Tuesday, September 30, 2008

Water Music, Georg Friederich Händel

Georg Friedrich Händel, Water Music


The English Concert

The English Concert is an "authentic performance" ensemble, founded by harpsichordist and conductor Trevor Pinnock in 1973. The group quickly established itself as one of Britain's leading orchestras in the then-young field of performing Baroque works on Baroque instruments. The English Concert and the energetic Pinnock helped put historical performance on the charts. The orchestra has a reputation for stylish, lively, and high-quality music-making. Its sound is light, bright, and clear. Its strings usually employ no vibrato, and its winds have a woody, attractive tone that blends well with strings and with the fortepiano. Generally the orchestra applies only a light swelling on sustained string notes. In explaining the orchestra's choice to specialize in original instruments (or painstakingly authentic re-creations of them), Pinnock explains, "The answer is simple -- we wanted to use the most suitable tools for the job. These instruments were good enough for Bach -- surely they're good enough for us." In 1983, the English Concert Choir was established, to perform and record choral works with the instrumental ensemble. After 30 years leading the group, Pinnock stepped down and turned the music directorship over to Andrew Manze.
Recording for Deutsche Grammophon's Archiv imprint, Harmonia Mundi, and its own label, Avie, the English Concert has released over 70 albums, many of which have won top recording awards such as the Grand Prix du Disque<>

Suite in F major HWV 348
1. Ouverture (Largo-Allegro)
2. Adagio e staccato
3. (Allegro) – Andante – (Allegro da capo)
4. (Menuet)
5. Air
6. Menuet
7. Bourrée
8. Hornpipe
9. (Andante)

Suite in D/G major HWV 349/350
10. (Ouverture)
11. Alla Hornpipe
12. (Menuet)
13. Rigaudon
14. Lentement
15. Bourrée
16. Menuet
17. (Andante)
18. (Country Dance I/II)
19. Menuet

1983 Polydor Inernational GmbH, Hamburg

Total Rar size 257 mb. Flac




Monday, September 29, 2008

The ultimate organ collection

J. S. Bach
The ultimate organ collection

Anthony Newman, Organ

Toccata and Fugue in D minor, S.565
Fantasy and Fugue in G minor, S.542 „Great“
Prelude and Fugue in C major, S.545
Toccata, Adagio and Fugue in C major, S.564
Toccata and Fugue in F major, S.540
Passacaglia and Fugue in C minor, S.582
Toccata and Fugue in D minor, S538 „Dorian“

Format: Flac 425 mb / cover incl.
Total playing time: 72:31
The Vox Group 1994


Friday, September 26, 2008

Berühmte Orgelwerke des Barock

Berühmte Orgelwerke des Barock

Georg Friedrich Händel (1685 – 1759)
Konzert für Orgel und Orchester d-moll op. 74

Carl Phil. Emanuel Bach (1714 – 1789)
Konzert für Orgel/Streicher/Basso continuo G – Dur (Wotqu.Nr. 34)

Joseph Haydn (1732 – 1809)
Concerto per l‘organo –
für Orgel und Orchester C – Dur Hob. XVIII/I

Total playing time : 63:97
Selected Sound Carrier AG/CH 1994
File size : 310 mb.
Format : flac incl. Covers


Bach zum Brunch

Bach zum Brunch
Musik für schöne Stunden

Performers: Deutsche Bachsolisten,Cyprien Katsaris,John Williams,
Isaac Stern and more.....

Sony Music Entertainment (Germany) GmbH 1999
File size: 323 mb
Format: Flac incl. Front cover only

