Orlande de Lassus: St. Matthew Passion; Ave Verum Corpus. Ensemble Director. Lassus: Lamentations of Jeremiah. James MacMillan: Miserere. I Was Glad. Flor Peeters: Organ Music. D'Arcy Trinkwon. Westminster Cathedral Choir. Echoes of Nightingales. Divine Classics. Britten: Complete Songs, Vol. Malcolm Martineau. Britten: Complete Scottish Songs.
Bach: Cantatas. Producer, Assistant Engineer. Alec Roth: Shared Ground. Schubert Favourites. O Solitude. Editing, Recording Producer. Merry Xmas! Joy in the Morning. Choral Music by Jonathan Dove. Ceremony and Devotion: Music for the Tudors. Allegri: Miserere.
Primary Artist, Choir Director. The Songs of Robert Schumann, Vol. The Record of Singing, Vol. The Golden Age of English Polyphony.
The Bach Collection. Songs by Ravel. Gerald Finley. Schumann: Dichterliebe; Brahms: Lieder. Simon Keenlyside. Post Production, Producer. Pushkin Romances. Joan Rodgers. Pro Cantione Antiqua. Conductor, Producer. Padre Pio Prayer. Mathias: Choral Music. Matthew Owens.
Handel: Fireworks Music; Water Music. The King's Consort. Handel: Coronation Anthems. Guerrero: Missa de la batalla escoutez; Janequin: La Guerre.
Elizabeth Kenny. Call Me Flott. Kylie Minogue. Mixing, Producer, Remix Engineer. Le Jardin Secret. A New Heaven. Vaughan Williams: Choral Works. Treasures of Tudor England. Streams of Tears. Stradella: San Giovanni Battista. Alessandro de Marchi. Romanzo di Central Park. Andrew Kennedy. Musique pour Mazarin! Mozart, Rossini, Weber: Clarinet Concertos. Steven Kanoff.
Masterworks: Mozart. Kenneth Leighton: The World's Desire. In Venice. Recording Producer, Producer. Handel: Messiah [ Recording]. Grieg: Songs. Fire Burning in Snow. Dowland: Lute Songs; Britten: Nocturnal. Benjamin Britten Collector's Edition.
Arnold Schoenberg: Pelleas und Melisande; Erwartung. Robert Craft. Technical Engineer. A Mother's Love: Music for Mary. The Worlds Saviour - William Mundy d'italia: Arias for Rubini. Editing, Producer. Strauss: The Complete Songs - 2. Anne Schwanewilms. Songs by Samuel Barber. Robin Blaze. Music from the Sistine Chapel. Music for the Coronation of James II, King's College Choir of Cambridge. Into the Light.
Producer, Tape Editor. Handel: Music for the Chapel Royal. Delius: Songs. Yvonne Kenny. Delius: Complete Violin Sonatas. Susanne Stanzeleit. Engineer, Mastering, Producer. Corydon Singers. Brahms: Ein Deutsches Requiem. Bairstow: Choral Music. John's College Choir. Women's Lives and Loves. New London Orchestra.
Director, Producer. John Scott. Mozart: Wind Concertos. Mendelssohn: Sacred Choral Music. Listen Sixth Edition [Abridged Version]. Listen Sixth Edition. John Mark Ainsley. Christmas at St. Christmas Vespers at Westminster Cathedral. Burgon: Choral Music. Brahms: Missa canonica; Rheinberger: Mass. Bach Edition: Complete Works.
Wolfgang Amadeus Mozart: Complete Works. Victoria: Requiem The English Anthem, Vol. Tchaikovsky: String Quartet Nos. Christine Brewer. Peerson: Latin Motets. Ex Cathedra Consort. Morten Lauridsen: Lux aeterna. Ex Cathedra Choir. In Paradisum: Spiritual Classical Melodies. Herbert Howells: Choral Music. Franz Schubert: The Complete Songs. Coordination, Producer, Remastering.
Essential Mozart. Dufay: Mass for St. Anthony Abbot; Binchois: Mass movements. Binchois Consort. And Other Songs.
Mark Padmore. Housman: A Shropshire Lad. Tomer Lev. The Romantic Cello. Julian Lloyd Webber. The Baroque Brass Collection. London Gabrieli Brass Ensemble. Choir Master. The Art of the Lindsays. The Lindsays. Sir John Stainer: The Crucifixion. Stanley Vann. Schumann Lieder. Russian Songs. Renaissance: Music for Inner Peace. Percy Whitlock: Organ Sonata in C minor. Mozart: The Masterworks.
