Bwv 54

La Nuova Musica; David Bates, Lucy Crowe, Tim Mead - Pergolesi: Stabat Mater; J.S. Bach: Cantatas BWV 54 & 170 (2017)

Giovanni Pergolesi: Stabat Mater; Johann Sebastian Bach: Cantatas BWV 54 & 170 (2017)
Lucy Crowe, soprano; Tim Mead, countertenor; La Nuova Musica; David Bates, conductor

EAC | FLAC | Image (Cue&Log) ~ 283 Mb | Mp3 (CBR320) ~ 147 Mb | Artwork included
Classical, Sacred, Vocal | Label: Harmonia Mundi | # HMM907589 | Time: 01:04:14

Two of Bach’s finest cantatas, both for solo alto, composed in Weimar (1714) and Leipzig (1726) respectively, are here coupled with the delicious agony of grief that is Pergolesi’s 'Stabat mater', an acknowledged masterpiece by one of the 18th century’s most influential composers. Bach so admired the composition of his Neapolitan colleague that he made his own ‘parody’ of it to a German text. On this recording, La Nuova Musica, in its 10th anniversary year, and its two eminent soloists display equal mastery of both idioms.
Lucy Crowe, Tim Mead, La Nuova Musica & David Bates - Pergolesi: Stabat Mater - Bach: Cantatas, BWV 54 & 170 (2017) [24/96]

Lucy Crowe, Tim Mead, La Nuova Musica & David Bates - Pergolesi: Stabat Mater - Bach: Cantatas, BWV 54 & 170 (2017)
FLAC (tracks) 24-bit/96 kHz | Time - 64:09 minutes | 1.09 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

Handel wrote little for his native tongue, but what he did demonstrates a particular level of contemplative piety while still employing the familiar techniques of Italian opera. Praise for the beauty of nature and eternal life are the subjects of the sacred poems by his contemporary Barthold Heinrich Brockes which Handel set to music in his 'Nine German Arias'. Each aria celebrates an aspect of nature, from the beauty of a flaming rose to the sweetness of silence, with extraordinary tenderness and sincerity.
Lucy Crowe, Tim Mead, La Nuova Musica & David Bates - Pergolesi: Stabat Mater; Bach: Cantatas, BWV 54 & 170 (2017)

Lucy Crowe, Tim Mead, La Nuova Musica & David Bates - Pergolesi: Stabat Mater; Bach: Cantatas, BWV 54 & 170
Classical | WEB FLAC (tracks) & d. booklet | 64:04 min | 279 MB
Label: Harmonia Mundi | Tracks: 21 | Rls.date: 2017

Two of Bach s finest cantatas, both for solo alto, composed in Weimar (1714) and Leipzig (1726) respectively, are here coupled with the delicious agony of grief that is Pergolesi s 'Stabat mater', an acknowledged masterpiece by one of the 18th century s most influential composers.
Bach - Cantatas BWV 54, 170; Concerto BWV 1060; Orchestral Suite BWV 1067 (Tafelmusik Baroque Orchestra) (2011)

Bach - Cantatas BWV 54, 170; Concerto BWV 1060; Orchestral Suite BWV 1067 (Tafelmusik Baroque Orchestra) (2011)
Classical | Eac, Flac, Img+Cue, Log | Covers | 350.79 MB
Label: Analekta | Cat. N.: AN 2 9878 | TT - 68:47

Here's a collection of Bach pieces where the performances fit together exceptionally well. The basic sound is that of Canada's veteran Baroque ensemble Tafelmusik under violinist and director Jeanne Lamon: smooth, bright, French in its light seductiveness. Sample the almost accentless Rondeau from the Suite in A minor, a violin-and-strings transcription (and according to musicologist Joshua Rifkin a reconstruction of an original version) of the Suite in B minor for orchestra, BWV 1067; you couldn't call it gutsy, but the degree of control and consistency is impressive.
Bach J.S. - Cantates pour alto; BWV 170, 54, 35 - Herreweghe (1998)

Bach J.S. - Cantates pour alto; BWV 170, 54, 35 (Herreweghe; Scholl) (1998)
APE, IMG+CUE, LOG, Complete Artwork (jpg) => 269 MB | 59’17
EAC Rip | Classical/Sacred/Vocal | Label: Harmonia Mundi Fr. | FSonic/FServe