1. Orchestersuite Nr. 1 C-Dur BWV 1066 – Overtüre
Deutsche Bachsolisten – Helmut Winschermann, Dirigent
2. Italienisches Konzert F- Dur BWV 971
Cyprien Katsaris, Klavier
3. Lautensuite a – moll BWV 995 – Gavottes I & II
John Williams, Gitarre
4. Konzert für Oboe und Violine c – moll BWV 1060 – Allegro
Richard Killmer, Oboe – Pinchas Zukerman, Violine
Saint Paul Chamber Orchestra – Pinchas Zukerman, Dirigent
5. Flötenkonzert g – moll BWV 1056
Jean-Pierre Rampal, Flöte – Ars Rediviva Orchestra Prague
Milan Munchlinger, Dirigent
6. Concerto C – Dur BWV 976
Cyprien Katsaris, Klavier
7. Brandenburgisches Konzert Nr. 3 G – Dur BWV 1048
Kammerorchester Carl Philipp Emanuel Bach
Hartmut Haenchen, Dirigent
8. Orchestersuite Nr. 3 D – Dur BWV 1068 – Gavotte
Deutsche Bachsolisten – Helmut Winschermann, Dirigent
9. Klavierkonzert nr. 4 A – Dur BWV 1055 – Allegro
Glenn Gould, Klavier – Columbia Symphony Orchestra
Vladimir Golschmann, Dirigent
10. Lautensuite E – Dur BWV 1006a – Menuette I & II
John Williams, Gitarre
11. Violinkonzert Nr.2 E – Dur BWV 1042 – Allegro
Isaac Stern, Violine – English Chamber Orchestra
Alexander Schneider, Dirigent
12. Orchestersuite Nr.2 h – moll BWV 1064 – Polonaise
Deutsche Bachsolisten – Helmut Winschermann, Dirigent
13. Brandenburgisches Konzert Nr.4 G – Dur BWV 1049 – Allegro
Tafelmusic – Jeanne Lamon, Dirigentin
14. Konzert für 2 Violinen d – moll BWV 1043 – Allegro
Isaac Stern Violine – Pinchas Zukerman, Violine
Saint Paul Chamber Orchestra – Pinchas Zukerman, Dirigent

Saturday, September 20, 2008

Louis-Claude Daquin

Nouveau livre de Noels

LOUIS-CLAUDE DAQUIN was born in Paris to a reasonably well-connected family. On his mother’s side he was related to Rabelais, on his father’s to the Rabbi of Avignon (who had converted to Christianity before he died in 1650). His great uncle was one of Louis XIV’s doctors and a King’s Counsellor. His father was a painter who travelled widely but with little commercial success. Louis-Claude was one of five children, but the only one to reach adulthood. Little in his back- ground would seem to have pointed to a musical career but Daquin showed a precocious talent at the keyboard as a very young boy; he was given some early lessons by a chaplain at the Sainte-Chapelle and informal instruction in composition by Nicolas Bernier. At the age of six he is said to have been heard by the King himself: the Dauphin predicted that he would become ‘the leading man of his age’. At the age of eight he reportedly directed (under Bernier’s guidance) a performance of his own Beatus vir for a large chorus and orchestra at the Sainte-Chapelle. His keyboard skill rapidly won him a variety of posts: in 1706 he became organist with the Hospitaliers de St Antoine and assistant to Marin de la Guerre at the Sainte-Chapelle. His first adult success came in 1727 when he defeated Rameau in a flamboyant competition to become organist at St Paul. Louis Marchand heard him play there and they became friends. As Marchand was dying in 1732 he is supposed to have said to his organ at les Cordeliers: ‘Farewell, dear widow: only Daquin is worthy of you.’ Daquin duly succeeded him. His crowning professional achievement came in 1739 when he was appointed as one of the King’s personal organists

The first record of an organ in France dates from the eighth century. By the tenth century Rheims was a centre of excellence for French organists. Illustrations on manuscripts suggest that the organ played a central part in French church music in the following centuries. Guillaume de Machaut is generally credited as having been the first (in the fourteenth century) to refer to the organ as ‘the king of instruments’. Organs came to be very large and elaborate: the organs at Amiens (1429), Rheims (1487) and Strasbourg (1489) all had more than two thousand pipes. By the seventeenth century the great tonal variety had come to be codified, giving way to a remarkable consistency of design and registration that lasted until the Revolution. This consistency was unmatched in Germany and Northern Europe

14.nov.2008 Reuploaded in flac format: 265mb.

http://www.mediafire.com/download.php?kfzfekw0sm0 disk mp3

http://www.mediafire.com/download.php?yhivyxfno44 booklet