Philippe Graffin. John Ireland: Violin Sonata No. Heroes and Heroines. Great Choral Favourites. English Song. Byrd: Consort Songs. Anthems from Cambridge.
Anthony Rolfe Johnson. Teixeira: Te Deum. Spem in alium: Music for Monarchs and Magnates. Songs of Travel. Christopher Maltman. Songs by Debussy. Songs by Armstrong Gibbs. Schubert: Octet. Gaudier Ensemble. Richard Strauss: Songs. Paul's Cathedral Choir. Plum Pudding. Felicity Lott. Palestrina: Music for Advent and Christmas. Mozart: Violin Concertos; Concertos for Winds.
Mozart: Divertimento, K; Divertimento, K More Than Classical. Gloria Saarinen. Thomas Allen. Mendelssohn: Songs and Duets, Vol. Joy to the World: Carols from Worcestershire Cathedral.
Worcester Cathedral Choir. Jerusalem on High. Graham Barber. Handel: Israel in Egypt [ Version]. Bird Songs at Eventide. Robert White. Ronald Corp. An Eternal Harmony. A Songbook for Isabella. Musica Antiqua of London. William Walton: Coronation Te Deum and other choral music. Nash Ensemble. The Songs of Clara Schumann. Executive Producer. The Psalms of David. Arranger, Editing. Tchaikovsky, Britten: String Quartets.
Songs by Louis Durey. Songs by Joseph Haydn. Songs My Father Taught Me. Sibelius: Songs. Shostakovich: Chamber Music.
Platinum Poulenc. Of Ladies and Love Michael Schade. Musique adorable: The Songs of Emmanuel Chabrier. Music For Royal Occasions. Executive Producer, Licensing. Ex Cathedra. Loeffler: 2 Rhapsodies; 5 Songs. Fire and Ice: Frottole from Venice. Epiphany at St. Bernarda Fink. A Bach Album. Wordplay: Italian Chansons and chansons. Wolf: Goethe Lieder. Winchester Cathedral: Organ Spectacular. David Hill.
Westminister Cathedral Organ Classics. The Flowering of Genius. Tallis: Missa Salve Intemerata. Songs of Robert Schumann, Vol. Severn Meadows: Songs by Ivor Gurney. Paul Agnew. Rutter: Gloria, and other sacred music. On This Island. Lynne Dawson. Mozart: Oboe Quartet; Quintets.
Move Now with Measured Sound. Red Byrd. MacMillan: Mass and other sacred works. John Rutter: Music for Christmas. Jerusalem the Golden. Britten: Choral Music. Arthur Sullivan: The Golden Legend. Vaughan Williams: Along the Field and other songs. The Music of St. Paul's Cathedral. The Concerto in Europe. Stanford Songs, Vol. Elphinstone suddenly cried out at a number of tongues of smoky red flame leaping up above the houses in front of them against the hot, blue sky.
The tumultuous noise resolved itself now into the disorderly mingling of many voices, the gird of many wheels, the creaking of waggons, and the staccato of hoofs. The lane came round sharply not fifty yards from the crossroads. For the main road was a boiling stream of people, a torrent of human beings rushing northward, one pressing on another.
A great bank of dust, white and luminous in the blaze of the sun, made everything within twenty feet of the ground grey and indistinct and was perpetually renewed by the hurrying feet of a dense crowd of horses and of men and women on foot, and by the wheels of vehicles of every description.
It was like riding into the smoke of a fire to approach the meeting point of the lane and road; the crowd roared like a fire, and the dust was hot and pungent. And, indeed, a little way up the road a villa was burning and sending rolling masses of black smoke across the road to add to the confusion. Two men came past them. Then a dirty woman, carrying a heavy bundle and weeping. So much as they could see of the road Londonward between the houses to the right was a tumultuous stream of dirty, hurrying people, pent in between the villas on either side; the black heads, the crowded forms, grew into distinctness as they rushed towards the corner, hurried past, and merged their individuality again in a receding multitude that was swallowed up at last in a cloud of dust.
Irresistibly attracted, he advanced slowly, pace by pace, down the lane. Edgware had been a scene of confusion, Chalk Farm a riotous tumult, but this was a whole population in movement. O Lord is hard to imagine that host. It had no character of its own.
The figures poured out past the corner, and receded with their backs to the group in the lane. Along the margin came those who were on foot threatened by the wheels, stumbling in the ditches, blundering into one another. The carts and carriages crowded close upon one another, making little way for those swifter and more impatient vehicles that darted forward every now and then when an opportunity showed itself of doing so, sending the people scattering against the fences and gates of the villas.
