Tag Archives: Johann Sebastian Bach

J.S. Bach – Easter Oratorio, BWV 249


J.S. BachEaster Oratorio, BWV 249

The Amsterdam Baroque Choir
The Amsterdam Baroque Orchestra
Ton Koopman

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Great Compositions/Performances: Fauré / Jacqueline du Pré, 1962: Elegie in C minor, Op. 24 – Gerald Moore, piano


Fauré / Jacqueline du Pré, 1962: Elegie in C minor, Op. 24 – Gerald Moore, piano

In this performance recorded April 1, 1969, twenty-four year-old Jacqueline du Pré (1945-1987), accompanied by Gerald Moore, performs the Élégie in C minor, Op. 24 (1880) by Gabriel Fauré , Op. 24, by Gabriel Faure. I created this music video from the LP, “A Jacqueline du Pré Recital,” issued on the Angel label, serial number S-37900. All images are taken from the LP and LP jacket.
—————————————-­———-
More great cello performances:

JS Bach / Jacqueline du Pré, 1962: Adagio, from the Toccata in C, BWV 564 – Angel - http://www.youtube.com/watch?v=MQqukn…

Samuel Barber / Raya Garbousova: Concerto for Cello and Orchestra, Op. 22 – Decca, 1966 - http://www.youtube.com/watch?v=1OR_ID…

Brahms / Isaac Stern / Leonard Rose, 1956: Double Concerto in A minor, Op. 102 (Allegro): http://www.youtube.com/watch?v=9vREWf…

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Great Compositions/Performances: Angela Gheorghiu: “Quia respexit” (Magnificat) by Bach


[youtube=http://www.youtube.com/watch?v=YV3DwZBlx9c&list=PLjKj2KXwkeG2n_uBNAvnwcxv2FhR-eOwT]
Johann Sebastian Bach (1685-1750)

Magnificat en majeur, BWV 243 / in D major / in D-Dur

Aria : “Quia respexit humilitatem”

Angela Gheorghiu, soprano

Madrigal Chamber Choir Romania 
London Philharmonic Orchestra
Conducted by Ion Marin , Marin Constantin
1998

 

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Make Music Part of Your Life: Johann Sebastian Bach: “Little” Fugue in G minor, BWV 578



Dario Ronchi plays the”Little” Fugue in G minor by Johann Sebastian Bach, transcribed for piano by I. Philipp.

 

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GREAT COMPOSITIONS/PERFORMANCES: Brahms Piano concerto N° 2 (Barenboim – Celibidache)



Johannes Brahms (1833 – 1897)
Pianokonzer Nr. 2
Piano concerto N° 2

München Philharmoniker
Dirigent: Sergiu Celibidache
Piano: Daniel Barenboim

1st mov 00:30
2nd mov 20:00
3rd mov 29:55
4th mov 42:26

 

Johannes Brahms

Johannes Brahms (German: [joˈhanəs ˈbʁaːms]; 7 May 1833 – 3 April 1897) was a German composer and pianist.

Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria, where he was a leader of the musical scene. In his lifetime, Brahms’s popularity and influence were considerable; following a comment by the nineteenth-century conductor Hans von Bülow, he is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the “Three Bs“.

Brahms composed for piano, chamber ensembles, symphony orchestra, and for voice and chorus. A virtuoso pianist, he premiered many of his own works; he worked with some of the leading performers of his time, including the pianist Clara Schumann and the violinistJoseph Joachim. Many of his works have become staples of the modern concert repertoire. Brahms, an uncompromising perfectionist, destroyed some of his works and left others unpublished.[1]

Brahms is often considered both a traditionalist and an innovator. His music is firmly rooted in the structures and compositional techniques of the Baroque and Classical masters. He was a master of counterpoint, the complex and highly disciplined art for which Johann Sebastian Bach is famous, and of development, a compositional ethos pioneered by Joseph HaydnWolfgang Amadeus Mozart, Ludwig van Beethoven, and other composers. Brahms aimed to honour the “purity” of these venerable “German” structures and advance them into a Romantic idiom, in the process creating bold new approaches to harmony and melody. While many contemporaries found his music too academic, his contribution and craftsmanship have been admired by subsequent figures as diverse as Arnold Schoenberg and Edward Elgar. The diligent, highly constructed nature of Brahms’s works was a starting point and an inspiration for a generation of composers.

 

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TODAY’S BIRTHDAY: DINU LIPATTI (1917)


Dinu Lipatti (1917)

Lipatti was a Romanian pianist whose career was tragically cut short by Hodgkin’s lymphoma at age 33. Despite a relatively short playing career and a small recorded legacy, Lipatti is considered among the finest pianists of the 20th century. He was much admired for his pianistic technique, and he is noted for his interpretations of Mozart, Bach, and Chopin. As a teen, Lipatti came in second in the Vienna International Piano Competition. How did his failure to take first place impact his future? More… Discuss

 

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Make Music Part of Your Life: Choral from the 147. Bach Cantate: Jesu bleibet meine Freude



Transcription of Maurice Duruflé. János Pálúr plays at the Organ of the Palace of Arts Budapest, 2008
Jesu, joy of man’s desiring / Jesu, que ma joie demeure

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Make Music Part of Your Life Series: Ensemble Passero – Adoramus te Christe von G.P. da Palestrina (1525-1594)



Adoramus te Christe von G.P. da Palestrina (1525-1594)
gesungen vom Ensemble Passero am 2. März 2013 in der Alten Kapelle zu Regensburg anlässlich des Konzertes “Glaube als Passion – Botschaften Papst Benedikts XVI. in Liedern”

 

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Great Compositions/Performances: Choral from Cantata No.147 (Jesu bleibet meine Freunde) by Johann Sebastian Bach. Conducted by Nikolaus Harnoncourt.


Bach – BWV 147 – 7 – Jesus bleibet meine Freude

Choral from Cantata No.147 by Johann Sebastian Bach. Conducted by Nikolaus Harnoncourt.

