DOCSLIB.ORG

Wolfgang Amadeus Mozart Sacred Works

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wolfgang Amadeus Mozart Sacred Works hänssler CLA SSIC Wolfgang Amadeus Mozart Sacred Works MASSES · MESSIAH · MISSA SOLEMNIS REQUIEM · KYRIE GÜRZENICH-KAMMERORCHESTER KÖLN · WDR SINFONIEORCHESTER BACH-COLLEGIUM STUTTGART LIMBURGER DOMSINGKNABEN · GÄCHINGER KANTOREI HELMUTH RILLING · KARL RICHTER · GÜNTER WAND · SIR COLIN DAVIS Wolfgang Amadeus Mozart sacred works CD 1 9 Nr. 6 Arie (Sopran II) CD 2 10 Nr. 24 Accompagnato-Rezitativ (Sopran I) O du, die Wonne verkündet in Zion 3'52 Er ist dahin aus dem Lande der Lebenden 0'32 Der Messias / Messiah / HWV 56 / KV 572 Der Messias / Messiah / HWV 56 / KV 572 10 Chor O du, die Wonne verkündet in Zion 1'41 11 Arie (Sopran I) In der Bearbeitung / Transcription by 11 Nr. 7 Accompagnato-Rezitativ (Bass) In der Bearbeitung / Transcription by Doch du ließest ihn im Grabe nicht 2'12 Wolfgang Amadeus Mozart (1756–1791) Blick auf! Nacht bedecket das Erdreich 2'16 Wolfgang Amadeus Mozart (1756–1791) 12 Nr. 25 Chor Machet das Tor weit 3'15 Oratorium in drei Teilen nach Bibeltexten 12 Arie (Bass) Das Volk, das im Dunkeln wandelt 4'01 Oratorium in drei Teilen nach Bibeltexten 13 Rezitativ (Sopran II) zusammengestellt von Charles Jennens, 13 Nr. 8 Soloquartett und Chor zusammengestellt von Charles Jennens, Zu welchen von den Engeln hat er je gesagt 0'15 deutsche Übersetzung von C. D. Ebeling. Uns ist zum Heil ein Kind geboren 3'55 deutsche Übersetzung von C. D. Ebeling. 14 Nr. 26 Chor Der Herr gab das Wort 1'10 Three-part Oratorio with scriptural texts 14 Nr. 9 Pifa (Hirtenmusik) 2'49 Three-part Oratorio with scriptural texts 15 Nr. 27 Arie (Sopran I) by Charles Jennens, 15 Rezitativ (Sopran II) by Charles Jennens, Wie lieblich ist der Boten Schritt 2'08 German translation by C. D. Ebeling. Es waren Hirten beisammen auf dem Felde 0'15 German translation by C. D. Ebeling. 16 Nr. 28 Chor Ihr Schall ging aus 1'23 16 Nr. 10 Accompagnato-Rezitativ (Sopran II) 17 Nr. 29 Arie (Bass) Aufnahme /Recording: 1991 Stuttgart Aufnahme /Recording: 1991 Stuttgart Aufnahmeleitung / Producer: Joachim Augustin Und sieh! Der Engel des Herrn trat zu ihnen 0'21 Aufnahmeleitung / Producer: Joachim Augustin Warum entbrennen die Heiden 4'52 Digitalschnitt / Digital editor: Richard Hauck 17 Rezitativ (Sopran II) Digitalschnitt / Digital editor: Richard Hauck 18 Nr. 30 Chor Brecht entzwei die Ketten alle 1'52 Und der Engel sprach zu ihnen 0'41 19 Rezitativ (Tenor) Der da wohnet im Himmel 0'13 Erster Teil / Part 1 18 Nr. 11 Accompagnato-Rezitativ (Sopran II) Zweier Teil / Part 2 20 Nr. 31 Arie (Tenor) 1 Nr. 1 Ouvertüre Grave – Allegro moderato 