Das Lied von der Erde in a Chinese-language version, replacing the original German texts inspired by Tang Dynasty poetry with Daniel Ng?s reconstruction of the original Chinese poems
Oficjalna ścieżka dźwiękowa do filmu zatytułowanego „Gwiezdne Wojny: Ostatni Jedi” jest dostępna na Vinylu i CD. Tracklista: 1. Main Title And Escape 2. Ahch-To Island 3. Revisiting Snoke 4. The Supremacy 5. Fun With Finn And Rose 6. Old Friends 7. The Rebellion Is Reborn 8. Lesson One 9. Canto Bight 10. Who Are You? 11. The Fathiers 12. The Cave 13. The Sacred Jedi Texts 14. A New Alliance 15. "Chrome Dome" 16. The Battle Of Crait 17. The Spark 18. The Last Jedi 19. Peace And Purpose 20. Finale
In honor of the 800th anniversary of the Schola Thomana Leipzig Hans-Christoph Rademann and the Dresdner Kammerchor present a complete recording of Israelsbrünnlein by Johann Hermann Schein, who was certainly the most important Thomas - kantor prior to Johann Sebastian Bach. Israelsbrünnlein is the most significant motet collection in German music of the 17th century. Among the 26 pieces, composed in the “Italian-Madrigalische Manir” most of them are based on Old Testament texts, hence the name of the collection. Originally written for festive or solemn occasions, such as weddings, funerals or graduations, they unite madrigal style with the polyphonic art of sacred motets.
'What a feast is here! Superb, radiant, colourful singing of a perfect selection of Weelkes' music. A finer selection more persuasively sung would be hard to imagine. Buy it' (Organists' Review) 'Hyperion's recording is excellent and the booklet, with all texts and good notes, is a model' (Classic CD)
In spite of the fact that more than 15 years have passed since Masaaki Suzuki and his Bach Collegium Japan began recording all of Bach’s church cantatas, the team’s commitment seems if anything to be increasing as this huge project enters its final stretch. The same evidently applies to the enthusiasm of the reviewers, who have been praising the latest instalments even more fulsomely than usual, with Diapason awarding top marks to Volume 44, Volume 46 being made a ‘Critics’ Choice’ in Gramophone, and BBC Music Magazine singling out both Volume 47 and 48 as ‘Choral & Song Choice of the Month’. In the present volume Masaaki Suzuki has gathered four works from 1728-29, with the common denominator that the texts for them were all written by the poet Christian Friedrich Henrici. Using the pseudonym Picander, Henrici collaborated with Bach on numerous occasions, most famously so in the St Matthew Passion and the Christmas Oratorio. The present cantata texts were included by the poet in a volume which contains similar texts spanning the entire church year, and it seems possible that Bach set the full cycle to music. As there are only nine extant 'Picander cantatas', this would mean that some fifty Bach cantatas have been lost without trace – a significant loss to music. The four works gathered here hint at the variety that may have characterized the Bach-Picander cantata year, with moods spanning from the jubilation of the New Year Cantata BWV171 to the anticipation of Jesus’ path of suffering in Sehet, wir gehn hinauf gen Jerusalem, BWV159, intended for the Sunday before Passiontide. There is also variety on a more technical level, with BWV188 and BWV156 both beginning with instrumental sinfonias featuring important solo parts for organ and oboe respectively.