High Quality: http://www.youtube.com/watch?v=3Mn1ib…

Jesus bleibet meine Freude,
Meines Herzens Trost und Saft,
Jesus wehret allem Leide,
Er ist meines Lebens Kraft,
Meiner Augen Lust und Sonne,
Meiner Seele Schatz und Wonne;
Darum lass ich Jesum nicht
Aus dem Herzen und Gesicht.

1 – Herz und Mund und Tat und Leben http://youtube.com/watch?v=wraO_FOpFJ4
2 – Schäme dich, o Seele, nicht http://youtube.com/watch?v=QgLmLuRSDl8 
3 – Bereite dir, Jesu, noch itzo die Bahn http://youtube.com/watch?v=hIDRf-YlQVc
4 – Wohl mir, daß ich Jesum habe http://youtube.com/watch?v=3jFxeO63fj8
5 – Hilf, Jesu, hilf http://youtube.com/watch?v=Ae9trX3jKX4
6 – Ich will von Jesu Wundern singen http://youtube.com/watch?v=bKrsqh-H5YU

 

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Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring


Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring

From Wikipedia, the free encyclopedia

Jesu, Joy of Man’s Desiring is the most common English title of the 10th and last movement of the cantata Herz und Mund und Tat und Leben, BWV 147 (“Heart and Mouth and Deed and Life”), composed by Johann Sebastian Bach in 1716 and 1723. Written during his first year in Leipzig, Germany, this chorale movement is one of Bach’s most enduring works.

Jesu, joy of man’s desiring,

Holy wisdom, love most bright;

Drawn by Thee, our souls aspiring

Soar to uncreated light.

Word of God, our flesh that fashioned,

With the fire of life impassioned,

Striving still to truth unknown,

Soaring, dying round Thy throne.

Through the way where hope is guiding,

Hark, what peaceful music rings;

Where the flock, in Thee confiding,

Drink of joy from deathless springs.

Theirs is beauty’s fairest pleasure;

Theirs is wisdom’s holiest treasure.

Thou dost ever lead Thine own

In the love of joys unknown.

Enjoy, It’s all good!

 

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Great compositions/Performances: Bach: Cantata, BWV 147, Jesu, Joy of Man’s Desiring



Culture Studies: Classical Music: Bach
(A series of well-known classical music pieces one should known about.)

Bach, Johann Sebastian (1685-1750)
Style/Period: Late German Baroque (w/eclectic German, French & Italian elements); German, Leipzig-based from 1723

Bach Cantata, BWV 147, Jesu, Joy of Man’s Desiring

 

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Brilliant Music: Bach – Cantata BWV 140 – Peter Schreier – Sleepers wake


Bach – Cantata BWV 140Peter Schreier – Sleepers wake

Zion hoert die Waechter singen 
Conductor: Karl Richter
Tenor: Peter Schreier
Orchestra: Munich Bach Choir, Munich Bach Orchestra
Sleepers Wake

from wikipedia

Wachet auf, ruft uns die Stimme (Awake, calls the voice to us), BWV 140, also known as Sleepers Wake, is achurch cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the 27th Sunday afterTrinity and first performed it on 25 November 1731. It is based on the hymn “Wachet auf, ruft uns die Stimme” (1599) by Philipp Nicolai. Movement 4 of the cantata is the base for the first of Bach’s Schübler Chorales, BWV 645. The cantata is a late addition to Bach’s cycle of chorale cantatas, featuring additional poetry for two duets of Jesus and the Soul which expand the theme of the hymn.

History and text

Bach composed the cantata in Leipzig for the 27th Sunday after Trinity. This Sunday occurs only when Easter is extremely early.[1] The prescribed readings for the Sunday were from the First Epistle to the Thessalonians, be prepared for the day of the Lord (1 Thessalonians 5:1–11), and from the Gospel of Matthew, the parable of the Ten Virgins (Matthew 25:1–13).[2] The chorale cantata is based on the Lutheran hymn in three stanzas, “Wachet auf, ruft uns die Stimme” of Philipp Nicolai, which is based on the Gospel.[1] Bach composed the cantata to complete his cycle of chorale cantatas which he had begun in 1724.[3][4] The text of the three stanzas appears unchanged in movements 1, 4 and 7, while an unknown author supplied poetry for movements 2 and 3, 5 and 6, both a sequence ofrecitative and duet.[5] He refers to the love poetry of the Song of Songs, showing Jesus as the bridegroom of the Soul.[3] According to Christoph Wolff, the text was already available when Bach composed his cycle of chorale cantatas.[6]

Bach performed the cantata only once, in Leipzig’s main church Nikolaikirche on 25 November 1731.[3] According toChristoph Wolff, Bach performed it only this one time, although the 27th Sunday after Trinity occurred one more time during his tenure in Leipzig, in 1742.[1] He used movement 4 of the cantata as the base for the first of his Schübler Chorales, BWV 645.[6]

Related articles

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Great Coomposers/Compositions: Pachelbel – Canon In D Major


Pachelbel’s Canon

From Wikipedia, the free encyclopedia

Pachelbel’s Canon is the name commonly given to a canon by the German Baroque composer Johann Pachelbel in his Canon and Gigue for 3 violins and basso continuo (German: Kanon und Gigue für 3 Violinen mit Generalbaß) (PWC 37, T. 337, PC 358). It is his most famous composition. It was originally scored for three violins and basso continuo and paired with a gigue. Both movements are in the key of D major.

Like most other works by Pachelbel and other pre-1700 composers, the Canon remained forgotten for centuries and was rediscovered only in the 20th century. Several decades after it was first published in 1919 the piece became extremely popular. The piece was particularly prevalent in the pop charts of the 1990s, being sampled and appropriated in numerous commercial hits such asCoolio‘s “C U When U Get There” and Green Day‘s “Basket Case“.[1] It is frequently played at weddings and included on classical music compilations, along with other famous Baroque pieces such as ‘Air on the G String‘.

Although a true canon at the unison in three parts, it also has elements of a chaconne. It has been frequently arranged and transcribed for many different media.

