Bwv 54

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.
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.
David Watkin - Johann Sebastian Bach: Cello Suites, BWV 1007-1012 (2015)

David Watkin - Johann Sebastian Bach: Cello Suites, BWV 1007-1012 (2015)
EAC | FLAC | Image (Cue&Log) ~ 620 Mb (incl 5%) | Mp3 (CBR320) ~ 360 Mb (incl 5%) | Scans included
Genre: Classical, Baroque | Label: Resonus Classics | # RES10147 | Time: 02:24:58

GRAMOPHONE AWARD WINNER 2015 - BAROQUE INSTRUMENTAL RECORDING OF THE YEAR. This recording is the first time that the five-stringed Amati has been used to record the 6th suite and it is the only original five-string cello in existence in the UK and unique in being the only one by this maker. The Cello Suites are performed on two gut-string cellos Suite Nos. 1-5 on a Francesco Ruggieri from 1660 and Suite No. 6 the five-stringed Cremona cello by A. & H. Amati from c.1600, both tuned to Baroque pitch. Bachs cello suites are renowned as the pinnacle of the instruments repertoire and are performed here in period performances by the internationally acclaimed cellist, David Watkin. David Watkin has been performing Bachs Cello Suites in concert for 35 years, and Bachs unaccompanied cello repertoire has taken him all over Europe, from the Palace of Frederick the Great at Potsdam to the Prague Spring Festival, and, as part of Sir John Eliot Gardiner's Bach Cantata Pilgrimage, included performances sitting by the font in which Bach was baptised.
Markku Luolajan-Mikkola - Johann Sebastian Bach: Sonatas and Partitas, BWV 1001-1006 (2015)

Markku Luolajan-Mikkola - J.S. Bach: Sonatas and Partitas, BWV 1001-1006 (2015)
EAC | FLAC | Image (Cue&Log) ~ 738 Mb (incl 5%) | Scans included | Time: 02:38:00
Genre: Classical, Baroque | Label: Linn Records | # CKD 548

Markku Luolajan-Mikkola has a reputation for excellence and already has two Gramophone Awards. With a fan base to match, Luolajan-Mikkola is at the top of his game. In Luolajan-Mikkola’s Linn debut, he tackles the pinnacle of Bach’s productions for violinists: the Partitas and Sonatas. Luolajan-Mikkola transcribed these works for cello. His goal with this recording has been to encapsulate expression and emotion according to the character of each movement. A historically informed musician, he performs on baroque cello.

Konstantin Lifshitz - Bach - Klavierkonzerte BWV 1052-1058 (2011)  Music

Posted by tirexiss at April 21, 2017
Konstantin Lifshitz - Bach - Klavierkonzerte BWV 1052-1058 (2011)

Konstantin Lifshitz - Bach - Klavierkonzerte BWV 1052-1058 (2011)
EAC | FLAC (image+.cue, log) | Covers Included | 01:48:29 | 546 MB
Genre: Classical | Label: Orfeo | Catalog: C 828 112 A

Konstantin Lifschitz has long since established himself as an outstanding exponent of the works of Johann Sebastian Bach. He has already recorded the `Musical Offering´ and the `Art of Fugue´ for ORFEO and now turns his attention to the composer´s seven keyboard concertos. He is partnered by the Stuttgart Chamber Orchestra, an ensemble that enjoys an equally distinguished reputation for its Bach interpretations. With only three of these seven concertos has it been possible to identify specific originals with different solo instruments, while the other four have been ascribed to various other instruments by experts in the field; attributions that none the less continue to be hotly debated.
J. S. Bach - Matthäus-Passion BWV 244 - AKAMUS, Jacobs (2013) (2CD) {Harmonia Mundi}

J. S. Bach - Matthäus-Passion BWV 244 - AKAMUS, Jacobs (2013)
EAC Rip | FLAC (tracks+.cue, log) | Artwork (300dpi, png), booklet | 1444 mb | MP3 CBR 320kbps | RAR | 1034 mb
Classical, Choral, Sacred | Label: Harmonia Mundi - HMC802156.58

The appetite for evolving performance practices in Bach’s St Matthew Passion appears undiminished as we have gradually shifted, over the generations, from larger to smaller ensembles and also towards a greater dramatic understanding of the implications of Bach’s ambitious ‘stereophonic’ double choir and orchestra choreography.
John Eliot Gardiner - Bach: St Matthew Passion BWV 244 (2017) [Official Digital Download 24/96]

John Eliot Gardiner - Bach: St Matthew Passion BWV 244 (2017)
FLAC (tracks) 24-bit/96 kHz | Time - 160:28 minutes | 2.64 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

A new live recording of Bach’s St Matthew Passion (Matthäuspassion BWV 244), recorded in Pisa Cathedral during the Anima Mundi Festival as part of the Monteverdi Choir and Orchestra’s 2016 tour.
Beatrice Rana - Bach: Goldberg Variations, BWV 988 (2017) [Official Digital Download 24/192]

Beatrice Rana - Bach: Goldberg Variations, BWV 988 (2017)
FLAC (tracks) 24-bit/192 kHz | Time - 77:28 minutes | 2.52 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

For her second Warner Classics release, young Italian pianist Beatrice Rana turns to a pinnacle of the solo keyboard repertoire and a composer she has described as “my first love”: Johann Sebastian Bach. Her interpretation of his epic Goldberg Variations bears out Le Monde’s judgement that “Beatrice Rana certainly has nothing left to prove when it comes to technique, but what makes an impression are her calm maturity and her sense of architecture,” and Gramophone’s that she is “a fully developed artist of a stature that belies her tender years.”