2'52 Und alsobald war da bei dem Engel 0'22 1 Nr. 16 Chor Kommt her und seht das Lamm! 2'21 Du zerschlägst sie mit dem Eisenszepter 2'08 2 Nr. 2 Accompagnato-Rezitativ (Tenor) 19 Nr. 12 Chor Ehre sei Gott in der Höhe! 1'42 2 Nr. 17 Arie (Sopran II) Er ward verschmähet 11'32 21 Nr. 32 Chor Halleluja 4'15 Tröstet Zion! 3'04 20 Nr. 13 Arie (Tenor) 3 Nr. 18 Chor Dritter Teil / Part 3 3 Arie (Tenor) Alle Tale macht hoch Erwach‘ zu Liedern der Wonne 4'07 Wahrlich, wahrlich! Er litt unsre Qual 1'59 und erhaben 3'20 21 Rezitativ (Sopran I) 4 Nr. 19 Chor 22 Nr. 33 Arie (Sopran I) 4 Nr. 3 Chor Dann tut das Auge des Blinden sich auf 0'26 Durch seine Wunden sind wir geheilet 1'49 Ich weiß, dass mein Erlöser lebet 5'24 Denn die Herrlichkeit Gottes des Herrn 3'17 22 Nr. 14 Arie (Sopran I) Er weidet seine Herde 5'22 5 Nr. 20 Chor Wie Schafe geh‘n 3'50 23 Nr. 34 Chor Wie durch Einen der Tod 2'10 5 Nr. 4 Accompagnato-Rezitativ (Bass) 23 Nr. 15 Soloquartett und Chor 6 Nr. 21 Accompagnato-Rezitativ (Sopran I) 24 Nr. 35 Accompagnato-Rezitativ (Bass) So spricht der Herr 1'22 Sein Joch ist sanft 2'31 Und alle, die ihn seh‘n 0'44 Merkt auf! 0'37 6 Arie (Bass) Doch wer mag ertragen 25 Arie (Bass) Sie schallt, die Posaun‘ 2'26 Donna Brown, soprano I, Cornelia Kallisch, soprano II 7 Nr. 22 Chor Er trauete Gott 2'25 den Tag seiner Ankunft 4'28 26 Rezitativ (Sopran II) Dann wird erfüllt 0'21 Roberto Saccà, tenor, Alastair Miles, bass 8 Nr. 23 Accompagnato-Rezitativ (Sopran II) 7 Nr. 5 Soloquartett und Chor 27 Nr. 36 Duett (Sopran II, Tenor) Gächinger Kantorei Stuttgart, Die Schmach bricht ihm sein Herz 2'12 Und er wird reinigen die Kinder Levi 2'36 O Tod, wo ist dein Pfeil 1'42 Bach-Collegium Stuttgart 9 Arie (Sopran II) Schau hin und sieh! 1'38 8 Rezitativ (Sopran II) Helmuth Rilling Denn sieh! Eine Jungfrau wird schwanger 0'27 Total time CD 1: 56'20 2 3 28 Nr. 37 Chor Doch Dank sei Dir Gott 2'17 CD 3 Missa in C minor KV 427 (417a) CD 4 29 Accompagnato-Rezitativ (Sopran I) Mass in C minor reconstructed and completed by Wolfgang Amadeus Mozart (1756–1791) Wolfgang Amadeus Mozart (1756–1791) Wenn Gott ist für uns 1'35 Helmut Eder Missa in C major KV 257 „Credo-Messe“ Requiem KV 626 30 Nr. 38 Chor Würdig ist das Lamm 3:35 Aufnahme / Recording: May 1991 Stuttgart 31 Chor Amen 3'08 1 Kyrie 2'34 Aufnahmeleitung / Producer / Digitalschnitt / Digital Aufnahme / Recording: November 1961, München 2 Gloria 3'53 editor: Richard Hauck, Tonstudio Teije van Geest, Sandhausen 1 Introitus: Requiem aeternam 4'42 Donna Brown, soprano I, 3 Credo 9'07 2 Kyrie eleison 2'32 Cornelia Kallisch, soprano II 7 I. Kyrie 6'58 4 Sanctus 1'25 3 Sequentia: Dies irae 1'54 Roberto Saccà, tenor, Alastair