Zoe Brookshaw Vidéos
Dernière mise à jour
2024-05-27
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Bach Brookshaw Griffiths Bowen Sam Furness Alex Ashworth Kuhn Rees Barnes 2013
JS Bach ~ Weihnachts-Oratorium BWV 248 Solomon's Knot www.solomonsknotcolletive.com CANTATA V, no.1 Ehre sei dir, Gott, gesungen, Dir sei Lob und Dank bereit'. Dich erhebet alle Welt, Weil dir unser Wohl gefällt, Weil anheut unser aller Wunsch gelungen, Weil uns dein Segen so herrlich erfreut. ENGLISH Glory be sung to you, O God, Let praise and thanks be prepared for you. The whole world lifts you up, Because you are pleased by our wellbeing, Because today all our wishes are fulfilled, Because your blessing fills us with such tremendous joy. Solomon's Knot Soprano: Zoë Brookshaw, Clare Lloyd-Griffiths Alto: Kate Symonds-Joy, James Hall Tenor: Gwilym Bowen, Sam Furness Bass: Alex Ashworth, Jonathan Sells Violin I: Julia Kuhn, Isabel Meuser Violin II: James Toll, Naomi Burrell Viola: Joanne Miller, John Crockatt 'Cello: Jonathan Rees, Kathleen Ross Double bass: Jan Zahourek Flute I: Eva Caballero Flute II: Tom Hancox Oboe I: Joel Raymond Oboe II: Stephanie Oatridge Bassoon: Hayley Pullen Harpsichord/organ: David Wright Artistic director: Jonathan Sells Recorded live at St John's Smith Square, London, 3 Dec 2013 Video: Matthew Jolly Sound & editing: Alexander Barnes (Apple & Biscuit) 聖誕神劇 约翰·塞巴斯蒂安·巴赫 クリスマス・オラトリオ ヨハンセバスチャンバッハ 크리스마스 오라토리오 요한 세바스티안 바흐
Johann Sebastian Bach Stephan Macleod Macleod Brookshaw Marianne Beate Kielland Kielland Alex Potter Kossenko Laporte Ferber Roel Dieltiens Handel Pergolesi Gli Angeli Genève 1685 1733 1750 2021
Johann Sebastian Bach +••.••(...)) h-moll-Messe, BWV 232 VIIa. Domine Deus Zoë Brookshaw, soprano Valerio Contaldo, tenor The Playlist: (http•••) Gli Angeli Genève Stephan MacLeod, conductor Aleksandra Lewandowska, soprano Zoë Brookshaw, soprano Marianne Beate Kielland, mezzo-soprano Alex Potter, alto Valerio Contaldo, tenor Stephan Macleod, bass Alexis Kossenko, traverso flute Emmanuel Laporte, oboe Olivier Picon, horn Guy Ferber, trumpet Leila Schayegh, violin Roel Dieltiens, cello Release date: 26.03.2021 A monumental mass The idea of bringing together pieces drawn essentially from the vast corpus of cantatas was not unusual; a similar approach was taken by several of his contemporaries, such as Handel, and Bach himself had done so for the short masses he composed in the late 1730s[2]. These were called parodies. Moving from the German text of the cantatas to the Latin text of the masses meant adapting the vocal lines, with additions and deletions, polyphonic and harmonic enrichments, and changes in instrumentation. Throughout his life, Bach never ceased to revisit his works with a view to improving them. Imagining the production of a monumental Mass, which can be seen as a musical testament to him, Bach began by exploring the repertoire of his own music, while studying various Masses by other composers that were available to him (and among the scores he studied was Pergolesi’s Stabat mater, which he himself had adapted). He decided above all to use a mass (Missa in Lutheran language) composed in 1733 after the death on February 1 of Augustus the Strong, ruler of Lutheran Saxony, on which Leipzig and Catholic Poland depended. It consisted, as was the case with the Lutheran masses, of the Kyrie and the Gloria, the music of which was largely original (only four of the nine pieces in the Gloria come from earlier compositions). But Bach wanted to compose a Mass with the different parts of the Catholic Ordinary, with the Credo, Sanctus, Benedictus and Agnus Dei. Faced with the magnitude of the two movements of the Missa, each as impressive as the other, Bach was compelled to write a large Credo. Read more & order: (http•••) Album N°: CD 3014/15 EAN: 7619931301426 / Contact us: •••@••• / +••.••(...) Press: •••@••• This video is encoded with Youtube's Free video quality and from an Mp3 audio. You can find this album in HR music or better quality with the links below on the platforms and their usual provided products: iTunes: (http•••) Spotify: (http•••) Amazon: (http•••) Qobuz: (http•••) .. / Do you want to synch that? Cézame Musique (http•••) Find a Reseller in your Country (http•••) / Website & Shop: (http•••) Twitter: (http•••) Facebook: (http•••) Spotify: (http•••) #JohannSebastianBach #GliAngeli #Messe #Bach #Genève #Classical #Clavesrecords