History

In his lifetime, Pachelbel was renowned for his chamber works,[citation needed] but most of them were lost. Only Musikalische Ergötzung—a collection of partitaspublished during Pachelbel’s lifetime—is known, apart from a few isolated pieces in manuscripts. The Canon and Gigue in D major is one such piece. A single 19th-century manuscript copy of them survives, Mus.MS 16481/8 in the Berlin State Library. It contains two more chamber suites. Another copy, previously in Hochschule der Künste in Berlin, is now lost.[2] The circumstances of the piece’s composition are wholly unknown. One writer hypothesized that the Canon may have been composed forJohann Christoph Bach‘s wedding, on 23 October 1694, which Pachelbel attended. Johann Ambrosius Bach, Pachelbel, and other friends and family provided music for the occasion.[3] Johann Christoph Bach, the oldest brother of Johann Sebastian Bach, was a former pupil of Pachelbel.

The Canon (without the accompanying gigue) was first published in 1919 by scholar Gustav Beckmann, who included the score in his article on Pachelbel’s chamber music.[4] His research was inspired and supported by renowned early music scholar and editor Max Seiffert, who in 1929 published his arrangement of the Canon and Gigue in his Organum series.[5] However, that edition contained numerous articulation marks and dynamics not in the original score. Furthermore, Seiffert provided tempihe considered right for the piece, but that were not supported by later research.[6] The Canon was first recorded in 1940 by Arthur Fiedler,[7] and a popular recording of the piece was made in 1968 by the Jean-François Paillard chamber orchestra.[8]

Analysis

Pachelbel’s Canon combines the techniques of canon and ground bass. Canon is a polyphonic device in which several voices play the same music, entering in sequence. In Pachelbel’s piece, there are three voices engaged in canon (see Example 1), but there is also a fourth voice, the basso continuo, which plays an independent part.

 

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Great Compositions/Performances: Bach English Suite No 5 BWV 810 E minor Andras Schiff



Johann Sebastian Bach
András Schiff, Piano
English Suite No 5 in E minor, BWV 810
Prelude 0:00
Allemande 5:23
Courante 8:38
Sarabande 10:35
Passepied I, Passepied II 13:43
Gigue 16:56

 

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J. S. Bach – Motet “Singet Dem Herrn Ein Neues Lied” BWV 225 (1/3)



1. Singet Dem Herrn Ein Neues Lied
Occasion unknown.
Ps. 149:1-3; Johann Gramann, verse 3 of “Nun lob, mein Seel, den Herren,” 1530 (Wackernagel, I, #455) and interpolated aria by an unknown poet; Ps. 150:6.
Composed in Leipzig (1726-27)
Text:
[Ps. 149:1-3] (Chorus I, Chorus II)
“Sing ye the Lord a new refrain; the assembly of saints should be telling his praises. Israel joyful be in him who hath made him. Let Zion’s children rejoice in him who is their mighty king; let them be praising his name’s honor in dances; with timbrels and with psalt’ries unto him be playing”.

Hilliard Ensamble

Bach-Motets playlist: http://www.youtube.com/view_play_list…

 

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Great Comopositions/Performances: Alessandro Marcello Concerto en re minore (D minor), SF 935 – Op.1. Maurice André



Alessandro Marcello 

Concerto en re minore (D minor), SF 935 – Op.1.

I. Andante 
II. Adagio
III. Presto
Maurice André,  1993

 

Alessandro Marcello

Cover of Alessandro Marcello

From Wikipedia, the free encyclopedia  

 

Alessandro Ignazio Marcello (1st February 1673[1] in Venice – 19 June 1747 in Venice) was an Italian nobleman, poet, philosopher, mathematician and musician.

 

Biography

 

A contemporary of Tomaso Albinoni, Marcello was the son of a senator in Venice. As such, he enjoyed a comfortable life that gave him the scope to pursue his interest in music. He held concerts in his hometown and also composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatasariascanzonets, and violin sonatas. Marcello, being a slightly older contemporary of Antonio Vivaldi, often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). He died in Padua in 1747.

 

Alessandro’s brother was Benedetto Marcello, also a composer, who illegally married his singing student Rosanna Scalfi in 1728. After his death she was unable to inherit his estate, and in 1742 she filed suit against Alessandro Marcello, seeking financial support.[2]

 

Works

 

Although his works are infrequently performed today, Marcello is regarded as a very competent composer. His La Cetra concertos are “unusual for their wind solo parts, concision and use of counterpoint within a broadly Vivaldian style,” according to Grove, “placing them as a last outpost of the classic Venetian Baroque concerto.”

 

concerto op 1. Marcello wrote in D minor for oboestrings and basso continuo is perhaps his best-known work. Its worth was affirmed by Johann Sebastian Bach who transcribed it for harpsichord (BWV 974). A number of editions have been published of the famous Oboe Concerto in D minor. The edition in C minor is credited to Benedetto Marcello.

 

 

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Manuel de Falla – Suite populaire espagnole [Daniil Shafran, Nina Musinian]


 

A cello player in the partially destroyed Nati...

A cello player in the partially destroyed National Library, Sarajevo, during the war in 1992. (Photo credit: Wikipedia)

 

Suite populaire espagnole, arranged from “Siete Canciones populares españolas” (1914)

I. El Paño moruno [0:00]
II. Nana [2:05]
III. Cancion [4:49]
IV. Polo [6:06]
V. Asturiana

 

Español: Estatua de Manuel de Falla en la Aven...

Español: Estatua de Manuel de Falla en la Avenida de la Constitución de Granada (España). (Photo credit: Wikipedia)

 

[7:25]
VI. Jota [9:57]

A suite for cello and piano, arranged by French cellist Maurice Maréchal (1892-1964) from a setting of popular songs by Spanish composer Manuel Falla (1876-1946).

Cellist: Daniil Shafran
Pianist: Nina Musinian

 

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Great Composers/Compositions: Vivaldi Violin Concerto in C major, ‘Il piacere’ Op.8 No.6, RV180



Antonio Lucio Vivaldi (1678 † 1741)
Concerts for the Prince of Poland
Work: Violin Concerto in C major, ‘Il piacere’ Op.8 No.6, RV180

01. Allegro
02. Largo e cantabile
03. Allegro

Andrew Manze, violin & director
Academy of Ancient Music

From Wikipedia, the free encyclopedia  

“Vivaldi” redirects here. For other uses, see Vivaldi (disambiguation).