Miles, bass 8 II. Gloria in excelsis 2'26 5 Benedictus 5'35 4 Sequentia: Tuba mirum 3'09 Gächinger Kantorei Stuttgart, 9 Laudamus te 4'53 6 Agnus Dei 4'57 5 Sequentia: Rex tremendae majestatis 2'05 Bach-Collegium Stuttgart 10 Gratias 1'16 6 Sequentia: Recordare, Jesu pie 5'35 Helmuth Rilling Limburger Domsingknaben / 11 Domine 2'45 7 Sequentia: Confutatis maledictis 2'49 Barbara Schlick, soprano 12 Qui tollis 4'22 Total time CD 2: 76'15 8 Sequentia: Lacrimosa dies illa 2'56 Erika Schmidt-Valentin, alto / 13 Quoniam 3'37 9 Offertorium: Domine Jesu Christe 4'17 Clemens Bieber, tenor 14 Jesu Christe 0'36 10 Offertorium: Hostias et preces 5'11 Thomas Quasthoff, bass 15 Cum Sancto Spiritu 3'49 11 Sanctus Dominus 1'54 Gürzenich Kammerorchester Köln, Klaus Knubben 16 III. Credo 3'18 17 Et incarnatus est 9'24 12 Benedictus 5'09 18 IV. Sanctus 1'34 13 Agnus Dei 3'10 19 Hosanna 1'55 14 Communio: Lux aeterna 5'37 20 Benedictus / Hosanna 5'11 Maria Stader, Hertha Toepper, Christiane Oelze, soprano I John van Kesteren, Karl Christian Kohn Ibolya Verebics, soprano II Franz Eder, Münchener Bach-Chor, Scot Weir, tenor, Oliver Widmer, bass Münchener Bach-Orchester Gächinger Kantorei Stuttgart, Karl Richter Bach-Collegium Stuttgart Helmuth Rilling Total time CD 3: 79'53 4 5 15 Kyrie D minor KV 341 8'10 CD 5 Vesperae de Dominica KV 321 CD 6 Aufnahme / Recording: 1998, Dresden, Kreuzkirche Wolfgang Amadeus Mozart (1756–1791) Aufnahme / Recording: 1968, Köln Wolfgang Amadeus Mozart (1756–1791) Neill Stuart, tenor, Hans-Dieter Schöne, organ, Mass in C major KV 317 7 Dixit Dominus 3'49 Missa solemnis C major KV 337 Dresden State Opera Chorus, Krönungsmesse / Coronation Mass 8 Confitebor 5'34 Aufnahme / Recording: 1/1988 for four solo voices, choir and orchestra Dresden Symphony Chorus, 9 Beatus vir 4'41 Aufnahmeleitung / Producer: Torsten Schreier, Hans Schmidt Dresdner Singakademie, Staatskapelle Dresden, Aufnahme / Recording: 1952, Köln 10 Laudate pueri 4'20 1 Kyrie 3'31 Sir Colin Davis 11 Laudate Dominum 5'08 1 Kyrie 3'27 12 Magnificat 4'57 2 Gloria 3'32 16 Regina coeli KV 276 6'50 2 Gloria 4'38 3 Credo 1'25 3 Credo 7'12 Brigitte Dürrler, soprano, Julia Hamari, alto Limburger Domsingknaben 4 Et incarnatus est – et resurrexit 3'52 4 Sanctus 1'56 Werner Krenn, tenor, Kunikazu Ohashu, bass Barbara Schlick, soprano 5 Sanctus – Osanna in excelsis 1'51 5 Benedictus 3'24 Kölner Rundfunkchor Erika Schmidt-Valentin, alto 6 Benedictus – Osanna repetatur 2'36 6 Agnus Dei 6'30 (today: WDR Rundfunkchor Köln) Clemens Bieber, tenor 7 Agnus Dei 4'13 Kölner Rundfunk-Sinfonie-Orchester 8 Dona nobis 2'03 Thomas Quasthoff, bass Margot Guilleaume, soprano · (today: WDR Sinfonieorchester