Handel Edición 65 cd

Erin Helyard has been acclaimed as an inspiring conductor, a virtuosic and expressive performer of the harpsichord and fortepiano, and as a lucid scholar who is passionate about promoting discourse between musicology and performance. Erin graduated in harpsichord performance from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in fortepiano performance and a PhD in musicology with Tom Beghin at the Schulich School of Music, McGill University, Montreal. He was named the Westfield Concert Scholar (Cornell University) on fortepiano for 2009–10 and from 2003 to 2012 was a central member of Montreal’s award-winning Ensemble Caprice.

Brahms' works for piano open and close his career as a composer. In his earliest sets of variations, especially those of Op. 9, the melody is of primary importance, and Brahms clings to it while freely changing the harmony. His later studies of Beethoven, however, led to his transformation of the melody into something new, adhering to the theme's basic phrase structure and harmonic pattern. As had Bach in his "Goldberg" Variations and Beethoven in the "Diabelli" Variations, Brahms, in the Variations and Fugue on a Theme of Händel, Op. 24, constructed a sprawling masterwork ……..

George Frideric Handel - Belshazzar [HWV 61] (3xCD)
Kölner Kammerchor / Collegium Cartusianum / Peter Neumann
EAC+LOG+CUE | FLAC: 1,06 GB | MP3 CBR 320: 404 MB | Full Artwork | 5% Recovery Info
Label/Cat#: MDG "Gold" # 332 1079-2 | Country/Year: Germany 2001
Genre: Classical | Hoster: Style: Baroque, Oratorio

From bar one, I felt an assurance and naturalness about the rhythms, a clarity and tonal richness in the orchestral and vocal texture, a stylishness of phrasing and embellishment, and a sheer zest and power of dramatic presentation that add up to a totally convincing and gripping whole. […] Neumann and his team have excelled themselves, and so has Handel, and anyone who thinks 18th-century music wanting in musico-dramatic force is urged to acquire this magnificent set without delay.

George Frideric Handel - Belshazzar [HWV 61] (3xCD)
Kölner Kammerchor / Collegium Cartusianum / Peter Neumann
EAC+LOG+CUE | FLAC: 1,06 GB | MP3 CBR 320: 404 MB | Full Artwork | 5% Recovery Info + Rev-part
Label/Cat#: MDG 332 1079-2 | Country/Year: Germany 2001 | Genre: Classical | Hoster: Style: Oratorio

From bar one, I felt an assurance and naturalness about the rhythms, a clarity and tonal richness in the orchestral and vocal texture, a stylishness of phrasing and embellishment, and a sheer zest and power of dramatic presentation that add up to a totally convincing and gripping whole. […] Neumann and his team have excelled themselves, and so has Handel, and anyone who thinks 18th-century music wanting in musico-dramatic force is urged to acquire this magnificent set without delay.

George Frideric Handel - Saul [HWV 53] (3xCD)
Kölner Kammerchor / Collegium Cartusianum / Peter Neumann
EAC+LOG+CUE | FLAC: 955 MB | Full Artwork | 5% Recovery Info
Label/Cat#: MDG "Gold" # 332 0801-2 | Country/Year: Germany 1998
Genre: Classical | Hoster: Style: Oratorio

…Against the competition, this new German recording rates very high. It is certainly superior to Harnoncourt's heavily cut and somewhat mannered Teldec reissue.

George Frideric Handel - Saul [HWV 53] (3xCD)
Kölner Kammerchor / Collegium Cartusianum / Peter Neumann
EAC+LOG+CUE | FLAC: 955 MB | MP3 CBR 320: 393 MB | Full Artwork | 5% Recovery Info + Rev-part
Label/Cat#: MDG 332 0801-2 | Country/Year: Germany 1998 | Genre: Classical | Hoster: Style: Oratorio

…Against the competition, this new German recording rates very high. It is certainly superior to Harnoncourt's heavily cut and somewhat mannered Teldec reissue.

Semele was first presented in London in 1744; it was billed as an oratorio for murky reasons, but indeed it is operatic. I believe that this is the third recording of the work: John Eliot Gardiner’s (on Erato) is severely cut, and although much of the singing is good, it can’t compare with John Nelson’s complete, gorgeous performance (on DG) played on modern instruments. This latter is a lithe, brilliant show with Kathleen Battle in her greatest recording as the vain, self-destructive Semele and Marilyn Horne and Samuel Ramey close to magnificent, with tenor John Aler an elegant if slightly underpowered Jupiter.