Antonio Vivaldi in 1725

Antonio Lucio Vivaldi (Italian: [anˈtɔːnjo ˈluːtʃo viˈvaldi]; 4 March 1678 – 28 July 1741), nicknamed il Prete Rosso (“The Red Priest”) because of his red hair, was an Italian Baroque composer, Catholic priest, andvirtuoso violinist, born in Venice. Recognized as one of the greatest Baroque composers, his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over forty operas. His best known work is a series of violin concertos known as The Four Seasons.

Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi had been employed from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with stagings of his operas in VeniceMantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for preferment. However, the Emperor died soon after Vivaldi’s arrival and Vivaldi himself died less than a year later.

Though Vivaldi’s music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded of Baroque composers, second only to Johann Sebastian Bach.[1]

 

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TODAY’S BIRTHDAY: CHRISTOPH GRAUPNER (1683)


Christoph Graupner (1683)

Graupner was a German harpsichordist and composer. After studying law at the University of Leipzig, he joined the Hamburg Opera alongside a young violinist named Handel, then became conductor to the court at Darmstadt. He won the prestigious cantorship at the Church of St. Thomas but was contractually bound to the court, so the cantorship went to another emerging composer—Johann Sebastian Bach. Graupner was a prolific writer and revered in his time. Why did he fall into obscurity? More…

 

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J.S. Bach / Wie schön leuchtet der Morgenstern, BWV 1 (Harnoncourt)



Johann Sebastian Bach (1685-1750)

Cantata BWV 1: Wie schön leuchtet der Morgenstern (25 March 1725)

1. Wie schön leuchtet der Morgenstern (Chorus)
2. Du wahrer Gottes und Marien Sohn (Recitative: T) 09:36
3. Erfüllet, ihr himmlischen göttlichen Flammen (Aria: S) 10:33
4. Ein irdscher Glanz, ein leiblich Licht (Recitative: B) 15:43
5. Unser Mund und Ton der Saiten (Aria: T) 16:42
6. Wie bin ich doch so herzlich froh (Chorale) 24:04

Soloists:
Boy Soprano: Soloist of the Wiener Sängerknaben 
Tenor: Kurt Equiluz 
Bass: Max van Egmond

Performed by the Wiener Sängerknaben & Chorus Viennensis (Chorus Master: Hans Gillesberger), and Concentus Musicus Wien under the direction of Nikolaus Harnoncourt. Recorded by Teldec in 1970.

“Wie schön leuchtet der Morgenstern (How brightly gleams the morning star) (BWV 1), composed for the Festival of the Annunciation (25th March) 1725, is the last chorale of the Year II cycle, since texts in the customary form follow from Easter onward. Bach’s unknown librettist has retained the outer verses, 1 and 7, of Philipp Nikolai’s well-known hymn (1599) in their original wording, but rewritten the inner verses as recitatives and arias. Nikolai’s hymn is only loosely connected with the Gospel reading for the day, the story of the Annunciation (Luke 1, 26-38). The last verse can most likely be interpreted as referring to the coming of the Saviour, and Bach’s librettist has woven further allusions into the second movement. Yet the profound feeling and ‘bridal’ character of the hymn well suit the subject of the festival. 

“The cantata has an unusual instrumental clothing; whereas the wind, with two horns and two oboes da caccia, emphasize the middle register only, the treble register is supplied by two concertante violins, in whose figurative playing the glittering of the ‘morning star’ is reflected. The opening chorus is a standard example of the form most frequently used in the chorale cantatas: the hymn melody, stated in long notes by the soprano (+ Horn I) with counter-points in the other choral parts, is built line by line into an independent orchestral texture.

“The recitatives, mainly set in syllabic declamation, are contrasted with the concertante, joyful agitation of the two arias, in which again instruments characteristic of the cantata’s orchestration are given prominence: oboe da caccia in the third movement, concertante violins with solo-tutti contrasts in the fifth. The simple setting of the final chorale is enriched by the independent part for the second horn.” – Alfred Dürr

Painting: Easter Morning, Caspar David Friedrich

 

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J. S. Bach: Christmas Oratorio, BWV 248, Part II: Sinfonia — CMDH & Laurenscantorij



Johann Sebastian Bach
Christmas Oratorio, BWV 248
Part II: Sinfonia

Laurenscantorij & COLLEGIUM MUSICUM Den Haag
Wiecher Mandemaker, conductor

recorded live at the Laurenskerk in Rotterdam, The Netherlands
December 1st, 2012
http://www.laurenscantorij.nl
http://www.cmdh.nl

 

J.S. Bach Magnificat Ton Koopman BWV 243 Full album Lyrics – ArcaDellaMemoria



BWV 243a http://www.arcadellamemoria.blogspot….ArcaDellaMemoria: Video. Ton Koopman J. S. Bach Magnificat BWV 243 Amsterdam Baroque Orchestra and Choir – Full album Lyricshttp://www.arcadellamemoria.blogspot…. ArcaDellaMemoria J.S. Bach Magnificat BWV 243 Complete 33:44 min. “Live Music” Concerto Orchestra Bach “Classical Music” “Johann Sebastian Bach” ArcaDellaMemoria – Musica dal Tempo “J.S. Bach” Magnificat “BWV 243″ BWV 243 ArcaDellaMemoria
“Live Music” Concerto Orchestra Bach “Classical Music” “Johann Sebastian Bach”
eo: http://youtu.be/r4zvjV4_sAY
J.S. Bach Magnificat Ton Koopman BWV 243 Full album Lyrics – ArcaDellaMemoria
Bach Magnificat BWV 243 D major Koopman – BWV 243a Amsterdam Baroque Orchestra and Choir – Full album Lyrics Deborah York, soprano I Bogna Bartosz, soprano II & alto Jörg Dürmüller, tenor Klaus Mertens, bass Ton Koopman BWV 243 not BWV 243. This is BWV 243a, an earlier version with extra four chorals inserted. 