Köln) Gürzenich Kammerorchester Köln, Margit Kobeck, Günter Wand Christiane Oelze, soprano, Barbara Hölzl, alto Klaus Knubben contralto · Johannes Feyerabend, Andreas Schulist, tenor, Joachim Gebhardt, bass tenor · Ewald Kaldeweier, bass, 13 Ave verum corpus KV 618 3'16 Total time CD 4: 66'16 Münchner Motetten Chor, Kölner Rundfunkchor 14 Te Deum laudamus KV 141 7'17 Residenz Orchester München (today:WDR Rundfunkchor Köln) Limburger Domsingknaben / Hans Rudolf Zöbeley Kölner Rundfunk-Sinfonie-Orchester Barbara Schlick, soprano (today: WDR Sinfonieorchester Köln) Erika Schmidt-Valentin, alto / Günter Wand Clemens Bieber, tenor Thomas Quasthoff, bass Gürzenich Kammerorchester Köln, Klaus Knubben Total time CD 5: 66'29 6 7 Also available Litaniae de venerabili altaris sacramento KV 243 for 4 voices, 2 violins, viola, 2 oboes (2 flutes), 2 bassoons, 2 horns, 3 trombones, bass and organ Aufnahme / Recording: 1982, München 9 Kyrie. Andante moderato 3'28 10 Panis vivus. Allegro aperto 5'14 11 Verbum caro factum 1'22 12 Hostia sancta. Allegro comodo 3'55 13 Tremendum. Adagio 3'01 14 Dulcissimum convivium.
Load more

Recommended publications
  • ARSC Journal
    A Discography of the Choral Symphony by J. F. Weber In previous issues of this Journal (XV:2-3; XVI:l-2), an effort was made to compile parts of a composer discography in depth rather than breadth. This one started in a similar vein with the realization that SO CDs of the Beethoven Ninth Symphony had been released (the total is now over 701). This should have been no surprise, for writers have stated that the playing time of the CD was designed to accommodate this work. After eighteen months' effort, a reasonably complete discography of the work has emerged. The wonder is that it took so long to collect a body of information (especially the full names of the vocalists) that had already been published in various places at various times. The Japanese discographers had made a good start, and some of their data would have been difficult to find otherwise, but quite a few corrections and additions have been made and some recording dates have been obtained that seem to have remained 1.Dlpublished so far. The first point to notice is that six versions of the Ninth didn't appear on the expected single CD. Bl:lhm (118) and Solti (96) exceeded the 75 minutes generally assumed (until recently) to be the maximum CD playing time, but Walter (37), Kegel (126), Mehta (127), and Thomas (130) were not so burdened and have been reissued on single CDs since the first CD release. On the other hand, the rather short Leibowitz (76), Toscanini (11), and Busch (25) versions have recently been issued with fillers.
