the Baroque style maintaining a flowing mood in a consistant, straight line.

Despite Koopman's desire to play certain pieces rapidly, this certainly should not stop me, nor anyone else from listening to such a skillful recording.

Average customer rating:

The best performance of Bach Cantatas (Volume 1)
Heaven laughs, earth rejoices.

Bach Complete Cantatas Vol. 1 / Koopman

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Bach: Complete Works - 155 CD Box Set

ASIN: B000005EEI
Release Date: 1995-11-07

Tracks:

Ich hatte viel Bekis, BWV 21: Sinfonia
Ich hatte viel Bekis, BWV 21: Coro: Ich hatte viel Bekis
Ich hatte viel Bekis, BWV 21: Aria: Seufzer, Trn, Kummer, Not
Ich hatte viel Bekis, BWV 21: Recitativo: Wie hast du dich, mein Gott
Ich hatte viel Bekis, BWV 21: Aria: Be von gesalznen Zen
Ich hatte viel Bekis, BWV 21: Coro: Was betru dich, meine Seele
Ich hatte viel Bekis, BWV 21: Recitativo: Ach Jesu, meine Ruh
Ich hatte viel Bekis, BWV 21: Duetto: Komm, mein Jesu
Ich hatte viel Bekis, BWV 21: Coro: Sei nun wieder zufrieden
Ich hatte viel Bekis, BWV 21: Aria: Erfreue dich, Seele
Ich hatte viel Bekis, BWV 21: Coro: Das Lamm, das erwist
Aus Der Tiefe Rufe Ich, Herr, Zu Dir, BWV 131: Sinfonia-Choral: Aus der Tiefen rufe ich, Herr, zu dir
Aus Der Tiefe Rufe Ich, Herr, Zu Dir, BWV 131: Aria: So du willst, Herr Surechnen
Aus Der Tiefe Rufe Ich, Herr, Zu Dir, BWV 131: Coro: Ich harre des Herrn
Aus Der Tiefe Rufe Ich, Herr, Zu Dir, BWV 131: Aria: Meine Seele wartet auf den Herrn
Aus Der Tiefe Rufe Ich, Herr, Zu Dir, BWV 131: Coro: Israel, hoffe auf den Herrn
Ich hatte viel Bekis, BWV 21 (Appendix): Coro: Sei nun wieder zufrieden

Tracks:

Gottes Zeit ist die allerbeste Zeit, BWV 106: Sonatina
Gottes Zeit ist die allerbeste Zeit, BWV 106: Coro: Gottes Zeit ist die allerbeste Zeit - Ach herr, lehre uns bedenken - Bestelle dein haus ; denn du wirst sterbren
Gottes Zeit ist die allerbeste Zeit, BWV 106: Aria: In deine He befehl ich meinen Geist
Gottes Zeit ist die allerbeste Zeit, BWV 106: Coro: Glorie, Lob, Ehr und Herrlichkeit
Der Herr denket an uns, BWV 106: Sinfonia
Der Herr denket an uns, BWV 106: Coro: Der Herr denket an uns
Der Herr denket an uns, BWV 106: Aria: Er segnet, die den Herrn fn
Der Herr denket an uns, BWV 106: Duetto: Der Herr segne euch
Der Herr denket an uns, BWV 106: Coro: Ihr seid die Gesegneten des Herrn
Gott ist mein K, BWV 71: Coro: Gott ist mein K
Gott ist mein K, BWV 71: Aria: Ich bin nun achtzig Jahr - Soll ich auf dieser Welt
Gott ist mein K, BWV 71: Coro: Dein Alter sei wie deine Jugend
Gott ist mein K, BWV 71: Arioso: Tag und Nacht ist dein
Gott ist mein K, BWV 71: Aria: Durch mtige Kraft
Gott ist mein K, BWV 71: Coro: Du wollest dem Feinde nicht geben
Gott ist mein K, BWV 71: Coro: Das neue Regiment
Nach Dir, Herr, Verlanget Mich, BWV 150: Sinfonia
Nach Dir, Herr, Verlanget Mich, BWV 150: Coro: Nach dir, Herr, verlanget mich
Nach Dir, Herr, Verlanget Mich, BWV 150: Aria: Doch bin und bleibe ich vergn
Nach Dir, Herr, Verlanget Mich, BWV 150: Coro: Leite mich in deiner Wahrheit
Nach Dir, Herr, Verlanget Mich, BWV 150: Aria: Zedern mvon den Winden
Nach Dir, Herr, Verlanget Mich, BWV 150: Coro: Meine Augen sehen stets zu dem Herrn
Nach Dir, Herr, Verlanget Mich, BWV 150: Coro: Meine Tage in dem Leide

Tracks:

Der Himmerl lacht! die Erde jubilieret, BWV 31: Sonata
Der Himmerl lacht! die Erde jubilieret, BWV 31: Coro: Der Himmel lacht! die Erde jubilieret
Der Himmerl lacht! die Erde jubilieret, BWV 31: Recitativo: Erwer Tag! sei, Seele, wieder froh
Der Himmerl lacht! die Erde jubilieret, BWV 31: Aria: Fes Lebens, starker Streiter
Der Himmerl lacht! die Erde jubilieret, BWV 31: Recitativo: So stehe dann, du gottergebne Seele
Der Himmerl lacht! die Erde jubilieret, BWV 31: Aria: Adam muss in uns verwesen
Der Himmerl lacht! die Erde jubilieret, BWV 31: Recitativo: Weil dann das Haupt sein Glied
Der Himmerl lacht! die Erde jubilieret, BWV 31: Aria: Letzte Stunde, brich herein
Der Himmerl lacht! die Erde jubilieret, BWV 31: Choral: So fahr ich hin zu Jesu Christ
Barmherziges herze der ewigen liebe, BWV 185: Aria: Barmherziges Herze der ewigen Liebe
Barmherziges herze der ewigen liebe, BWV 185: Recitativo: Ihr Herzen, die ihr euch
Barmherziges herze der ewigen liebe, BWV 185: Aria: Sei bem dieser Zeit
Barmherziges herze der ewigen liebe, BWV 185: Recitativo: Die Eigenlieve schmeichelt sich
Barmherziges herze der ewigen liebe, BWV 185: Aria: Das ist der Christen Kunst
Barmherziges herze der ewigen liebe, BWV 185: Choral: Ich ruf zu dir, Herr Jesu Christ
Christ lag in Todesbanden, BWV 4: Sinfonia
Christ lag in Todesbanden, BWV 4: Coro: Christ lag in Todesbanden
Christ lag in Todesbanden, BWV 4: Duetto: Den Tod niemand zwingen kunnt
Christ lag in Todesbanden, BWV 4: Aria: Jesus Christus, Gottes Sohn
Christ lag in Todesbanden, BWV 4: Coro: Es war ein wunderlicher Krieg
Christ lag in Todesbanden, BWV 4: Aria: Hier ist das rechte Osterlamm
Christ lag in Todesbanden, BWV 4: Duetto: So feirn wir das hohe Fest
Christ lag in Todesbanden, BWV 4: Choral: Wir essen und leben wohl
Christ lag in Todesbanden, BWV 4 (Appendix): Sinfonia
Christ lag in Todesbanden, BWV 4 (Appendix): Versus I: Christ lag in Todesbanden
Christ lag in Todesbanden, BWV 4 (Appendix): Versus II: Den Tod niemand zwingen kunnt
Christ lag in Todesbanden, BWV 4 (Appendix): Versus VII: Wir essen und leben wohl

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Bach's 200 existing cantatas (100 more have been lost) represent one of music history's most remarkable achievements. The first volume in Erato's ambitious but much-needed traversal of the complete canon contains nine cantatas from Bach's early career. Except for "Christ lag in Todesbanden," these are lesser-known works, yet that doesn't mean they are of lesser quality. Here are some of Bach's most compelling choruses, accompanied by colorful and ingenious instrumental writing. Highlights abound, including the appendices that reproduce Bach's revised versions of cantatas 4 and 21. The choral singing is excellent: sensitive and agile, with unforced tone. Of course, there's Barbara Schlick's fluttery vibrato and occasional shrillness and tenor Guy de Mey's emphasis on "prettiness" over textual understanding. But from the very beginning of BWV 21 we hear confident, well-prepared music-making that carries throughout the recording. Perhaps most importantly--and largely due to Koopman's even-handed, purposeful direction--everything, including the sonic ambience, feels and sounds in proportion: a feature that bodes well for the whole series and makes this an excellent reference set. --David Vernier

Customer Reviews:

The best performance of Bach Cantatas (Volume 1).......2000-12-15

Ton Koopman starts the complete recording of Bach cantatas with some masterpieces written by Bach in Cothen and Weimar. I consider useful to remark the characteristics of each cantata so you can realize the differences among these masterpieces. BWV 21: This very famous cantata contains some remarkable pieces: the Sinfonia, the first chorus and an aria in F minor in the first part, and a duett (soprano-bass)and the final striking chorus with trumpets and timpani in the second part. N.B. There are also two arias (n.5 and 10)written for tenor, but in this recording they are singed by the soprano (Barbara Schlick). BWV 131: This cantata is based on the psalm "De prufundis"; the organic is composed only for oboe and strings but music is very moving. BWV 106: This magnific masterpiece is written for human soul; the tranquillity of music is given in the exact way by Koopman. Moreover there are 2 recorders and 2 violas da gamba that give a very ancient atmosphere. BWV 196: It's very short, but music is pretty. There are a lot of Italian reminiscences especially in the parts of violins. BWV 71: A very interesting cantata without recitatives; the string orchestra is enriched by oboes, recorders, trumpets, timpani, violoncello piccolo and organo obbligato. BWV 150: An other cantata with italian influences; Ton Koopman doesn't use the choir but only the solo voices. BWV 31: After a sinfonia with full orchestra there is a striking chorus in which you can examine the great skill of the Amsterdam Baroque Choir ( and also the Orchestra ). BWV 185: It opens with a strange duet for soprano and tenor with female choir; the first aria for alto, oboe and strings is enough famous. BWV 4: This very famous masterpiece was written to commemorate the death of Christ (Easter). Koopman gives a very good interpretation both for the sonorities and for the tempos without altering the atmosphere of great religiousness.

