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Johann Sebastian Bach Werner Güra Benoit Arnould Dorothee Mields Pilati Mol Alex Potter Thomas Hobbs Hobbs Stephan Macleod Macleod Matthew Brook Kossenko Laporte Andres Chanu Stein Millischer Köll Boesch Guerrero Zoon Fournier Kaufmann Ramos Gura Gli Angeli Genève 1685 1750 2020
Matthäus-Passion, BWV 244 Johann Sebastian Bach +••.••(...)) 52. Aria "Können Tränen meiner Wangen" (Alto II) Marine Fribourg The Playlist: (http•••) Release date: 10.04.2020 Distribution Gli Angeli Genève Werner Güra, Evangéliste Benoit Arnould, Jésus Dorothee Mields, soprano I (Ancilla I) Aleksandra Lewandowska, soprano II (Uxor Pilati) Sarah Van Mol (Ancilla II) Alex Potter, alto I | Marine Fribourg, alto II (Testis I) Thomas Hobbs, ténor I | Valerio Contaldo, ténor II (Testis II) Stephan MacLeod, basse I (Judas, Pontifex II, Pilatus) | Matthew Brook, basse II (Petrus, Pontifex I) Solistes instrumentaux Alexis Kossenko, Sarah van Cornewal et Jan Van den Borre, flûtes Emmanuel Laporte et Katharina Andres, hautbois Leila Schayegh et Eva Saladin, violons Romina Lischka, viole de gambe Continuo Tomasz Wesołowski, basson Ageet Zweistra et Dorine Lepeltier, violoncelles Michaël Chanu et Cléna Stein, contrebasses Francis Jacob et Maude Gratton, orgues Bertrand Cuiller, clavecin Maîtrise du Conservatoire Populaire de Musique, Danse et Théâtre de Genève, Petits Chanteurs de la Schola de Sion, Maîtrise Musique Ecole du Conservatoire de Lausanne Stephan MacLeod, direction Choeur I Solos Dorothee Mields, soprano (Ancilla I) | Alex Potter, alto | Thomas Hobbs, ténor | Benoit Arnould, basse (Jesus) | Stephan MacLeod, basse (Judas, Pontifex II, Pilatus et airs) Ripienos Sarah Van Mol, soprano (Ancilla II) | Christelle Monney, alto | Olivier Coiffet, ténor Orchestre I Solos Leila Schayegh, violon | Alexis Kossenko, Sarah van Cornewal, traversos, flûtes à bec | Emmanuel Laporte, Katharina Andres, hautbois, hautbois d’amour, hautbois de chasse | Romina Lischka, viole de gambe Continuo Ageet Zweistra, violoncelle | Michaël Chanu, violone | Tomasz Wesołowski, basson | Francis Jacob, orgue | Bertrand Cuiller, clavecin Tutti Adrien Carré, Anne Millischer, Coline Ormond, Nadia Rigolet, violons | Caroline Cohen-Adad, Murielle Pfister, altos | Oleguer Aymami, violoncelle Choeur II Solos Aleksandra Lewandowska soprano (Uxor Pilati) Marine Fribourg, alto (Testis I) | Valerio Contaldo, ténor (Testis II) | Matthew Brook basse (Petrus, Pontifex I) Ripienos Aleksandra Turalska, soprano | Bart Uvyn, alto Thomas Köll, ténor | Frederik Sjollema, basse Orchestre II Solos Eva Saladin violon | Jan Van den Borre, traverso Seung-Kyung Lee-Blondel et Claire Thomas, hautbois Romina Lischka, viole de gambe Continuo Dorine Lepeltier, violoncelle | Cléna Stein, violone | Tomasz Wesołowski, basson | Maude Gratton, orgue | Bertrand Cuiller, clavecin Tutti Sara Boesch, traverso | Rachel Cartry, Birgit Goris, Raynier Guerrero, Angelina Holzhofer violons Claire Foltzer, Bettina Ruchti, altos | Romina Lischka, viole de gambe Coro in Ripieno Maîtrise du CPMDT de Genève, direction Magali Dami et Fruszina Szuromi | Paloma Arnold, Yan Bossy, Hélin Dunkel, Salomé Feroul, Thomas Puntos, Gaëlle Saliou, Jeanne Sapin, Noémi Zoon Petits Chanteurs de la Schola de Sion, direction Marc Bochud | Ludovic Fournier, Guillaume Kaufmann, Christoph Kronbichler, Sarah Kronbichler, Vasco Louro Ramos, Alexiane Udry Maîtrise Musique Ecole du Conservatoire de Lausanne, direction Pierre-Louis Nanchen | Joseph Chosson, Ilaria Cortazzo, Ermis Curchod, Pierre de Beaudéan, Abel Montabert, Talyah Stähli (http•••) Album N°: CD 3012/13 EAN: 7619931301228 / Find more & orders: (http•••) 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•••) GooglePlay: (http•••) Amazon: (http•••) Qobuz: (http•••) Spotify: (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•••) #StephanMacLeod #GliAngeliGenève #Bach #Geneva #Switzerland #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
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
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