Among Handel’s vocal works – from the early, operatic solo cantatas to the full-blown operas and the oratorios of his London years – the Nine German Arias hold a special place. Possibly composed around the time that the composer made a final journey to Germany to take leave of his ailing mother, they were Handel’s last settings of texts in his native language. It seems likely that these circumstances contributed to the intimate character of these highly personal works, in combination with the texts themselves. Barthold Heinrich Brockes’ poems point ahead towards the Enlightenment, establishing as their setting a harmonically organised world, in which benevolent Nature is the prime example of God’s bounty. Emma Kirkby has chosen to combine these arias with the much earlier Gloria, discovered in 2001 and given its première recording – by Emma Kirkby herself – in the same year. As a result of the smaller forces (two violins, cello and chamber organ) employed on this re-recording of the exuberant work, the performance has a more intimate atmosphere, giving an interesting perspective on a piece which although written 300 years ago, is still a new addition to the repertoire. Emma Kirkby and London Baroque share a musical relationship of long standing, and appear together on two previous Handel recordings on BIS. The recent ‘Handel in Italy’, a programme of early, secular solo cantatas, was highly praised by the reviewers, for instance in the German magazine Fono Forum: ‘Emma Kirkby presents these pieces with a deep insight into human thought and feeling… her interaction with London Baroque is an impressive demonstration of how a common musical understanding has matured and strengthened throughout a collaboration of many years.’ An earlier disc of ‘Sacred Cantatas’ also received a number of distinctions, including a ‘BBC Music Choice’ in BBC Music Magazine, whose reviewer had ‘seldom been as moved by a recording, both music and performance.’
In his lifetime the German composer Carl Loewe was often referred to as the ‘Schubert of North Germany’. He is frequently credited with the development of the romantic ballad into a powerful art form, and his prolific output of ballads and songs amounts to some four hundred works. Loewe’s treatment of long narrative poems in a clever and powerful mixture of dramatic and lyrical styles, has been a template for many subsequent composers.Many of the ballads on this disc are masterpieces of their genre and they are performed here in a magisterial Hyperion debut by Austrian baritone Florian Boesch. In these refined performances it is clear why Boesch has been labelled as ‘one of the finest interpreters of Lieder of his generation’. His ability to create characters and enact stories brings the dramatic texts vividly to life, while he maintains musical coherence with astonishing lyricism.Loewe’s daring and imaginative accompaniments are played here by the incomparable Roger Vignoles, in another addition to his acclaimed discography of Hyperion recordings. His eloquent pianism and penetrating musicianship match Boesch’s artistry to perfection.
Premiered in 1962, the War Requiem is one of the twentieth century's defining works. Britten was commissioned to write it for the re-dedication of Coventry Cathedral, which was destroyed during the Second World War. Interspersing the Latin mass of the dead with texts by war poet Wilfred Owen he created a work that both mourned the dead and pleaded the futility of war.
In spite of the fact that more than 15 years have passed since Masaaki Suzuki and his Bach Collegium Japan began recording all of Bach’s church cantatas, the team’s commitment seems if anything to be increasing as this huge project enters its final stretch. The same evidently applies to the enthusiasm of the reviewers, who have been praising the latest instalments even more fulsomely than usual, with Diapason awarding top marks to Volume 44, Volume 46 being made a ‘Critics’ Choice’ in Gramophone, and BBC Music Magazine singling out both Volume 47 and 48 as ‘Choral & Song Choice of the Month’. In the present volume Masaaki Suzuki has gathered four works from 1728-29, with the common denominator that the texts for them were all written by the poet Christian Friedrich Henrici. Using the pseudonym Picander, Henrici collaborated with Bach on numerous occasions, most famously so in the St Matthew Passion and the Christmas Oratorio. The present cantata texts were included by the poet in a volume which contains similar texts spanning the entire church year, and it seems possible that Bach set the full cycle to music. As there are only nine extant 'Picander cantatas', this would mean that some fifty Bach cantatas have been lost without trace – a significant loss to music. The four works gathered here hint at the variety that may have characterized the Bach-Picander cantata year, with moods spanning from the jubilation of the New Year Cantata BWV171 to the anticipation of Jesus’ path of suffering in Sehet, wir gehn hinauf gen Jerusalem, BWV159, intended for the Sunday before Passiontide. There is also variety on a more technical level, with BWV188 and BWV156 both beginning with instrumental sinfonias featuring important solo parts for organ and oboe respectively.
Das Lied von der Erde in a Chinese-language version, replacing the original German texts inspired by Tang Dynasty poetry with Daniel Ng?s reconstruction of the original Chinese poems