Heaven laughs, earth rejoices........2000-05-09

Recently appointed 'honorary doctor' Ton Koopman with his Amsterdam Baroque Orchestra and Choir embarked a few years ago on a project to record all the Bach cantatas, both religious and secular. Koopman chose to record the cantatas in chronological order, and not by BWV number. Consequently, vol. 1 of the series (that eventually will include 20 volumes) includes 'early cantatas' composed in Weimar and Mühlhausen. It even includes the cantata "Nach dir, Herr, verlanget mich" BWV 150, which is assumed to be the oldest Bach cantata in existence, written before 1707, i.e. the Arnstadt period. The Amsterdam Baroque Choir and Orchestra show to be well at home in the music of Bach. Of the soloists especially Guy de Mey (tenor) and Klaus Mertens (bass) should be mentioned. Koopman's interpretations are allways with a certain drive, which sometimes tends to result in "nervousness". His relatively high tempi however do work as they give the music liveliness and lightness. In this first volume there is sometimes to much of this, leading to a distortion of the balance between liveliness and "draught" that Bach's music needs too. All in all this first volume promises a series of Bach cantatas that will make heaven laugh and the earth rejoice, to quote the opening lines of cantata BWV31 "Der Himmel lacht! die Erde jubilieret".

Average customer rating:

La Rose Complete
Beauty at its Best
Castelnuovo-Tedesco:Romancero Gitano
Delicious Phrasing, Luminous Sound
Don't miss this one

Romancero Gitano

Manufacturer: Rubeda Canis Musica
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
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The Romantic Gypsy
Eric Whitacre: Cloudburst and other choral works

ASIN: B00000DFXQ
Release Date: 1998-10-20

Tracks:

Romancero Gitano: I. Baladilla De Los Tres Rios
Romancero Gitano: II. La Guitarra
Romancero Gitano: III. Punal
Romancero Gitano: IV. Procesion - Paso - Saeta
Romancero Gitano: V. Memento
Romancero Gitano: VI. Baile
Romancero Gitano: VII. Crotalo
Les Chansons Des Roses: En Une Seule Fleur
Les Chansons Des Roses: Contre Qui, Rose
Les Chansons Des Roses: De Ton Reve Trop Plein
Les Chansons Des Roses: La Rose Complete
Les Chansons Des Roses: Dirait-On
Sure On This Shining Night, Op. 13, No. 3
Three Elizabethan Madrigals: Weepe, O Mine Eyes
Three Elizabethan Madrigals: Like As The Culver On The Bared Bough
Three Elizabethan Madrigals: Go, Lovely Rose
Three Odes To Horace: Vitas Hinnuelo
Three Odes To Horace: Felices Ter
Three Odes To Horace: O Fons Bandusiae
Bitter Sweet

Customer Reviews:

La Rose Complete.......2000-04-19

Having sung one of the wonderfully crafted pieces on this CD ( La Rose Complete ) I would have to say this CD really can touch your heart and your soul. With my favorite being La Rose Complete, I can't say enough about it- the alto I and alto II part is something majestic, whereas the sopranoI and soprano II part can just blow you away, the tenors sound like distant angels and the bass part in this song is something else. I would recommend this CD to anyone who enjoys classy choir music with a twist a love.

Beauty at its Best.......2000-01-09

Being a lifelong fan of Rock-n-Roll and Rhythym and Blues, I was not expecting to hear classical music that would entirely impress me. THIS is the CD that has greatly changed my indifference towards real music! LA Chamber Singers have a real HIT on their hands! Never before have I heard a group so tightly woven with such beauty in their singing as the LACS. I am especially moved by the Morten Lauridsen 'Les Chansons des Roses'. With the foreplay of the first few songs leading to the climactic 'Dirait-on', I am drawn to tears every time I hear it! Oh, such aural beauty! This CD is a MUST for lovers of beautiful music.

Castelnuovo-Tedesco:Romancero Gitano.......2000-01-04

This CD is full of some of the best choral music I've heard in a long time. If I was forced to choose a favorite, it would be the Lauridsen, "Chansons des Roses". These pieces are performed with great finesse and careful attention to important details like diction, pitch, and dynamics. It is a difficult a capella set to sing, yet it is meticulously performed and is fascinating to hear over and over. The text is very romantic. Beautiful!

Delicious Phrasing, Luminous Sound.......2000-01-01

If you haven't heard the Los Angeles Chamber Singers, you are in for a treat. If you haven't heard this album you will enjoy the depth and variety of the selections. Alternately transcendant and ebullient, these very extraordinary voices float and soar, and the richess of their ensemble leaves me with an almost tactile sense of its luminosity. I was particularly moved by Morten Lauridsen's "Les Chansons des Roses."

Don't miss this one.......1999-12-31

I want to highly recommend this selection. If you haven't tried it you should. The music is exciting and cries out to be heard over and over again. Good listening!