    [Show full text]
  • Julia Hamari Geb
    Julia Hamari geb. am 21. November 1942 in Budapest Erste Begegnung mit Karl Richter 1966 Eigentlich ist für mich ein Wunder geschehen, und so versuche ich jetzt, Richter im Geist anzu- schauen und zu ihm zu sprechen. Es war für mich ein phantastisches Erlebnis. In Budapest habe ich 1965 den großen Franz-Liszt- Wettbewerb gewonnen, dabei war ich die jüngste Teilnehmerin. Nach diesem Wettbewerb wurde eine Schallplatte gemacht, die wahrscheinlich herumgeschickt wurde, und so ist diese Schallplatte auch in Wien angekommen. Es war gerade Festspielzeit. Und wenn ich mich gut erinnere, hatte Christa Ludwig abgesagt, und man hat mich gefragt. Als kleine, 22jährige, klein eben, noch Schü- lerin, und von der Hochschule nur weg durch diesen Wettbewerb. Unglaublich aufgeputzt kam ich damals aus Ungarn an. Wir waren arm, es war eigentlich eine dunkle Zeit, aber nicht für mich. Für mich schien die Sonne durch die Musik und dadurch, dass ich dachte, man liebt mich und hilft mir. Im Musikverein in Wien wurde ich dann Richter vorgestellt. Er kam in den Raum und ich stand da, absolut unbekannt, wirklich ein kleines Mädchen, nichts anderes. Und er stand vor mir und guckte mich so an mit seinen irre großen, richtigen - ich sage immer, also positiv, wirklich mit Liebe gemeint - Fischaugen. Ich versuchte, diese Fischaugen anzustarren, und ich wurde gelähmt. Minu- tenlang gelähmt. Ich guckte diese zwei Augen an und ich dachte, ich kann keinen Ton singen. Und dann sagte er in seinem goldigen sächsischen Dialekt - ich versuche noch heute, es für meine Schüler nachzumachen -: „Na, kommen Sie, singen wir ein bisschen.“ Und dann hat er mich in ein großes Zimmer geführt und hat sofort die Erbarme- dich-Arie aus der Matthäus-Passion angefan- gen.
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • The Munich Bach Choir
    The Munich Bach Choir “… modern Bach …” / or / “… which wondrous transformation that dignified Munich Bach Choir is currently undergoing …” (Rondo 2008) The Munich Bach Choir, founded in 1954 by Karl Richter, soon gained international renown, particularly for performing the works of Johann Sebastian Bach – both live onstage during major international concert tours (be it in Paris, Moscow, Tokyo or New York) or as documented by numerous recordings. After Richter’s death in 1981 – Leonard Bernstein conducted the memorial concert in his honour – Hanns-Martin Schneidt took over the baton between 1984 and 2001. He began to expand the choir’s repertoire and continued the by now traditional conert tours. The following years saw the choir collaborating with several guest conductors, predominantly Baroque specialists such as Peter Schreier, Bruno Weil and Ralf Otto. A new era began in 2005, when Hansjörg Albrecht was appointed as new Musical Director – “a godsend for the Munich Bach Choir”, as Süddeutsche Zeitung phrased it. Under his leadership the ensemble developed a new artistic profile and gained a clear and transparent choral sound that many critics since have highlighted. Agile, animated performances of Bach’s works, inspired by historically informed practices, remain a key focus of the choir’s schedule. Unusual program concepts and a steadily expanding repertoire have become additional trademarks in recent years, marked by collaborations with the ballet companies of John Neumeier or Marguerite Donlon and with acclaimed soloists such as Marlis Petersen, Simone Kermes, Klaus Florian Vogt, or Michael Volle. The Munich Bach Choir is regularly working with its traditional artistic partners, the Munich Bach Orchestra and Bach Collegium München, but has also teamed up with other notable European orchestras.
    [Show full text]
  • Voyager's Gold Record
    Voyager's Gold Record https://en.wikipedia.org/wiki/Voyager_Golden_Record #14 score, next page. YouTube (Perlman): https://www.youtube.com/watch?v=aVzIfSsskM0 Each Voyager space probe carries a gold-plated audio-visual disc in the event that the spacecraft is ever found by intelligent life forms from other planetary systems.[83] The disc carries photos of the Earth and its lifeforms, a range of scientific information, spoken greetings from people such as the Secretary- General of the United Nations and the President of the United States and a medley, "Sounds of Earth," that includes the sounds of whales, a baby crying, waves breaking on a shore, and a collection of music, including works by Mozart, Blind Willie Johnson, Chuck Berry, and Valya Balkanska. Other Eastern and Western classics are included, as well as various performances of indigenous music from around the world. The record also contains greetings in 55 different languages.[84] Track listing The track listing is as it appears on the 2017 reissue by ozmarecords. No. Title Length "Greeting from Kurt Waldheim, Secretary-General of the United Nations" (by Various 1. 0:44 Artists) 2. "Greetings in 55 Languages" (by Various Artists) 3:46 3. "United Nations Greetings/Whale Songs" (by Various Artists) 4:04 4. "The Sounds of Earth" (by Various Artists) 12:19 "Brandenburg Concerto No. 2 in F Major, BWV 1047: I. Allegro (Johann Sebastian 5. 4:44 Bach)" (by Munich Bach Orchestra/Karl Richter) "Ketawang: Puspåwårnå (Kinds of Flowers)" (by Pura Paku Alaman Palace 6. 4:47 Orchestra/K.R.T. Wasitodipuro) 7.