 

Bach – Cantate BWV 190 – Singet dem Herrn ein neues Lied (Sing to the Lord a new song )



JOHANN SEBASTIAN BACH BWV 225 Sing to the LORD A NEW SONG LYRICS

Sing to the Lord a new song 

Sing to the Lord a new song, the congregation of saints praise him. Israel rejoice in him that made him.The children of Zion rejoice in their King sei’n, Let them praise his name in the series, with timbrels and with harps they want to play him. 

As a father pities 
God, you also receive our on, 
About his young infants, 
So the Lord is doing all of us, 
So we childlike fear him pure. 
He knows our frailty, 
God knows we are only dust, 
Because without you nothing is done 
With all our stuff. 
Just as the grass from the rake, 
A Blum and falling leaves. 
The wind only blows over it, 
So it is no longer there, 
Drum you be our shield and light, 
And do not deceive us our hope, 
So you’re going to make it further. 
So man passes away, 
Its end, which is close to him. 
Blessed is the only stiff and strong 
Relies on you and your bounty. 

Praise the Lord for his mighty acts, praise him according to his excellent greatness! 
Everything that has breath praise the Lord Hallelujah! 

English: Sing ye the Lord a new refrain, the assembly of saints shoulderstand be telling his praises.Israel joyful be in him who hath made him. Let Zion’s children rejoice in him who is mighty Their king, let them be praising his name’s honor in dances, with timbrels and with psalt’ries unto him be playing. 

Chorale (Chorus II) 

As a father doth mercy show 

Aria (Chorus I) 

God, take quiet Further now our part, 
To his own little children dear, 
Thus doth the Lord to all men, 
If pure as children we fear him. 
He sees our feeble powers, 
God knows we are but dust; 
For, lacking thee, naught shall we gain 
Of all our Endeavors synthesis. 
Just as the grass in mowing, 
Or bud and falling leaf, 
If wind but o’er it bloweth, 
It is no longer there, 
So be thou our shield and true light, 
And if our hope betray us not, 
Thou wilt Malthus henceforth help us. 
E’en so one’s life is passing, 
His end is near to him. 
Blest he Whose hope Both strong and firm 
On thee and on thy grace doth rest. 

[Ps 150:2 and 6] (Chorus I, Chorus II) 

Praise ye the Lord in all his doings, praise ye him in all his might and majesty! 

(Chorus I and II) 

All things Which do draw breath, praise ye the Lord, hallelujah!

 

The Amsterdam Baroque Orchestra – Johann Sebastian Bach: Orchestral Suite No. 3 in D major, BWV 1068



The Amsterdam Baroque Orchestra conducted by Ton Koopman plays the 3rd Orchestral Suite (Ouverture) in D major, BWV 1068 (? c. 1729-31), at National Museum Het Loo Palace in Apeldoorn (Netherlands).

 

J. S. Bach : Cantata — BWV 68 “Also hat Gott die Welt geliebt” (Karl Richter)



Johann Sebastian Bach (1685 – 1750)
“Also hat Gott die Welt geliebt”
(God so loved the world)
BWV 68
Event:
Cantata for Whit Monday [2nd Day of Pentecost]
Readings: 
Epistle: Acts 10: 42-48; Gospel: John 3: 16-21
Composed:
Leipzig, 1725
1st performance: May 21, 1725 – Leipzig

Text:
Christiane Mariane von Ziegler (Mvts. 2-4); Salomo Liscow (Mvt. 1); John 3: 18 (Mvt. 5)
Scoring:
Soloists: Soprano, Bass; 4-part Chorus
Orchestra: 3 trumpets, 3 trombones, 2 oboes, taille, horn, 2 violins, violoncello piccolo, viola, continuo
Mvt. 1: Chorus — Chorale (00:00)
Mvt. 2: Aria (05:31)
Mvt. 3: Recitative (09:41)
Mvt. 4: Aria (10:39)
Mvt. 5: Chorus (15:08)
Soprano: Edith Mathis
Bass: Dietrich Fischer-Dieskau

Oboe (I/II): Manfred Clement and Robert Eliscú
Englischhorn: Andreas Scwinn
Horn: Christoph Brandt
Violin: Ingo Sinnhoffer
Violincello: Fritz Kiskalt

Münchener Bach-Chor / Münchener Bach-Orchester
Conductor – Karl Richter

May 1974; Jan 1975, at Herkules-Saal, München, Germany.

 

Ludwig van Beethoven – Romance for Violin & Orchestra No. 1 in G major, Op. 40



Emmy Verhey, Violin.
Brabant Orchestra, Eduardo Marturet

 

Bach – Brandenburg Concerto No. 1 In F Major, BWV 1046


The Brandenburg concertos by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as among the finest musical compositions of the Baroque era.

Brandenburg Concerto No. 1 in F major, BWV 1046

Cologne Chamber Orchestra
Helmut Muller-Bruhl

Title on autograph score: Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello, col Basso Continuo.
Allegro
Adagio
Allegro
Menuet – Trio I – Menuet da capo – Polacca – Menuet da capo – Trio II – Menuet da capo

Instrumentation: two corni da caccia, three oboes, bassoon, violino piccolo, and two violins, viola, cello, and basso continuo.

This concerto is the only one in the collection with four movements. An earlier version (Sinfonia, BWV 1046a) which does not use the violino piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet – Trio I – Menuet – Trio II – Menuet. The first movement can also be found as the sinfonia of the cantata Falsche Welt, dir trau ich nicht, BWV 52. The third movement was used as the opening chorus of cantata BWV 207.