Some Album) the people who crowded in the carts whipped stupidly at their horses and quarrelled with other drivers; some sat motionless, staring at nothing with miserable eyes; some gnawed their hands with thirst, or lay prostrate in the bottoms of their conveyances. There were sad, haggard women tramping by, well dressed, with children that cried and stumbled, their dainty clothes smothered in dust, their weary faces smeared with tears. With many of these came men, sometimes helpful, sometimes lowering and savage.
Fighting side by side with them pushed some weary street outcast in faded black rags, wide-eyed, loud-voiced, and foul-mouthed.
There were sturdy workmen thrusting their way along, wretched, unkempt men, clothed like clerks or shopmen, struggling spasmodically; a wounded soldier my brother noticed, men dressed in the clothes of railway porters, one wretched creature in a nightshirt with a coat thrown over it.
But varied as its composition was, certain things all that host had in common. There were fear and pain on Harry Christophers - Sacred Choral Music By William Mundy (CD faces, and fear behind them. A tumult up the road, a quarrel for a place in a waggon, sent the whole host of them quickening their pace; even a man so scared and broken that his knees bent under him was galvanised for a moment into renewed activity.
The heat and dust had already been at work upon this multitude. Their skins were dry, their lips black and cracked. They were all thirsty, weary, and footsore. And amid the various cries one heard disputes, reproaches, groans of weariness and fatigue; the voices of most of them were hoarse and weak. Through it all ran a refrain:. Few stopped and came aside from that flood. The lane opened slantingly into the main road with a narrow opening, and had a delusive appearance of coming from the direction of London.
Yet a kind of eddy of people drove into its mouth; weaklings elbowed out of the stream, who for the most part rested but a moment before plunging into it again. A little way down the lane, with two friends bending over him, lay a man with a bare leg, wrapped about with bloody rags.
He was a lucky man to have friends. My brother woke from his torpor of astonishment and lifted her up, speaking gently to her, and carried her to Miss Elphinstone. So soon as my brother touched her she became quite still, as if frightened. The people crushed back on one another to avoid the horse.
My brother pushed the pony and chaise back into the hedge, and the man drove by and stopped at the turn of the way. It was a carriage, with a pole for a pair of horses, but only one was in the traces. My brother saw dimly through the dust that two men lifted out something on a white stretcher and put it gently on the grass beneath the privet hedge.
It is Lord Garrick. We have no water. I dare not leave my people. Go on! They rolled hither and thither among the struggling feet The Worlds Saviour - William Mundy men and horses.
The man stopped and looked stupidly at the heap, and the shaft of a cab struck his shoulder and sent him reeling. He gave a shriek and dodged back, and a cartwheel shaved him narrowly.
So soon as the cab had passed, he flung himself, with both hands open, upon the heap of coins, and began thrusting handfuls in his pocket. The driver of the cart slashed his whip at my brother, who ran round behind the cart. The multitudinous shouting confused his ears. The man was writhing in the dust among his scattered money, unable to rise, for the wheel had broken his back, and his lower limbs lay limp and dead.
My brother stood up and yelled at the next driver, and a man on a black horse came to his assistance. It is quite a shame, because these are some of Bach's finest compositions. Mark Lubotsky suffers from an overuse of vibrato, making some of the movements sound like Gypsy music, and from a very poor rhythmic feel for the pieces. In some of the faster movements, it sounds as if he is rushing so much that he totally loses the flow. The 17 CDs of organ music included in this set are by Hans Fagius, a set that was originally released by Bis records in Sweden.
This is a fine set, indeed one of the best complete recordings of Bach's organ music. Fagius demonstrates a magnificent understanding of Bach's organ music, and the instruments used are excellent. One work, however, is lacking: the Art of Fugue played on the organ. It is included here only in a harpsichord version, although it is often played on the organ. There is also no orchestral version of the work, either; but, The Sixteen, you can't have everything!
This long work, at over 19 minutes, is a series of variations of a choral prelude. After an initial presentation of the chorale, Bach takes off in his most brilliant set of variations for the organ. Using every resource available for the organ, he displays an incredible variety of styles, from simple two-part sections to elaborate counterpoint.
One of the advantages and disadvantages of this set as compared to the Teldec and Haenssler sets is that all the keyboard music is recorded on the harpsichord. This is an advantage because Bach wrote most of his keyboard music for the harpsichord - the piano was only invented near the end of his life.