    [Show full text]
  • BEES, BIRDS and MANKIND Destroying Nature by “Electrosmog”
    BEES, BIRDS AND MANKIND Destroying nature by “electrosmog” Ulrich Warnke Effects of Mobile Radio and Wireless Communication A series of papers by the Competence Initiative for the Protection of Mankind, Environment and Democracy Brochure 1 Effects of mobile radio and wireless communication A series of papers by the Competence Initiative for the Protection of Mankind, Environment and Democracy Published by Prof. Dr. med. Karl Hecht, Dr. med. Markus Kern, Prof. Dr. phil. Karl Richter and Dr. med. Hans-Christoph Scheiner Scientific consultants: Prof. Dr. rer. nat. Klaus Buchner Prof. Dr. med. Rainer Frentzel-Beyme Dr. rer. nat. Lebrecht von Klitzing Prof. Dr. phil. Jochen Schmidt Prof. Dr. jur. Erich Schöndorf Dr. rer. nat. Ulrich Warnke Prof. Dr. med. Guido Zimmer Picture credits: Cover page: Nils Steindorf-Sabath www.aboutpixel.de Brochure 1 All copyrights reserved ISBN: 978-3-00-023124-7 Kempten, November 2007 Competence Initiative for the Protection of Mankind, Environment and Democracy The founding programme in brief Our banking details: Purchase order: Raiffeisenbank Kempten [email protected] The Competence Initiative for the Acc. no. 1020 -102, Bank code 733 Price: € 5.00 Protection of Mankind, Environment 699 02 and Democracy was founded in the Keyword: “Kompetenzinitiative“ beginning of May 2007. It is an association of independent scientists, The full text of the Competence doctors, technicians and environ- Initiative for the Protection of Mankind, Mobile radio effects on human mentally committed organisations. It Environment and Democracy health operates interdisciplinary, throughout programme can be viewed at Germany and internationally. www.kompetenzinitiative.de, where we Conclusions and demands from a medical point of view also inform you of important results of Its foundation was driven by the our work and suggest options for Dr.
    [Show full text]
  • Paul Meissen
    Paul Meissen 19. Oktober 1933 Hamburg First Contact with Karl Richter If I remember rightly, I met Karl Richter for the first time in Hamburg. My studies had led me from Detmold to the State Music Chapel in Karlsruhe, Baden. After 2 1/2 years in Karlsruhe I joined the Philharmonic State Orchestra in Hamburg. I believe it was in 1956 in Hamburg that we performed the Brandenburg Concerts from Johann Sebastian Bach in two concerts. During this time I was also called upon to take part in just this performance with just this Chamber Orchestra; and that was when I met Karl Richter for the first time. This arrangement with Hamburg was, as far as Richter was concerned, supposed to develop further, but it never took place more than this one time. He was certainly disappointed that most of the orchestra members also played in other Chamber Orchestras and he never felt that they afforded him their central point of interest. And I believe I was the only one from this formation that he always called from Hamburg to Munich. Richters Music-making with the Choir The vitality and amplitude of sound of the Chamber Orchestra appealed to me from the very beginning. At a second meeting in Ansbach with the choir, I was fascinated by their liveliness and there was something else too that I had never experienced before, was the way that Richter, as conductor had to slow down the tempi of the choir. Sometimes he had to put the brakes on very hard so that the choir would not whiz off without him.
