Bach Rilling

Helmuth Rilling, Bach-Collegium Stuttgart, Gächinger Kantorei - Bach: Great Sacred Choral Works (10CDs) [2010]

Helmuth Rilling, Bach-Collegium Stuttgart, Gächinger Kantorei - Bach: Great Sacred Choral Works (10CDs) [2010]
EAC | FLAC | Image (Cue & Log) ~ 2.71 Gb | Total time: 10:48:54 | Scans included
Classical | Label: Sony Classical | # 88697687172 | Recorded: 1969-1985

Helmuth Rilling is an excellent conductor and interpreter of Bach's sacred music. Recorded from 1969 to 1985, over a longer period of time than most other sets, there is a lot of change throughout the series. Rilling's recordings are more dense and lush than others, and his tempi are often slower than HIP recordings - no "original instruments" for Rilling. But he creates such a detailed sound-world that any fan of these works should want to hear Rilling's versions to compare with others. This said, Rilling often uses a technique that I find a bit disturbing. He'll have one instrument or group of instruments sequestered to one track, and others on the other track, giving a sound similar to that of early Beatles' stereo mixes, where vocals were on one track and instruments on the other. This is something you never hear in live performance; while one instrument may be on one side, you still hear it on the other side. This tends to make some of the movements sound as though there's no blend among the singers and musicians.
(Kirk McElhearn)
Helmut Rilling, Pinchas Zukerman, Bach-Collegium Stuttgart - Mozart: Requiem; Exsultate, jubilate [2009]

Helmut Rilling, Pinchas Zukerman, Bach-Collegium Stuttgart - Mozart: Requiem; Exsultate, jubilate [2009]
Classical | Sony 88697529902 | TT: 68.55 | EAC (FLAC, cue, log) | Covers | 304 Mb

Blegen’s technically flawless and musically peerless rendition is a pure celebration of beautiful singing and of the wonder of Mozart’s dazzling masterpiece. The sound is as clear and immediate as if it had been recorded yesterday, and Pinchas Zukerman’s direction is exemplary. … Although Helmut Rilling’s tempos are sometimes too plodding (the opening Introitus, for example), he makes up for it elsewhere–in an emphatic Recordare and smoothly flowing Benedictus. And while the chorus has a somewhat saturated, conglomerate sound, its impact is nevertheless substantial, not only in the fullest, loudest sections, but also in the quieter passages, which come off as more evenly balanced. Soloists, on the other hand, are absolutely clear if perhaps just a bit too up-front, and the orchestra, which fares well overall, gets swallowed in the mix when the entire chorus is singing. Rilling requires keen articulation from his players and singers, which although normally a good thing sometimes (as in the opening of the Confutatis) seems overly deliberate and stifles the music’s natural momentum. However, if you’re looking for a good, basic reading of the traditional edition of the Requiem–and an unrivalled performance of the Exsultate, jubilate –you won’t go wrong with this decently remastered release. (David Vernier)
Andrew Parrott, Taverner Consort & Players - Bach: St. John Passion, Easter & Ascension Oratorios, Mass in B minor (2002)

Andrew Parrott, Taverner Consort & Players - Bach: St. John Passion, Easter Oratorio, Ascension Oratorio, Mass in B minor (2002)
EAC | FLAC | Image (Cue & Log) ~ 1,03 Gb | Total time: 33:54+75:28+65:56+50:39+52:51 | Scans included
Classical | Label: Virgin | # 5 62068 2 | Recorded: 1985, 1991, 1994

There are many, many good things about Andrew Parrott and the Taverner Consort and Players' Bach performances – their luminous colors, complete clarity, utter lucidity, and structural integrity – that there is an uneasy feeling in criticizing them for their occasional flaws. When Parrott's Bach is good, it is as great as any that has been recorded in the past 20 years. It's as great as Leonhardt's, Koopman's, or Herreweghe's, and far better than Gardiner's, Harnoncourt's, or Rilling's. And Parrott's Bach is so great in the great pieces – so great in the overwhelming dramatic intensity of the close of his Saint John Passion and so great in the mystery, agony, and ecstasy of the central choral triptych in his Mass in B minor – that his performances seem very, very great indeed.
(James Leonard)
The King's Singers, The WDR Big Band, Bill Dobbins - J.S. Bach: Christmas Oratorio (2CD) (2010) (Repost)

The King's Singers, The WDR Big Band, Bill Dobbins - J.S. Bach: Christmas Oratorio (2CD) (2010)
XLD Rip | FLAC (tracks+.cue, log) ~ 325.50 Mb (CD1) + 303.59 Mb (CD2) + 7.58 Mb (Scans) | 01:47:16
Crossover Jazz, Classical, Vocal, Big Band | Country: UK/Germany | Label: Signum Classics - SIGCD215

When Lucas Schmid, producer of the WDR Big Band, first mentioned his interest in a program of music from the Christmas Oratorio of J.S. Bach, arranged to feature this ensemble in combination with the King’s Singers, I was immediately interested and excited. Having collaborated several times with this group of uniquely gifted vocalists, including the WDR Big Band’s Bach 2000 project, I knew there was an opportunity to create something very special indeed. Bach composed the work between 1734 and 1735. Since each of the six cantatas that make up the Christmas Oratorio was originally intended for a particular Sunday in the liturgical year, the sheer quantity of music is far too much for a single performance. The first major part of my work, then, would be the musical selection.
Zuzana Ruzickova - Bach: The Complete Keyboard works (20CD Box Set) (2016)

Zuzana Ruzickova - Bach: The Complete Keyboard works (20CD Box Set) (2016)
EAC Rip | FLAC (image+.cue, log) ~ 8.08 Gb | 23:11:09 | Scans included
Classical | Country: Czechoslovakia | Label: Erato