 

Music for a Thursday Evening: Ivo Pogorelich – Mozart – Piano Sonata No 11 in A major, K 331



Wolfgang Amadeus Mozart
Piano Sonata No 11 in A major, K 331

Ivo Pogorelich, piano

 

A. Marcello – Oboe Concerto in d minor (Marcel Ponseele, baroque oboe / Il Gardellino)



Alessandro Marcello (1684~1750)

Concerto per Oboe, Archi e Basso Continuo in re minore, SF 935 – Op.1 
(First published in 1717)

I. Andante e spiccato - 00:00
II. Adagio - 03:32
III. Presto - 07:09

Marcel Ponseele (Baroque Oboe)
Ensemble Il Gardellino 
Marcel Ponseele (conductor)

A slightly older contemporary of Antonio Vivaldi, Marcello held concerts at his hometown of Venice. He composed and published several sets of concertos, including six concertos under the title of La Cetra (The Lyre), as well as cantatas, arias, canzonets, and violin sonatas. Marcello often composed under the pseudonym Eterio Stinfalico, his name as a member of the celebrated Arcadian Academy (Pontificia Accademia degli Arcadi). He died in Padua in 1747. Alessandro’s brother was Benedetto Marcello (1686~1739), also a composer.

Although his works are infrequently performed today, Marcello is regarded as a very competent composer. His La Cetra concertos are “unusual for their wind solo parts, concision and use of counterpoint within a broadly Vivaldian style,” according to Grove, “placing them as a last outpost of the classic Venetian Baroque concerto.”

A concerto Marcello wrote in d minor for oboe, strings and basso continuo is perhaps his best-known work. Its worth was attested to by Johann Sebastian Bach who transcribed it for harpsichord (BWV 974). A number of editions have been published of the famous Oboe Concerto in d minor. The edition in c minor is credited to Benedetto Marcello.

 

J. S. Bach – Sonata No. 1 in G minor for solo violin, BWV 1001 (Live)



Sonata No. 1 in G minor for solo violin, BWV 1001 (Live)

I. Adagio 0:00
II. Fuga (Allegro4:24
III. Siciliana 10:00
IV. Presto 13:13

Soloist: Julia Fischer
Composer: Johann Sebastian Bach (1685 – 1750)

London (England). 2010. Live

 

Mozart Concerto D Minor K466 Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa



Filmed live May 20, 2012, Freiburg im Breisgau ,Germany
Cadenzas by Mozart‘s favorite student – and billiards pal, Jan Nepomuk Hummel :-) 

 

J.S. Bach – Brandenburg Concerto No.4 in sol-major BWV 1049


1. Allegro   00:00 
2. Andante  07:17
3. Presto  12:42

Johann Sebastian Bach (Eisenach, Thuringia, March 21. / March 31, 1685 – Leipzig, July 28, 1750) was an organist, harpsichordist and composer of Baroque music German member of a family of musicians most extraordinary of history, with more than 35 famous composers and many outstanding performers. 
His reputation as an organist and harpsichordist was legendary, famed throughout Europe. Apart from the organ and harpsichord, also played the violin and the viola da gamba as well as being the first great improviser renowned music. 
His prolific work is considered the pinnacle of Baroque music. He was distinguished for his intellectual depth, technical perfection and artistic beauty, and also for the synthesis of various international styles of his time and of the past and unparalleled extension. Bach is considered the last great master of the art of counterpoint, which is the source of inspiration and influence to later composers and musicians from Mozart through Schoenberg, until today.

 

Johann Sebastian Bach / Gounod – Ave Maria – wedding music classical instrumental duet



ohann Sebastian Bach & Charles Gounod – Ave Maria harp and flute duet instrumental music 
(Prelude in C major from J S Bach Well-tempered Clavier)
Classical music for wedding ceremony, thanks for listening.

Please also check out the piano and flute version:
http://www.youtube.com/watch?v=vP3MSy…

Music available at
http://www.pianomusicdownload.blogspo…

Johann Sebastian Bach – Toccata and Fugue in D Minor (the stairway to Heaven)



Johann Sebastian BachToccata and Fugue in D Minor (the stairway to Heaven)

 

J.S. Bach French Suite No.5 in G Major BWV 816 Svetlana Ponomareva piano



Extract from Svetlana Ponomareva plays Schnittke / Bach CD
Recorded in 2008 at CBC Studio One in Vancouver yet never played on CBC Radio 2

For those who do not care about musical name dropping and want to listen to a fine and informed articulation of the French Suite No.5

(Finally available for download, “Touching a Mystery” the book on rules of articulation for Baroque Clavier Music:
http://ponomarevapianist.com/news.php… )

This CD commemorates Alfred Schnittke‘s 10th passing anniversary. The selected “Five Aphorisms” written in 1990 and Sonata No. 3 written in 1992 are among his late works for piano solo, rarely performed. Svetlana’s performing of Schnittke solo piano is among the finest.

The CD also focuses on Bach’s music as the result of Svetlana’s serious work based on several in-depth researches by Alexandrov, Teregulov and Nosina from Russia on Baroque music – in particular, about articulation in Bach’s Clavier music and the symbolism of his music. Svetlana chose the Prelude and Fugue BWV 849 from the Well Tempered Clavier book 1 and the French Suite No. 5 BWV 816 to illustrate this research and demonstrate how through the rules of articulation the polyphony is serving a complex dramaturgy that is both true to the epoch -in style- and still quite personal to the performer.

http://ponomarevapianist.com/music_de…

 

J S Bach, Sicilienne BWV 1031 Valentina Lisitsa


 

Four Seasons ~ Vivaldi



For those who want to listen to specific movements

Spring 0:00

Summer 10:31

Autumn 20:59

Winter 32:48 
I know it’s kind of pointless to post this but I like this video and this is kind of like a bookmark for me to know where each movement is.

Visit for more classical music 

J.S. Bach – Brandenburg Concerto No.5 in re-major BWV 1050


Johann Sebastian Bach ( Eisenach , Thuringia , March 21 . / March 31, 1685 – Leipzig , July 28, 1750 ) was an organist , harpsichordist and composer of Baroque music German member of a family of musicians most extraordinary of history, with more than 35 famous composers and many outstanding performers .
His reputation as an organist and harpsichordist was legendary , famed throughout Europe. Apart from the organ and harpsichord , also played the violin and the viola da gamba as well as being the first great improviser renowned music .
His prolific work is considered the pinnacle of Baroque music . He was distinguished for his intellectual depth , technical perfection and artistic beauty, and also for the synthesis of various international styles of his time and of the past and unparalleled extension . Bach is considered the last great master of the art of counterpoint, which is the source of inspiration and influence to later composers and musicians from Mozart through Schoenberg , until today.