    [Show full text]
  • Brandenburg 21 Voyager.Pdf
    Home Page Album Notes Monterey Jazz Festival Monarch Butterfly Brandenburg #1 11: Franklin 12-3 Perricone 14: Hicks 15: Penkovsky 16 Earle 17-8 Morales Brandenburg #2 21: Martin Luther King 21: Guadalupe 21: Voyager Brandenbone 21 22: Rembrandt Van Rijn 22: Joe Manning 23: Leonardo DaVinci 23: Johannes Vermeer 23: Pythagoras Brandenburg #3 31: John Schoenoff Brandello 31 Monterey 323: Woody Woodland Brandenburg #4 41: Helen Iwanaga 42: Lloyd Pementil 43: Marie Curie 43: Albert Einstein 43: Linus Pauling Brandenburg #5 52-1: Lafayette 53: Shen Zhou Brandenburg #6 62-1: Voyager 2 63: San BirdBach Badinerie Magic Steps Brandenburg Medley Monterey Masters and the Ashokan Farewell Links and Info Home Page Album Notes Monterey Jazz Festival Monarch Butterfly Brandenburg #1 11: Franklin 12-3 Perricone 14: Hicks 15: Penkovsky 16 Earle 17-8 Morales Brandenburg #2 21: Martin Luther King 21: Guadalupe 21: Voyager Brandenbone 21 22: Rembrandt Van Rijn 22: Joe Manning 23: Leonardo DaVinci 23: Johannes Vermeer 23: Pythagoras Brandenburg #3 31: John Schoenoff Brandello 31 Monterey 323: Woody Woodland Brandenburg #4 41: Helen Iwanaga 42: Lloyd Pementil 43: Marie Curie 43: Albert Einstein 43: Linus Pauling Brandenburg #5 52-1: Lafayette 53: Shen Zhou Brandenburg #6 62-1: Voyager 2 63: San BirdBach Badinerie Magic Steps Brandenburg Medley Monterey Masters and the Ashokan Farewell Links and Info The Brandenburg 300 Project Update: Voyager 2 leaves our solar system on November 5, 2018, It was 11.1 billion miles from earth. Voyager 1, which crossed into interstellar space on August 25, 2012, is 13.4 billion miles from earth.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • FINAL-The Farthest PBS Credits 05-08-17 V2 Formatted For
    The Farthest: Voyager in Space Written & Directed by Emer Reynolds Produced by John Murray & Clare Stronge Director of Photography Kate Mc Cullough Editor Tony Cranstoun A.C.E. Executive Producers John Rubin, Keith Potter Sean B Carroll, Dennis Liu Narrator John Benjamin Hickey Line Producer Zlata Filipovic Composer Ray Harman Researcher Clare Stronge Archive Researcher / Assistant Editor Aoife Carey Production Designer Joe Fallover Sound Recordist Kieran Horgan Sound Designer Steve Fanagan CGI Visual Effects Ian Benjamin Kenny Visual Effects Enda O’Connor Production Manager – Crossing the Line Siobhán Ward Post Production Manager Séamus Connolly Camera Assistants Joseph Ingersoll James Marnell Meg O’Kelly Focus Puller Paul Shanahan Gaffers Addo Gallagher Mark Lawless Robin Olsson Grip John Foster Ronin Operator Dan Coplan S.O.C. Propman Ciarán Fogarty Props Buyer Deborah Davis Art Department Trainee Sam Fallover Art Department Transport Brian Thompson Imaging Support Eolan Power Production Assistants Brian O’ Leary Conor O’ Donovan Location Research Andrea Lewis Hannah Masterson Production Accounts Siobhán Murray Additional Assistant Editing Martin Fanning Tom Pierce Robert O’Connor Colorist Gary Curran Online Editor Eugene McCrystal Executive Producer BBC Kate Townsend Commissioning Editor ZDF/arte Sabine Bubeck-Paaz FOR HHMI TANGLED BANK STUDIOS Managing Director Anne Tarrant Director of Operations Lori Beane Director of Production Heather Forbes Director of Communications Anna Irwin Art Director Fabian de Kok-Mercado Consulting Producers
    [Show full text]
  • Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation
    Music and the Transhuman Ear: Ultrasonics, Material Bodies, and the Limits of Sensation “We favor morphological freedom – the right to modify and enhance one’s body, cognition and emotions.” (Transhumanist declaration, 2012)1 “I am apt to think, if we knew what it was to be an angel for one hour, we should return to this world, though it were to sit on the brightest throne in it, with vastly more loathing and reluctance than we would now descend into a loathsome dungeon or sepulchre.” (George Berkeley, 1732)2 PART I The materialist turn When Voyager probes 1 and 2 left the earth’s orbit in 1977, the committee tasked with assembling cultural artifacts followed scientist Lewis Thomas’ advice to include recordings of J. S. Bach among the many musical samples. This, it seems, was the best way to open a conversation with an unknown non-human interlocutor, wherein exchanges may be spaced hundreds of years apart. Many styles and genres were committed to the golden discs, but Thomas worried that by broadcasting Bach, the human race might be guilty of bragging to aliens: “we would be bragging, of course,” he admitted in 1972, “but it is surely excusable to put the best possible face on at the beginning of such an acquaintance.”3 His statement makes telling assumptions. To take one example, the three-voice C-major fugue Glenn Gould recorded (WTC, Book II) matches humans’ ability at auditory streaming, which, as David Huron has shown, tends to max out at around three streams, after which “confusions [over contrapuntal lines] become commonplace.”4 It would seem that part of the effect of Bach’s 1 Various, “Transhumanist Declaration,” The Transhumanist Reader, ed.
    [Show full text]
  • FORECAST WASHINGTON/ BALTIMORE EDITION 111 Ss Y`' ` R'
    FEBRUARY, 1971 60c 70' FORECAST WASHINGTON/ BALTIMORE EDITION 111 ss Y`' ` r' i THE FM LISTENING GUIDE ,`' ,, , N - ~O. I I ,wirr.!++ -...r.. 4:,°` I -.... ._,,...._. ....w -_ .:i i 1r,1C +:i--i- i__a.wre,.-_ Y^ W LOUDSPEAKER DESIGN CORPORATION INVITES ONE AND ALL TO 0 ME J TO OUR AUTHORIZED EZEKIEL SHOWS There are at least 763 places not suited for the evaluation of high fidelity speakers. They include sub- way stations, airports, and crowded hotel rooms. Since we do not display our speakers under any of these conditions, we cordially invite you to pick your audio show favorites, and then compare them to the Ezekiel Loudspeakers under rigid showroom conditions. Any of our authorized dealers will give you the Ezekiel show. Compare clarity, definition, balance, and transient response. You'll see why we feel the Ezekiel speakers are "The Most Accurate Reproducers Available." Ezekiel Show Dealers: McGuire's Audio - 6929 Arlington Road, Bethesda, Maryland 657-3336 Audio Specialists - 230 W. Broad Street, Falls Church, Virginia 532-1023 Wheaton Plaza Hi Fi - Wheaton Plaza, Wheaton, Maryland 949-2355 Stereo Corner - 19126 Montgomery Village Ave., Gaithersburg, Md. ____ 948-1175 Audio Specialists - 1605 Connecticut Ave., N.W., Washington, D. C. ____ 667-7480 Sight & Sound - Campus Hills Shopping Center, Bel Air, Maryland 734-7783 Fred Burke Says: After 14 Years Why is Audio Center Still Number 1957 - Audio Center opens for busi- ness late in year. 1958 - Audio Center was told they would not last six months in business, however, they ended up first year in the black! 1959 - Audio Center became a leading dealer in its second year of operation! 1960 - Audio Center became Fisher's largest single store dealer in entire Washington area.
    [Show full text]