Harnoncourt Bach

Johann Sebastian Bach - Brandenburgische Konzerte Nr. 6, 5, 2
Concentus Musicus Wien / Nikolaus Harnoncourt
EAC+LOG+CUE | FLAC: 287 MB | Full Artwork: 50 MB | 5% Recovery Info
Label/Cat#: Teldec "Das Alte Werk" # 8.43627 | Country/Year: Germany 1987, 1964
Genre: Classical | Style: Baroque

"I know of few more engaging first movements of No. 3 and not one version of No. 6 which so lovingly draws the listener into the secret motivic associations of this most marvellous of consort pieces…." ~Grammophone

Johann Sebastian Bach - Messe in H-moll / Mass in B-minor BWV 232
Concentus Musicus Wien / Arnold-Schönberg-Chor / Nikolaus Harnoncourt
EAC+LOG+CUE | 2x FLAC Image: 450 MB | Artwork (no Booklet) | 5% Recovery Info
Label/Cat#: Teldec "Das Alte Werk" # 8.35716 ZA | Country/Year: Germany 1986
Genre: Classical | Style: Sacred, Baroque, Mass

…It was unusual for composers working in the Lutheran tradition to compose a Missa tota and Bach's motivations remain a matter of scholarly debate. The Mass was never performed in totality during Bach's lifetime; the first documented complete performance took place in 1859. Since the nineteenth century it has been widely hailed as one of the greatest compositions in history, and today it is frequently performed and recorded…

Nikolaus Harnoncourt and Gustav Leonhardt were at the forefront of the early music movement that swept classical music in the '70s and '80s, performing pieces from the canon with period instruments in order to re-create the original intent of the composer as closely as possible. And their most enduring legacy is right here, the complete survey of Bach's sacred cantatas that they began in 1971 and completed in 1988.

Nikolaus Harnoncourt and Gustav Leonhardt were at the forefront of the early music movement that swept classical music in the '70s and '80s, performing pieces from the canon with period instruments in order to re-create the original intent of the composer as closely as possible. And their most enduring legacy is right here, the complete survey of Bach's sacred cantatas that they began in 1971 and completed in 1988.

Nikolaus Harnoncourt and Gustav Leonhardt were at the forefront of the early music movement that swept classical music in the '70s and '80s, performing pieces from the canon with period instruments in order to re-create the original intent of the composer as closely as possible. And their most enduring legacy is right here, the complete survey of Bach's sacred cantatas that they began in 1971 and completed in 1988.

Nikolaus Harnoncourt and Gustav Leonhardt were at the forefront of the early music movement that swept classical music in the '70s and '80s, performing pieces from the canon with period instruments in order to re-create the original intent of the composer as closely as possible. And their most enduring legacy is right here, the complete survey of Bach's sacred cantatas that they began in 1971 and completed in 1988.

Telemann's connection with Darmstadt is typical of a composer who cast his net widely on the path to becoming Germany's most acclaimed composer. Appointed to his Frankfurt post in 1712 Telemann was shrewd enough to realize that to 'get on' he needed to write music for the best. In instrumental terms, he was lucky enough to be based less than 20 miles from the Darmstadt court of Ernst Ludwig VII, a music-loving nobleman who had at his disposal a fine orchestra of musicians, many recruited from Paris, trained by the court Kapellmeister, Johann Christoph Graupner (known largely through his turning down the cantorate at St Thomas's Leipzig before Bach was reluctantly found to be an acceptable choice).

The Amsterdam Bach Soloists comprise an ensemble of ten or so musicians. They play modern instruments but base their musical approach on ''an undogmatic use of authentic interpreting practice, so that the rich potentialities of the modern instruments can be combined with the baroque way of performing, which is in keeping with the accomplishments of Nikolaus Harnoncourt with the Concertgebouw Orchestra''. Most of the players are, in fact, drawn from the Concertgebouw, though there are some from Frans Bruggen's Orchestra of the Eighteenth Century. Nowadays Bach's didactic but very beautiful The Art of Fugue, is widely regarded as a work for solo harpsichord. Bach himself left no precise indication concerning instrumentation but the music was engraved in open score which places each individual voice or strand of the texture on a separate stave. This practice was not uncommon in contrapuntal keyboard works and is one of several features pointing towards the solo harpsichord as being Bach's most likely intention. Nevertheless, since 1924, when the Swiss musician Wolfgang Graeser set the canons and fugues for various combinations of instruments, the practice of performing The Art of Fugue with a mixed ensemble has remained popular.