 

J. S. Bach: Orchestral Suite No. 2 in B minor, BWV 1067



J. S. Bach: Orchestral Suite No. 2 in B minor, BWV 1067
Viktória Gárdai – Flute
Pannon Philharmonic Orchestra
András Vass
LIVE RECORDING 
Kodály Centre, Pécs, 2012 02 04
Sound engineer: László Dobos
http://www.andrasvass.com
http://calartists.mymcn.org/avass.html
http://www.pfz.hu/en/a-zenekar/perman…

Ouverture
Rondeau
Sarabande
Bourrée I/II
Polonaise (Lentement) — Double
Minuet
Badinerie

 

Charles Avison (1709-1770) Concerto Grosso No.4 precedeed by Scarlatti Sonatas (1/3)



00:00 - Domenico Scarlatti (1685-1757): Sonata KV 12 in G minor
03:41 - Charles Avison (1709-1770): Concerto Grosso after Scarlatti No.4 in A minor 
Andante: Kk12

Scott Ross, musician for Scarlatti
The Avison Enseble with Pavlo Beznosiuk, musicians for Avison
http://www.avisonensemble.com/

 

Franz Schubert String Quintet in C major D956 op posth 163 Villa Musica Ensemble



Franz Schubert:
String Quintet in C major, D. 956, op. posth. 163:
00:00     I. Allegro ma non troppo
19:54     II. Adagio
34:54   III. Scherzo. Presto – Trio. Andante sostenuto
45:42   IV. Allegretto

[Villa Musica Ensemble]

Photography: Wu Kai Sha, Hong Kong, by Lifeguard.

 

Celtic Woman – Jesu Joy of Man’s Desiring


Celtic Woman - Jesu Joy of Man’s Desiring 

 

Busch String Quartet, Mozart String Quartet in E flat major K.428 (Columbia, 5-15-1942) (a very special musical treat!)



In celebration of the 100 anniversary of the founding of the Busch String Quartet (formed in 1912), one of the great ensembles in the history of recorded Classical music, here is their 1942 New York recording of Mozart’s String Quartet in E flat major, K.428 (one of the six string quartets dedicated to Haydn).

Members of the Busch String Quartet:
Adolf Busch (first violin)
Gösta Andreasson (second violin)
Karl Doktor (viola)
Herman Busch (cello)

The following biography comes from allmusic.com (with additional information from The Strad, March 2012):
“The Busch Quartet was one of the most outstanding string quartets in the first half of the twentieth century. The early version of this group was founded in 1912 as the Vienna Konzertvereinsquartett, with Adolf Busch as leader and first violinist, but the outbreak of war in 1914 ended this group. Even before demobilization was declared in November 1918, Busch founded a second quartet under his own name, holding over cellist Paul Grümmer from the earlier group. In 1921 violist Karl Doktor, also an original member, likewise rejoined, and Swede Gösta Andreasson, one of Busch’s students, accepted the second chair. This became the Busch Quartet of the 1920s, and there would be only one more overall change in the group when Grümmer retired in 1930 — he was replaced by Adolf Busch’s younger brother Hermann Busch. The “fifth Beatle” of the Busch Quartet was pianist Rudolf Serkin, who joined them in quintet literature such as Schubert’s Trout. 

The quartet’s recording career began in 1931, but Hitler’s rise to power in 1933 led the members to scatter. At first, Busch resettled in Basel in neutral Switzerland, and the group resumed its activities, including making some more recordings in London. Ultimately, Busch relocated to the United States when the Second World War appeared imminent, and the Busch Quartet made its final recordings for Columbia Records in New York. The Busch Quartet disbanded in 1943-4 when Doktor’s health began to fail. After two years of disbandment, the Busch brothers started again with new players of the inner parts, Ernest Drucker (replaced by Bruno Straumann in 1947) and Hugo Gottesmann. In a final performance in Vermont in 1951, Philipp Naegele stood in for an ailing Gottesmann. The end came with Adolf Busch’s retirement at the end of 1951 – he passed away six months later.” 

The Busch Quartet recorded all of the late quartets of Beethoven and all of best-known chamber music of Schubert, Schumann, and Brahms — this was before the development of the LP record. When Serkin joined them and additional parts were filled out by friends and other musicians, the group became the Busch Chamber Players, and in this configuration recorded the first complete set of J.S. Bach‘s Brandenburg Concertos in London in 1935. “

Bach Notebook for Anna Magdalena Concerto die liebe Minuet in G major, BWV114



Johann Sebastian Bach (1685 † 1750)

Work: Minuet No.1 in G major (Anna Magdalena Notebook II/1), BWV Anh.114 Anna Magdalena Bach Clavier-Büchlein

 

Gilels plays Scarlatti – 7 Sonatas (live in Locarno, 1984)



Gilels could do no wrong.

Domenico Scarlatti 
[1] Sonata in D minor, K 141
[2] Sonata in F major, K 518      4:39
[3] Sonata in D minor, K 32       9:38
[4] Sonata in F minor, K 466   12:43
[5] Sonata in A major, K 533   17:45
[6] Sonata in B minor, K 27     20:50
[7] Sonata in G major, K 125   25:36

Emil Gilels (piano)
Recorded: September 25, 1984, live, Chiesa di San Francesco, Locarno, Switzerland

J.S. Bach – Harpsichord or (Organ) Concerto in d minor, BWV 1059 / Ton Koopman, organ



