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Jordi Savall - Antonio Vivaldi, J.S. Bach - Magnificat & Concerti (2014) {CD with DVD5 PAL Alia Vox AVSA9909D}
Author: ruskaval

Jordi Savall - Antonio Vivaldi, J.S. Bach - Magnificat & Concerti (2014) {CD with DVD5 PAL Alia Vox AVSA9909D}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 424 Mb | MP3 @320 -> 170 Mb
DVD5 -> 3.86 Gb | All Regions | PAL 16:9 | LPCM, 2 ch | ~ 65 min | ISO Image
Full Artwork @ 600 dpi (jpg) -> 470 Mb | 5% repair rar
© 2014 Alia Vox | AVSA9909D
Classical / Choral / Concerto / Baroque

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.
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J.S. Bach - Magnificat - Piano and Vocal score
Author: Not-Matt
Magnificat

J.S. Bach - Magnificat BVW 243 - Piano and vocal score
Edition Peters | ISBN: N.A. | 1976 | PDF | 50 pages | 5.6 Mb

The Magnificat in D major, BWV 243, is one of the major vocal works of Johann Sebastian Bach. It was composed for an orchestra and choir of five voices. The text is the canticle of Mary, mother of Jesus as recounted by Luke the Evangelist. It is also one of the two large works Bach composed in Latin; the other being his Mass in B minor, which also shared its use of a five-voice choir.
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J.S. Bach - Magnificat BWV 243 & 80 - Philippe Herreweghe (HM 1999)
Author: Flush

J.S. Bach - Magnificat BWV 243 & 80 | 1999 | Classical, Chorus
APE 1411 kbps | 44100 HZ Stereo | 219 MB

'''My soul doth magnify the Lord.'
The Magnificat was the very first work Bach composed after his appointment as Cantor of St. Thomas's School in Leipzig in 1723. We can imagine the care he lavished on the work that was to establish him in this new function. It was revised some years later: the key was changed to D major and the forces were considerably enlarged. This is the version in which one of Bach's most famous choral works has come down to us.'' --HarmoniaMundi.com
My Blog | Online
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Bach J.S. & Bach C.P.E. – Magnificat (Tölzer Knabenchor, Collegium Aureum) [1995]
Author: Sowulo

Bach J.S. & Bach C.P.E. – Magnificat (Tolzer Knabenchor, Collegium Aureum) [1995]
EAC Rip | FLAC, IMG+CUE, LOG | Covers | 1cd, 323.56 MB
Classical | DHM | 054727 7411 2

This recording is something of a throwback to earlier days of the original instrument movement. The Collegium Aureum was an early exponent of this, and the 1966 recording of the JS Bach shows how this movement has evolved. Wonderful trumpets, struggling with the tessitura and tuning, and the (probably) part-time early music oboists, point up the most obvious difference. Early music was a labor of love in the 1960's, not a full time job. Which make me wonder if today's "authentic" performances aren't too clean, and too polished. How much rehearsal time did the "old wig" get, anyway, especially with works that were being given their premiere performances? Charles Rosen said that a truly authentic performance is impossible, you're either too early or too late.
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C. P. E. Bach, J. N. Bach: Magnificat, Missa brevis / Bach Collegium Stuttgart, Helmuth Rilling (1995)
Author: Benzok

C. P. E. Bach, J. N. Bach: Magnificat, Missa brevis / Bach Collegium Stuttgart, Helmuth Rilling (1995)
Unknown Rip | FLAC (image), cue, no log, no scans | RAR Rec. 3% | 305 MB | hotfile, fileserve
Classical | Label: Hanssler Classics | Time: 59:07

C.P.E. Bach's "Magnificat" is one of the glories of the choral repertoire, and, like other reviewers, I envy you your first experience of this magnificent music. I first heard it in the impressive performance by Philip Ledger and the Academy of St.-Martin-in-the-Fields. I think Rilling's performance is even better, though, more supple and nuanced, without sacrificing speed and intensity.
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Sinikka Langeland, Lars Anders Tomter, Kare Nordstoga - Maria's Song: Folk Songs and music of J.S. Bach (2009)
Author: Designol

Sinikka Langeland - Maria's Song: Folk Songs and music of Johann Sebastian Bach (2009)
with Lars Anders Tomter & Kåre Nordstoga