Not that there is anything wrong with playing Bach's music on the piano; I am instrument-agnostic. But there is a certain coherence here that arises from the constant use of the harpsichord. Yet, this is also a disadvantage. The Haenssler set, in particular, features some unique, little-recorded instruments - there is a magnificent disc of music for the lautenwerk, or lute-harpsichord; there is a fair amount of music recorded on the clavichord; and, Robert Hill's masterful recording of the Well-Tempered Clavier - one of the finest on disc - is recorded on several instruments: harpsichord, clavichord, fortepiano and organ.
In any case, the keyboard box in this set is excellent. On 23 CDs, some wonderful performers are present. Joseph Payne's French Suites originally recorded for Bis are among the finest recordings of these popular works. Payne's approach to these suites is intimate and reserved, yet he does not hesitate to play somewhat more freely in the repetitions of the various movements. His interpretation is clear and unambiguous; firm in, say the first suite, more delicate, almost dainty in the sixth suite.
Under Joseph Payne's fingers, these works take on a new feeling. Pieter-Jan Belder's Partitas are sensitive and moving, though they do not approach the excellent recording by Trevor Pinnock, which is part of the Haenssler set.
Belder has a judicious approach to the Partitas, though it could be considered a bit conservative. The recording here by Leon Berben is a mixed bag. The sound of his harpsichord has both good and bad points - it is an attractive instrument, but it suffers from a bit too much reverb. His playing is adequate, but his interpretation of the works ranges from inspired, in some of the pieces, to confused in others.
It sometimes sounds as if he is right at home with the music, but, at other times, he seems to be unfamiliar with it, playing hesitantly. He has a light, delicate touch in the opening aria, which starts this work out in a very attractive tone.
His harpsichord, a Ruckers copy, sounds magnificent - just the right level of presence and strength. Often, such recording leads to a bad sound, but here it works very well. His playing is lively in the faster variations, and sensitive in the slower ones. This is indeed a fine performance. How can one conclude such a review? With a simple yes or no recommendation? Well, if it were that simple, I would give a resounding "yes"; I do, indeed, highly recommend this set.
I have recordings of all of Bach's works, and did before receiving this set - I have some Bach CDs - yet I was delighted and surprised as I listened to the many pearls that I discovered in this set. There are some drawbacks, though, mostly those inherent in buying any such complete set. While many of the recordings are excellent, there are some which are mediocre. Nevertheless, the good ones do outweigh the lemons, and, if you like Bach's music, you owe it to yourself to get this set - at its super-bargain price, even those recordings you don't like will not cause too much disappointment, but the quality of the excellent ones is such that you will certainly be delighted.
Note that the cost of some of the recordings in this set that have been licensed from other labels would far exceed the total cost of the entire set. If only to have the 60 CDs of sacred cantatas, and to discover what is an incredible collection of moving and memorable music, this set is worth having. Treat yourself to CDs of Bach, then, take a few weeks off to enjoy this music. Kirk McElhearn. Antonio Florio. These charming works constitute an important Italian bridge between the baroque violin literature and the music of the classical period.
They are virtuoso works of great technical difficulty, clearly written for the finest players of the day. Reinhard Goebel. Etichette: repost. William Boyce - 8 Symphonies. Trevor Pinnock. Instrumental Music of Oboe Sonatas Languir Me Fais Claude de Sermisy 3. Secourez Moy Claude de Sermisy 8. Dont Vient Cela Claude de Sermisy Las, Je My Plains F.
Joyssance Vous Donneray Claude de Sermisy Au Joly Boys Claude de Sermisy The Cantatas In Octoberthe first boxes of these cantatas, each containing 5 CDs, appeared on the shelves of the Krudivat drug store chain in the Netherlands. Sacred Vocal Works Here, again, Brilliant Classics has licensed recordings of the passions, masses and other works.
Chamber Music Bach's "chamber music" includes a variety of works, from sonatas for violin and harpsichord to trio sonatas, from flute pieces to sonatas for viola da gamba and harpsichord. Solo Instrumental Works Some of Bach's finest music is for solo instruments other than the keyboard. Keyboard Works One of the advantages and disadvantages of this set as compared to the Teldec and Haenssler sets is that all the keyboard music is recorded on the harpsichord.
Kirk McElhearn Read more: here. Music was for Leonarda an expression of her deep faith, a reflection of the parallel between divine and human order, contemplated and experienced through her own creative abilities. Her more than two hundred compositions include her instrumental works: the twelve sonatas for 1, 2, 3 and 4 instruments from her op. Leonarda herself followed this practice: her op.
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