Johann Sebastian Bach Stephan Macleod Macleod Brookshaw Marianne Beate Kielland Kielland Alex Potter Kossenko Laporte Ferber Roel Dieltiens Handel Pergolesi Gli Angeli Genève 1685 1733 1750 2021
Johann Sebastian Bach +••.••(...)) h-moll-Messe, BWV 232 XIII. Et incarnatus est The Playlist: (http•••) Gli Angeli Genève Stephan MacLeod, conductor Aleksandra Lewandowska, soprano Zoë Brookshaw, soprano Marianne Beate Kielland, mezzo-soprano Alex Potter, alto Valerio Contaldo, tenor Stephan Macleod, bass Alexis Kossenko, traverso flute Emmanuel Laporte, oboe Olivier Picon, horn Guy Ferber, trumpet Leila Schayegh, violin Roel Dieltiens, cello Release date: 26.03.2021 A monumental mass The idea of bringing together pieces drawn essentially from the vast corpus of cantatas was not unusual; a similar approach was taken by several of his contemporaries, such as Handel, and Bach himself had done so for the short masses he composed in the late 1730s[2]. These were called parodies. Moving from the German text of the cantatas to the Latin text of the masses meant adapting the vocal lines, with additions and deletions, polyphonic and harmonic enrichments, and changes in instrumentation. Throughout his life, Bach never ceased to revisit his works with a view to improving them. Imagining the production of a monumental Mass, which can be seen as a musical testament to him, Bach began by exploring the repertoire of his own music, while studying various Masses by other composers that were available to him (and among the scores he studied was Pergolesi’s Stabat mater, which he himself had adapted). He decided above all to use a mass (Missa in Lutheran language) composed in 1733 after the death on February 1 of Augustus the Strong, ruler of Lutheran Saxony, on which Leipzig and Catholic Poland depended. It consisted, as was the case with the Lutheran masses, of the Kyrie and the Gloria, the music of which was largely original (only four of the nine pieces in the Gloria come from earlier compositions). But Bach wanted to compose a Mass with the different parts of the Catholic Ordinary, with the Credo, Sanctus, Benedictus and Agnus Dei. Faced with the magnitude of the two movements of the Missa, each as impressive as the other, Bach was compelled to write a large Credo. Read more & order: (http•••) Album N°: CD 3014/15 EAN: 7619931301426 / Contact us: •••@••• / +••.••(...) Press: •••@••• This video is encoded with Youtube's Free video quality and from an Mp3 audio. You can find this album in HR music or better quality with the links below on the platforms and their usual provided products: iTunes: (http•••) Spotify: (http•••) Amazon: (http•••) Qobuz: (http•••) .. / Do you want to synch that? Cézame Musique (http•••) Find a Reseller in your Country (http•••) / Website & Shop: (http•••) Twitter: (http•••) Facebook: (http•••) Spotify: (http•••) #JohannSebastianBach #GliAngeli #Messe #Bach #Genève #Classical #Clavesrecords
Bach Brookshaw Lloyd Griffiths Hastings Herford Alex Ashworth Campbell Rees Caballero Bree William Russell Hoddinott Barnes 1685 1750 2016
J.S. Bach +••.••(...)) ~ Mass in B minor BWV 232 last movement, "Dona nobis pacem" (Give us peace) Solomon's Knot solomonsknotcollective.com Soprano I: Zoë Brookshaw, Clare Lloyd-Griffiths Soprano II: Jessica Gillingwater, Ciara Hendrick Alto: Roderick Morris, Kate Symonds-Joy Tenor: Edmund Hastings, Thomas Herford Bass: Alex Ashworth, Jonathan Sells Violin I: James Toll, Guy Button Violin II: Jamie Campbell, Beatrice Philips Viola: Joanne Miller, Nichola Blakey 'Cello: Jonathan Rees Double bass: Jan Zahourek Flute I: Eva Caballero Flute II: Thomas Hancox Oboe/oboe d'amore I: Leo Duarte Oboe/oboe d'amore II: Robert de Bree Bassoon I: Inga Maria Klaucke Bassoon II/Oboe III: Hayley Pullen Trumpet I: Russell Gilmour Trumpet II: William Russell Trumpet III: Gareth Hoddinott Timpani: Rosemary Toll Harpsichord/organ: Chad Kelly Recorded live at Spitalfields Music Winter Festival, Shoreditch Town Hall, 11 December 2016. Sound recording: Alexander Barnes, appleandbiscuit.com Video recording & editing: Jordi Castan jordicastan.com b小調彌撒 约翰·塞巴斯蒂安·巴赫 ミサ曲 ロ短調 ヨハンセバスチャンバッハ 나단조 미사 요한 세바스티안 바흐
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