- Chamber orchestra, Choir
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2017-11-12 00:00:00
The Bach Family [12 CD´s]
[…] Charles Medlam - direction Label: Harmonia Mundi HMC 901587 Recorded November 1995 Courtesy of member Aart [flacs & scans] Download Johann Sebastian Bach Keyboard Works from the Cöthen period Robert Hill - keyboards Lute-harpsichord (Lautenklavier) Clavichord (copy after Friderici, 1730) Label: Hänssler CD 92.107 (2CD) Recorded June 1999 [flacs & scans] Download Carl Philipp Emanuel Bach (1714-1788) Kantaten für Hamburg Wiener Kammerchor, Wiener Akademie Martin Haselböck - direction Label: ORF CD 306 Recorded November 2001 Courtesy of member Thomas Cadfael [flacs & scans] Download Johann Christoph Friedrich Bach Carl Philipp Emanuel Bach Johann Christian Bach (1735-1782) Chamber Music by the Bach Sons Hazelzet, Stuurop, Hesseling, Norde, Ogg Label: Globe GLO 5116 Recorded January 1994 Courtesy of member Aart [flacs & scans] Download […]
2014-11-24 14:00:43
From our most esteemed Jungfer Marianne Leitmetzerin, a 2012 performance of Schoenberg’s Gurre-Lieder conducted by Zubin Mehta. Arnold Schoenberg: Gurre-Lieder Singverein der Gesellschaft der Musikfreunde in Wien Konzertvereinigung Wiener Staatsopernchor Wiener Kammerchor Wiener Philharmoniker Zubin Mehta, conductor Großer Musikvereinssal, Wien 03 June 2012 Tove – Violeta Urmana Waldtaube – Daniela Denschlag Waldemar – Nikolai Schukoff Klaus Narr – Gerhard Siegel Bauer – Alexander Tsymbalyuk Sprecher – Thomas Quasthoff
2012-06-05 17:51:00
Lacking a Solar Fix
[…] character roles (as it were) shone. Daniela Denschlag provided the right balance of luxury and clarity to the Waldtaube, while Alexander Tsymbalyuk was a wonderfully lustrous Bauer. And even if Mehta seemed to drive through later sections, both Gerhard Siegel (Klaus-Narr) and Thomas Quasthoff (Sprecher) relished their turns. Quasthoff's spirited Sprechstimme should provide the springboard for a blinding final chorus. But while the male voice contributions of the Wiener Singverein, Konzertvereinigung Wiener Staatsopernchor and Wiener Kammerchor had given heft to Part 3, they lacked that punch when joined by the sopranos and altos. Gurrelieder shouldn't wear its proto-modernism entirely on its sleeve, but such generalised and self-abasing performances - on this occasion marking 200 years of the Gesellschaft der Musikfreunde - leave the listener feeling deflated. I finally got my solar fix on stepping out of the Musikverein onto Karlsplatz.
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