Johann Sebastian Bach (1685~1750)
Konzert für Clavier, Streicher und Basso Continuo d-moll, BWV 1059
(incomplete work, revision by Ton Koopman version)
I. Sinfonia (from cantata, BWV 35: Sinfonia) - 00:00
II. Aria (from cantata, BWV 35: “Gott hat alles wohlgemacht”) - 05:18
III. Sinfonia: presto (from cantata, BWV 35: Second Sinfonia) - 08:59
Ton Koopman (orgel)
Ku Ebbinge (oboe da caccia)
The Amsterdam Baroque Orchestra
Ton Koopman (conductor)
*Clavier(Keyboard): harpsichord, clavichord, claviorganum, or organ etc.* 
 Concerto in d minor, BWV 1059 (incomplete) - 

Fragment consisting of 9 bars(only the first 9 bars survive in Bach’s own hand). Taken from the opening Sinfonia of the Cantata, BWV 35 “Geist und Seele wird verwirret” (1726) In the cantata, Bach uses an obbligato organ not only in the two sinfonias (which evidently form the first and last movements of a lost instrumental concerto, possibly for Oboe) but also in the aria No. 1, whose siciliano character likewise points to its original function as a concerto movement. Bach intended to write this out as a harpsichord concerto but abandoned the endeavor after only 9 bars. Continue reading

Bach – Concerto Brandeburghese No. 3 BWV 1048 (Abbado)


Bach – Concerto Brandeburghese No. 3 BWV 1048 (Abbado)
Johann Sebastian Bach – Concerto Brandeburghese n.3 (allegro, adagio, allegro)

Orchestra Mozart
Claudio Abbado, concertatore

Interpreti:
Giuliano Carmignola, Raphael Christ, Lorenza Borrani, violini
Danusha Waskiewicz, Simone Jandl, Behrang Rasseghi, viole
Mario Brunello, Enrico Bronzi, Benoît Grenet, violoncelli
Rainer Zipperling, Sabina Colonna-Preti, viole da gamba
Jacques Zoon, flauto traverso
Michala Petri, Nikolaj Tarasov, flauti dolci
Victor Aviat, Lucas Macias Navarro, Guido Gualandi, oboi
Alessio Allegrini, Jonathan Williams, corni
Reinhold Friedrich, tromba
Ottavio Dantone, cembalo solo

 

J. S. Bach – “Mache dich, mein Herze, rein” BWV 244



Johann Sebastian Bach (1685 – 1750)

“Mache dich, mein Herze, rein”, Aria (Bass) from Matthäus-Passion, BWV 244, Mov. LXV

Written in Leipzig, 1729 and revised in the same city in the late 1740′s.

1st performance: April 11, 1727 – Leipzig (Earlier Version, possibly as late as Apr 15, 1729); 2nd performance: March 30, 1736 – Leipzig (Later Version); 3rd performance: March 23, 1742 ? – Leipzig (Later Version); 4th performance: 1743-1746 – Leipzig

Scoring:
—————-
Soloists: Soprano, Alto, Tenor, Bass; Choir I: SATB; Choir II: SATB
Orchestra: 2 flutes dolce, 2 transverse flutes, oboe, 2 oboes d’amore, 2 oboes da caccia, 2 violins, viola, viola da gamba, continuo

Lyrics for Mov. LXV
——————
German (original)
Mache dich, mein Herze, rein,
Ich will Jesum selbst begraben.
Denn er soll nunmehr in mir
Für und für
Seine süße Ruhe haben.
Welt, geh aus, lass Jesum ein!

English (Translation)
Make thyself, my heart, now pure,
I myself would Jesus bury.
For he shall henceforth in me
More and more
Find in sweet repose his dwelling.
World, depart, let Jesus in!

 

Johann Sebastian Bach – Toccata and Fugue in D minor (BWV 565) with Karl Richter



Karl Richter performs Bach’s Toccata and Fugue in D minor (BWV 565) on the Organ of the Basilika in Ottobeuren

Ottobeuren Abbey has one of the richest music programs in Bavaria, with concerts every Saturday. Most concerts feature one or more of the Abbey’s famous organs. The old organ, the masterpiece of French organbuilder Karl Joseph Riepp (1710–75), is actually a double organ; it is one of the most treasured historic organs in Europe. It was the main instrument for 200 years, until 1957 when a third organ was added by G. F. Steinmeyer & Co, renovated and augmented in 2002 by Johannes Klais, making 100 stops available on five manuals (or keyboards).
(Source: http://en.wikipedia.org/wiki/Ottobeuren_Abbey)

Karl Richter (15 October 1926 – 15 February 1981) was a German conductor, organist, and harpsichordist. He was born in Plauen and studied first in Dresden, where he was a member of the Dresdner Kreuzchor and later in Leipzig, where he received his degree in 1949. He studied with Günther Ramin, Carl Straube and Rudolf Mauersberger. In the same year, he became organist at St. Thomas Church, Leipzig, where Johann Sebastian Bach once held the position as Musical Director. In 1951, he moved to Munich, where he taught at the conservatory and was cantor and organist at St. Mark’s Church. He also conducted the Münchener Bach-Chor starting in 1954 and the Münchener Bach-Orchester. In the 1960s and 1970s, he did a great deal of recording and undertook tours to Japan, the United States, Canada, Latin-America, Eastern Europe including the Soviet Union.

He conducted a wide range of music (sacred music from Heinrich Schütz to Max Reger, as well as the symphonic and concerto repertoire of the Classical and Romantic period, including Bruckner symphonies) but is best remembered today for his interpretations of Johann Sebastian Bach‘s and Händel‘s music. Karl Richter avoided the fluctuations in tempo that were then characteristic of the prevailing Romantic manner of conducting Bach, but did not incorporate period instruments and performing techniques into his performances, innovations in Baroque performance practice which had not yet fully blossomed during Richter’s career.

As well as a conductor, Karl Richter is also remembered as an excellent organist. His performances of Bach’s organ pieces are known for their imposing registrations and favorable pace.

While staying in a hotel in Munich in 1981, Karl Richter died from a heart attack. He was buried in the Enzenbühl cemetery in Zurich 8 days later.

Although both of them are of German heritage, Karl Richter has no family relationship with the renowned Russian pianist Sviatoslav Richter. (Source: http://en.wikipedia.org/wiki/Karl_Richter_(conductor)

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