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Eugen Jochum - Complete Recordings on DG, Vol.2 (2017)

Classic, Discographies | Author: MusicBox | 30-11-2019, 15:37
Eugen Jochum - Complete Recordings on DG, Vol.2 (2017)Artist: Eugen Jochum
Title Of Album: Complete Recordings on DG, Vol.2
Year Of Release: 2017
Label (Catalog#): DG
Country: German
Genre: Classical
Quality: FLAC (*image+.cue+.log,scans)
Bitrate: Lossless
Time: 46:50:47
Full Size: 10,5 Gb

2018-07-07

Product Description
Now, completing Jochum’s entire recorded legacy on DG and Philips, comes Jochum’s Complete Opera and Choral Recordings. These 38 CDs include creative and insightful bonus content, original jacket presentation plus a newly-remastered and new-to-DG CD set of Wagner’s Lohengrin with the sensational yet little-known Lorenz Fehenberger, described by Sir Georg Solti as, “one of the most extraordinary tenor talents I have ever worked with.” This latter operatic addition to the catalogue also becomes a stand-alone digital album. Social tools and a trailer will be announced shortly. Booklet notes include an introduction by Jochum’s daughter who clearly understood her father’s art and musicianship.

• 38 CDs presenting Eugen Jochum’s complete opera and choral recordings for Deutsche Grammophon and Philips. This is a companion edition to Deutsche Grammophon’s COMPLETE EUGEN JOCHUM RECORDINGS VOL.1: ORCHESTRAL WORKS
• Includes a newly remastered and new-to-DG CD set of Wagner’s Lohengrin
• Documentation includes an introduction by Jochum’s daughter and an essay on Jochum as a conductor of sacred and operatic works; plus intriguing rarely-heard bonus content including a German-Language audio biography of the conductor’s life.
• Original Jacket presentation

Choral Highlights include:
• J.S. Bach’s major sacred works: The Mass in B Minor, the St. Matthew and the St John Passions and the Christmas Oratorio.
• A live recording of Mozart’s Requiem, recorded in Vienna’s Stefansdom complete with church service.
• Distinguished recordings of Beethoven’s Missa solemnis and of Bruckner’s Te Deum recorded twice by Jochum, in 1950 and 1965.
• The reference recording, made in the presence of the composer, of Carl Orff’s Trionfi. Also recorded in the presence of the composer, a classic interpretation of Carmina Burana, to which has now been appended a speech by Carl Orff thanking the recording artists at the end of the 1967 sessions.
Opera Highlights include:
• A newly remastered recording of Wagner’s Lohengrin, never before available on DG CD. This includes a sensational performance by Bavarian farmer’s son Lorenz Fehenberger: as Gramophone commented in their original LP review: “a really impressive performance of Lorenz Fehenberger. He has a fine range of tone-colour, and I cannot for the life of me understand why we have not heard a great deal more of him.”
• Four more operas, two of which have near-legendary status: Die Meistersinger (with Ludwig, Domingo, Fischer-Dieskau) and "Cos?" (with Seefried, K?th, Prey, Fischer-Dieskau).
• Bonus Content on CD38 includes:
• A German audio biography of Eugen Jochum entitled Erz?hltes Leben which is NEW to CD: English translation available online for purchasers.
• An improvisation on "I Love Paris in the Springtime" played by Jochum on the organ of the Herkulessaal in Munich, recorded for an internal celebratory album in 1974 and never before publicly released.

About the Artist
EUGEN JOCHUM It was in his youth that Eugen Jochum formed his love of the musical works which accompanied the Catholic liturgy and it was as a church musician he developed his ear for a good voice. Inspired by his discovery of Wagner’s Tristan he pursued a career as an opera conductor and developed an extensive repertoire; the mainstays of which were the Mozart operas, Beethoven’s Fidelio, Weber’s Freisch?tz and the complete Wagner corpus. A further love became the great sacred works of J. S. Bach, which he perceived as an exalted form of divine service. With his profound grasp of the organ and his deep understanding of Bruckner’s works and his Catholic faith he also became the paradigm of Bruckner exponents and exegetes. Long before the movement towards historically informed performance practice, Jochum was concerned to perform, as far as at all possible, in the manner in which the composer intended and he took a great deal of trouble with his scores: In a handwritten note on his conducting copy of the score of Der Freisch?tz, he noted that the dynamics and phrasing in the facsimile were not reproduced in his conducting score: “It is incomprehensible that [the publisher] did not print it in his edition as it appears in the original!! The original is thus absolutely correct!!”

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