A musician of searching intellect, generous spirit and formidable purpose, Zuzana Růžičková is one of the 20th century’s most influential harpsichordists. Central to her career, the music of Bach also helped her to transcend with grace the extraordinary adversity she faced during World War II and the Communist era. “There is something above us, near to us, which makes absolute sense, but we don’t see it. Bach tells you: ‘Don’t despair, there is a sense in life and in the world.’”
Gaechinger Cantorey & Hans-Christoph Rademann - Bach: Weihnachtsoratorium, BWV 248 (2017)

Gaechinger Cantorey & Hans-Christoph Rademann - Bach: Weihnachtsoratorium, BWV 248
Classical, Choral | WEB FLAC (tracks) & d. booklet | 151:11 min | 685 MB
Label: Carus | Tracks: 66 | 2017

Originally written for the three days of Christmastide 1734 and the beginning of 1735, Johann Sebastian Bach’s Christmas Oratorio has since gone on to become an established part of Advent and Christmas – just like turkey and Christmas pudding. With soloists Regula Muhlemann, Anna Lucia Richter, Wiebke Lehmkuhl, Sebastian Kohlhepp, and Michael Nagy, the newly-formed enembles of the Gaechinger Cantorey conducted by Hans-Christoph Rademann celebrate their first Christmas Oratorio together with this recording of all six cantatas!
Gachinger Kantorei, Bach-Collegium Stuttgart, Helmuth Rilling - Wolfgang Rihm: Deus Passus (2001) 2CDs

Wolfgang Rihm - Deus Passus (Passions-Stücke nach Lukas) (2001) 2CDs
Juliane Banse, soprano; Iris Vermillion, mezzo-soprano; Cornelia Kallisch, alto
Christoph Prégardien, tenor; Andreas Schmidt, baritone
Gächinger Kantorei; Bach-Collegium Stuttgart; Helmuth Rilling, conductor

EAC | FLAC | Image (Cue&Log) ~ 330 Mb | Mp3 (CBR320) ~ 228 Mb | Artwork included
Classical, Choral | Label: Hänssler Classic | # CD 98.397 | Time: 01:30:24

Deus Passus is one quarter of the Passion Project 2000, which celebrated not only the turning of the millennium but also commemorated the 250th anniversary of Bach’s death. German conductor Helmuth Rilling honored this occasion by commissioning Passions from four disparate composers: Wolfgang Rihm, Tan Dun, Sofia Gubaidulina, and Osvaldo Golijov. Deus Passus is a setting of the Passion according to St. Luke, and it is a marvel of a piece for many reasons. For a full hour and a half, with music that is mostly slow and largely atonal (in the sense that Berg’s music is atonal), the twisting, aching, unpredictable harmonies are totally captivating. Rihm chooses a straightforward setting, a simple, dramatic telling of the story, and it is in his capacity for restraint that the true brilliance of the piece lies. He uses the chorus sparingly, mostly for dramatic purposes, having it portray the angry rabble bent on crucifying Jesus (as it often does in Bach’s passions).
Johann Sebastian Bach - Kantaten zum Osterfestkreis (1993) (4CD) (Helmuth Rilling) {Haenssler}

Johann Sebastian Bach - Kantaten zum Osterfestkreis (1993) (4CD) (Helmuth Rilling)
EAC Rip | FLAC (tracks+.cue, log) | 1362 mb | MP3 CBR 320kbps | RAR | 648 mb
Classical, Choral | Label: Hänssler Classic - 98837

"Johann Sebastian Bach: Kantaten zum Osterfestkreis (Easter Cantatas - Cantates Pour La Fête De Pâques - Bach-Ensemble Helmuth Rilling)" is a 4-disc set with 87 songs by Johann Sebastian Bach was released May 01, 1993 on the Hänssler Classic label.
Felix Mendelssohn Bartholdy - Helmuth Rilling / Bach-Collegium Stuttgart - Elias (1994, hänssler classics # CD 98.928)

Felix Mendelssohn Bartholdy - Elias
Christine Schäfer / Bach-Collegium Stuttgart / Gächinger Kantorei Stuttgart / Helmuth Rilling
2xCD | EAC+LOG+CUE | FLAC: 507 MB | Full Artwork: 316 MB | 5% Recovery Info
Label/Cat#: hänssler classic # CD 98.928 | Country/Year: Germany 1994
Genre: Classical | Style: Romantic, Vocal, Sacred, Oratory

"Helmuth Rilling realisiert die stilistische Spannweite der Chöre vom nazarenischen a cappella über impressionistische Koloristik, einem fast Brahms'schen Sentiment, bis zur dramatischen Wucht vollkommen."~FonoForum

C.P.E. Bach - Markus-Passion (Beat Raaflaub) (2009)  Music

Posted by Ebisu at Dec. 14, 2013
C.P.E. Bach - Markus-Passion (Beat Raaflaub) (2009)

C.P.E. Bach - Markus-Passion (Beat Raaflaub) (2009)
Classical | Eac. Flac, Image+Cue, Log | Scans | 473.01 MB
Label: Ars Musici | TT: 112:36

When it came to writing Passions, C. P. E. Bach was certainly far more prolific than his father, whose St. Matthew is by far and away the model against which all others are currently measured. He wrote 21 of these, or rather, he wrote bits and pieces of each one, the rest of which was cobbled together from works by his contemporaries and even his father. These were apparently required for the Easter season in Hamburg, and even his predecessor, Telemann, was obligated to write copious numbers of Passions as part of his employment in that city. When this recording was made in 1994, the only surviving work seemed to be a St. Mark Passion that existed in a score in Cologne, which was remarkable in that it seemed to be an original independent work that belied the knowledge that Bach had in fact written his Passions as pastiches.
FANFARE: Bertil van Boer