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Munchener Bach-Chor, Munchener Bach-Orchester & Karl Richter - Bach: Johannes Passion (2016) [Hi-Res]

Classic, HD Tracks & Vinyl | Author: SELMER | 15-12-2017, 16:07
Munchener Bach-Chor, Munchener Bach-Orchester & Karl Richter - Bach: Johannes Passion (2016) [Hi-Res]
Artist: Munchener Bach-Chor, Munchener Bach-Orchester & Karl Richter
Title Of Album: Johann Sebastian Bach: Johannes Passion (St. John Passion)
Year Of Release: 2016
Label: Archiv Produktion
Country: Germany
Genre: Classical
Quality: FLAC (*tracks, booklet)
Bitrate: Lossless [192kHz/24bit]
Time: 2:08:47
Full Size: 5.24 GB





Tracklist:

Part One
01. Chorus: "Herr, unser Herrscher"
02. Recitative And Chorus: "Jesus ging mit seinen Jungern" / "Jesum von Nazareth" / "Jesus spricht zu ihnen" / "Jesum von Nazareth" / "Jesus antwortete"
03. Choral: "O grosse Lieb"
04. Recitative: "Auf dass das Wort erfullet wurde"
05. Choral: "Dein Will geschehe"
06. Recitative: "Die Schar aber"
07. Aria: "Von den Stricken meiner Sunde"
08. Recitative: "Simon Petrus aber folgete Jesu nach"
09. Aria: "Ich folge dir gleichfalls"
10. Recitative: "Derselbige Junger war dem Hohenpriester bekannt"
11. Choral: "Wer hat dich so geschlagen"
12. Recitative And Chorus: "Und Hannas sandte ihn gebunden" / "Bist du nicht seiner Junger einer?" / "Er leugnete aber"
13. Aria: "Ach, mein Sinn"
14. Choral: "Petrus, der nicht denkt zuruck"

Part Two
15. Choral: "Christus, der uns selig macht"
16. Recitative And Chorus: "Da fuhrten sie Jesum von Kaiphas" / "Ware dieser nicht ein Ubeltater" / "Da sprach Pilatus" / "Wir durfen niemand toten"
17. Choral: "Ach grosser Konig"
18. Recitative And Chorus: "Da sprach Pilatus zu ihm" / "Nicht diesen, sondern Barrabam" / "Barrabas aber war ein Morder"
19. Arioso: "Betrachte, meine Seel"
20. Aria: "Erwage, wie sein blutgefarbter Rucken"
21. Recitative And Chorus:"Und die Kriegsknechte" / "Sei gegrusset, lieber Judenkonig" / "Und gaben ihm backenstreiche" / "Kreuzige, kreuzige" / "Pilatus sprach"
22. Choral: "Durch dein Gefangnis, Gottes Sohn"
23. Recitative And Chorus: "Die Juden aber schrien" / "Lassest du diesen los" / "Da Pilatus" / "Weg, weg mit dem" / "Spricht Pilatus" / "Wir haben keinen Konig"
24. Aria With Chorus: "Eilt, ihr angefochtenen Seelen" / "Wohin?"
25. Recitative And Chorus: "Allda kreuzigten sie ihn" / "Schreibe nicht: der Juden Konig" / "Pilatus antwortete"
26. Choral: "In meines Herzens Grunde"
27. Recitative And Chorus: "Die Kriegsknechte aber" / "Lasset uns den nicht zerteilen" / "Auf das erfullet wurde die Schrift"
28. Choral: "Er nahm alles wohl in acht"
29. Recitative: "Und von Stund an"
30. Aria: "Es ist vollbracht"
31. Recitative: "Und neigte das Haupt"
32. Aria With Choral: "Mein teurer Heiland" / "Jesu, der du warest tot"
33. Recitative: "Und siehe da, der Vorhang"
34. Arioso: "Mein Herz, in dem die ganze Welt"
35. Aria: "Zerfliesse, mein Herze"
36. Recitative: "Die Juden aber"
37. Choral: "O hilf, Christe, Gottes Sohn"
38. Recitative: "Darnach bat Pilatum Joseph von Arimathia"
39. Chorus: "Ruht wohl, ihr heiligen Gebeine"
40. Chroral: "Ach Herr, lass dein lieb Engelein"

Karl Richter was regarded as one of the great Bach conductors of the twentieth century, noted for solid regularity in rhythms and a serious approach to the music, though he was not given to following the changing pronouncements of musicologists concerning historical accuracy in performance.

He was brought up in the tradition of German Protestant religious music; his father was a minister in the central German regions near where Johann Sebastian Bach had lived. Richter learned piano and organ, and as he approached his 12th birthday entered the Kreuzschule school in Dresden. After World War II, he entered the Leipzig Conservatory, where he studied with Rudolf Mauersberger, and also studied at the Leipzig Institute for Sacred Music, where he learned Bach interpretation from Karl Straube and Gunther Ramin. Very soon he was appointed choirmaster of the Christuskirche in Leipzig at the age of 20, and in 1947 became the organist of the Thomanerkirche, both institutions with strong Bach traditions.

He left East Germany in 1950 to live in West Germany and settled in Munich, where he was organist of the Markuskirche and started teaching that same year at the Hochschule fur Musik of Munich. He organized the Munich Bach Choir in 1951, and in 1953 added to it the Munich Bach Orchestra. His performances naturally centered on Bach and under Richter his musicians and singers became one of the most renowned organizations specializing in the music of the great German master and his era.

The formation of the Munich Bach Chorus and Orchestra reflected a growing international interest in music of the Baroque and, sparked by the advent of the LP record, the notion of integral series of composers' works. Deutsche Grammophon's Archiv label was the first of such historic specialty sub-labels. Richter and his Bach Choir and Orchestra became a major pillar of that label and recorded numerous Bach choral works, gaining international recognition.

They toured frequently, and Richter also played and recorded often as an organist and harpsichordist. In 1968, Richter made one of his most dramatic guest conducting tours when he conducted the St. John Passion and the B minor Mass in both Moscow and Leningrad at a time when religious music of any sort was rarely heard in the Soviet Union.

Although his regularity of tempo (some called it inflexibility) placed him apart from the Romantic manner of performing Bach, Richter's performances otherwise retained the Romantic era's approach, stressing the solemnity of Bach's music and including dramatic large-scale dynamic contrasts. Newer research and the growing popularity of "original" or "period" instrument performances did not affect his interpretations, which used modern instruments. In some respects, younger interpreters who emerged in the 1970s considered him the representative of an approach against which they were reacting.

Later in his career, Richter enlarged his repertory to conduct Classical, and even Romantic, era works, but tended to remain known primarily as a Baroque specialist. He is best remembered for his mastery of Baroque choral/orchestral works of the largest scale, where his architectural approach to the music is most effective. His recordings of the Bach Passions, oratorios, B minor Mass, and Magnificat, as well as Handel oratorios such as the Messiah, are considered his most important contribution to the Baroque discography. -- Joseph Stevenson



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