Esther Brazil, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner - Handel, Bach & Scarlatti: Live at Milton Court (2014) [Hi-Res]
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BAND/ARTIST: Esther Brazil, Monteverdi Choir, English Baroque Soloists, John Eliot Gardiner
- Title: Handel, Bach & Scarlatti: Live at Milton Court
- Year Of Release: 2014
- Label: SDG
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:27:23
- Total Size: 413 mb / 1.69 gb
- WebSite: Album Preview
Tracklist
01. Stabat Mater (Live)
02. Mein Herze schwimmt im Blut, BWV 199 (Live)
03. Dixit Dominus, HWV 232 (Live)
Three musicians of immense future distinction turned eighteen in 1703—Domenico Scarlatti, Johann Sebastian Bach and the one we in England know as George Frideric Handel. This trio, together with three others born slightly earlier—the Frenchman Jean-Philippe Rameau and two other Germans (the most celebrated in their day), Johann Mattheson and Georg Philipp Telemann—formed what I have referred to as ‘The Class of ’85’. These young men saw themselves primarily as craftsmen and versatile, all-round musicians. They were also brilliant virtuoso performers, with Bach, Handel and Scarlatti on the verge of being recognised as the leading keyboard exponents of their day, even at this tender age. Tonight’s programme is designed to celebrate and compare the contrasting responses of these three young composers to the theatrically imbued church music of their day. What we might respond to as ‘dramatic’ in all three of their compositions has very little to do with the theatre. The drama is all in the mind—conjured up experimentally by musical techniques both new and old, which in Bach’s case vivify biblical incident and dogma and in Handel’s demonstrate the exercise of raw power bubbling just below the surface of the psalm text. Even at this stage there are pointers to the divergent future preoccupations of these three ’85-ers: fantasy, Latin passion tinged with mysticism (Scarlatti), love, fury, loyalty and power (Handel), life, death, God and eternity (Bach).
01. Stabat Mater (Live)
02. Mein Herze schwimmt im Blut, BWV 199 (Live)
03. Dixit Dominus, HWV 232 (Live)
Three musicians of immense future distinction turned eighteen in 1703—Domenico Scarlatti, Johann Sebastian Bach and the one we in England know as George Frideric Handel. This trio, together with three others born slightly earlier—the Frenchman Jean-Philippe Rameau and two other Germans (the most celebrated in their day), Johann Mattheson and Georg Philipp Telemann—formed what I have referred to as ‘The Class of ’85’. These young men saw themselves primarily as craftsmen and versatile, all-round musicians. They were also brilliant virtuoso performers, with Bach, Handel and Scarlatti on the verge of being recognised as the leading keyboard exponents of their day, even at this tender age. Tonight’s programme is designed to celebrate and compare the contrasting responses of these three young composers to the theatrically imbued church music of their day. What we might respond to as ‘dramatic’ in all three of their compositions has very little to do with the theatre. The drama is all in the mind—conjured up experimentally by musical techniques both new and old, which in Bach’s case vivify biblical incident and dogma and in Handel’s demonstrate the exercise of raw power bubbling just below the surface of the psalm text. Even at this stage there are pointers to the divergent future preoccupations of these three ’85-ers: fantasy, Latin passion tinged with mysticism (Scarlatti), love, fury, loyalty and power (Handel), life, death, God and eternity (Bach).
Classical | FLAC / APE | HD & Vinyl
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