EAC | FLAC | Tracks (Cue&Log) ~ 414 Mb (incl 5%) | Mp3 (CBR320) ~ 218 Mb (incl 5%) | Scans included
Classical, Baroque, Nordic Folk | Label: ECM | # ECM 2127, 271 7097 | Time: 01:12:11

Norwegian folk musician Sinikka Langeland, singer and player of the kantele (the Finnish table harp) is a distinctly non-traditional traditionalist, redefining "folk" in successive projects. 'Maria's Song' finds her in the company of two distinguished classical musicians - organist Kare Nordstoga and "giant of the Nordic viola" Lars Anders Tomter - and on a mission to restore Marian texts to sacred music, weaving folk melodies in between the timeless strains of J S Bach. Langeland made a lot of friends with her sparkling ECM debut Starflowers: "There are jewels everywhere on this arresting example of ego-free music-making. One of the albums of this or any other year" raved the Irish Times. Where Starflowers brought Langeland into the orbit of jazz improvisers, Maria's Song is a meeting and cross referencing of folk and 'classical' energies, and also a righting of historical 'injustice': Religious folk songs are amongst the most distinctive elements of the Norwegian folk tradition, yet the Virgin Mary rarely appears in them. Once a much-worshipped figure in the Far North she was, as Sinikka puts it, "reformed" away in 1537, so this album brings Maria back into the music. It was recorded in the beautiful Nidaros Cathedral of Trondheim, famous for its Baroque organ heard here.
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J. S. Bach - Kuhnau - Magnificat (Ton Koopman) DVD9
Author: Cuba00

J. S. Bach - Kuhnau - Magnificat (Ton Koopman) DVD9
Baroque | DVD9 NTSC · 16:9 | PCM Stereo · Dolby Digital 5.1 · DTS 5.1 | En, Fr, Ge, Latin | 6,21 GB
Euroarts 2004 | 87 m | rapidshare | Scans

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The Sixteen - In Honore J.S.Bach (2000)
Author: mook45

The Sixteen - In Honore J.S.Bach (2000)
EAC | FLAC IMG,CUE+LOG = 299MB | 400 dpi Scans
Choral | Label: Linn - CKD 148 | FSe/MU/HF
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Ricercar Consort, Philippe Pierlot - J.S. Bach: Passio secundum Johannem (St. John Passion, BWV 245) (2011) [TR24][OF]
Author: SERTiL

Ricercar Consort, Philippe Pierlot - J.S. Bach: Passio secundum Johannem (St. John Passion, BWV 245)
Classical | FLAC (tracks) 24-bit/88.2 kHz | 113:12 min | 1.78 GB | Digital booklet
Label: Mirare | Tracks: 27 | Rls.date: 2011

A new recording from Ricercar Consort is always special and this one is no exception. The enterprising Mirare label presents the group s powerful new recording of J.S. Bach s St. John Passion. Although not as popular as the St. Matthew Passion, the St. John is equally rich with the invention and beautiful melodies that Bach is famous for. The soloists here are on top form and their truly wondrous performance will surely elicit raves from critics. Last year s Bach Magnificat with similar forces received excellent reviews including a Gramophone Editor s Choice and a BBC CD Review disc of the week. Details
Till Fellner - J.S. Bach: Das Wohltemperierte Klavier, Buch 1 (2004) 2CD
Author: Designol

Till Fellner - J.S. Bach: The Well-Tempered Clavier, Book I (2004) 2CD
EAC | FLAC | Tracks (Cue&Log) ~ 344 Mb (incl 5%) | Mp3 (CBR320) ~ 321 Mb (incl 5%) | Scans included
Genre: Classical | Label: ECM | # ECM New Series 1853/54, 476 0482 | Time: 01:54:54

Youthful Viennese pianist Till Fellner has performed J.S. Bach's Well-Tempered Clavier to critical acclaim across Europe, and has made it the backbone of his recital repertoire. For this recording of Book I, Fellner performs the 24 preludes and fugues with a rich and full sound, yet with the refinement and fastidious control required in these comprehensive studies of Baroque keyboard technique. Articulation and balanced phrasing are of paramount importance, and Fellner's energies are directed to the clean execution of lines and the careful shading of contrapuntal voicings. What emotion he communicates is subtle and somewhat constrained to the contrasting characters of each pairing -- the preludes and fugues often play off each other -- yet his interpretations are quite colorful and varied over the course of the set. Neither cerebral nor effusive, Fellner renders the music in an appealing middle area between schools of interpretation, and achieves imaginative results that should please both traditionalists and fans of period practice.
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