Three of Bach's four cantatas for solo alto were written within the period of a few months in the year, 1726. It is surmised by musicologists that they were written for a specific singer, for they are very difficult, and not easily sung by the moderately skilled personage. There are strenuous technical demands on the vocal and expressive qualities of the singer, who must be an accomplished coloratura capable of expressive cantible singing as well as possessing accurate intonation. A female or a castrato voice were out of the question, but a high falsetto was not.
Iestyn Davies, Arcangelo, Jonathan Cohen - Johann Sebastian Bach: Cantatas Nos 54, 82 & 170 (2017)

Johann Sebastian Bach: Cantatas Nos 54, 82 & 170 (2017)
Iestyn Davies, countertenor; Arcangelo; Jonathan Cohen, conductor

EAC | FLAC | Image (Cue&Log) ~ 341 Mb | Mp3 (CBR320) ~ 154 Mb | Artwork included
Genre: Classical, Vocal | Label: Hyperion | # CDA68111 | Time: 01:04:51

Gramophone Magazine Editor's Choice - January 2017. Ich habe genug is a timeless, transcendental masterpiece: a profound expression of Christian faith at the very end of life. It demands artistry of a special order, and Iestyn Davies now joins the likes of Dietrich Fischer-Dieskau and Lorraine Hunt Lieberson in the work’s distinguished discography. The couplings are equally ravishing performances of two other great solo cantatas, while the two orchestral sinfonias which complete the album will prove refreshingly familiar.
Iestyn Davies, Arcangelo & Jonathan Cohen - JS Bach: Cantatas Nos 54, 82 & 170 (2017) [TR24][OF]

Iestyn Davies, Arcangelo & Jonathan Cohen - JS Bach: Cantatas Nos 54, 82 & 170
Classical | FLAC (tracks) 24-bit/96 kHz | 64:44 min | 1.22 GB | Digital booklet
Label: Hyperion | Tracks: 15 | Rls.date: 2017

Ich habe genug is a timeless, transcendental masterpiece: a profound expression of Christian faith at the very end of life. It demands artistry of a special order, and Iestyn Davies now joins the likes of Dietrich Fischer-Dieskau and Lorraine Hunt Lieberson in the work’s distinguished discography. The couplings are equally ravishing performances of two other great solo cantatas, while the two orchestral sinfonias which complete the album will prove refreshingly familiar.
Richard Egarr - J.S.Bach: The French Suites, BWV 812-817 (2016) [Official Digital Download 24/88]

Richard Egarr - J.S.Bach: The French Suites, BWV 812-817 (2016)
FLAC (tracks) 24-bit/88.2 kHz | Time - 105:08 minutes | 2.12 GB
Studio Master, Official Digital Download | Artwork: Digital Booklet

The nineteenth century was one in which musicians were very busy applying names and titles to older musical conventions of form, gure and function. Virtually all of the ‘titles’ applied to ‘Classical’ sonatas, symphonies and chamber music by Haydn, Mozart and Beethoven come from a much later time. The music of the seventeenth and eighteenth centuries also did not escape this desire to name and codify.
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 | Rls.date: 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!
Yehudi Menuhin - Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006 (2000)

Yehudi Menuhin - Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006 (2000)
EAC | FLAC | Image (Cue & Log) ~ 419 Mb | Total time: 67:36+72:39 | Scans included
Classical | Label: EMI | # 5 73740.41 2 | Recorded: 1957

The sonatas and partitas for solo violin (BWV 1001–1006) are a set of six works composed by Johann Sebastian Bach. They are sometimes referred to in English as the sonatas and partias for solo violin in accordance with Bach's headings in the autograph manuscript: "Partia" (plural "Partien") was commonly used in German-speaking regions during Bach's time, whereas the Italian "partita" was introduced to this set in the 1879 Bach Gesellschaft edition, having become standard by that time. The set consists of three sonatas da chiesa in four movements and three partitas (or partias) in dance-form movements.
The set was completed by 1720, but was only published in 1802 by Nikolaus Simrock in Bonn. Even after publication, it was largely ignored until the celebrated violinist Joseph Joachim started performing these works. Today, Bach's Sonatas and Partitas are an essential part of the violin repertoire, and they are frequently performed and recorded.