Misa en si Menor

Juan Crisóstomo Jacobo Antonio de Arriaga y Balzola (January 27, 1806 – January 17, 1826) was a Spanish Basque composer. He was nicknamed "the Spanish Mozart" after he died, because, like Wolfgang Amadeus Mozart, he was both a child prodigy and an accomplished composer who died young. They also shared the same first and second baptismal names; and they shared the same birthday, January 27 (fifty years apart)

Jordi Savall - Bach - Messe en si mineur, BWV 232 (2012) {2CD Alia Vox AVDVD 9896 A/D}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 508 Mb | MP3 @320 -> 240 Mb
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© 2012 Alia Vox | AVDVD 9896 A/D
Classical / Baroque

During the final years of his life, Johann Sebastian Bach (1685-1750) created the monumental body of music that can be considered his “Testament”, comprising the Musical Offering, the Art of Fugue and the B minor Mass. This latter work is a perfect synthesis of all his skill and flair in the art of composition (and essentially in that of counterpoint), as well as his gift for invention and his extraordinary sense of form, structure and number.

Par son altière magnificence, la "Sonate en si mineur" brille au firmament de la littérature romantique pour le piano. Le manuscrit porte la mention « Grande Sonate pour le piano forte, F. Liszt, terminé le 2 février 1853 », en écho à la "Grosse Sonate für das Hammerklavier" de Beethoven. En 1854, l'édition est dédiée « An Robert Schumann » qui, quinze ans auparavant, avait adressé à Liszt sa "Fantaisie op.17". Le « pianiste roi » acclamé dans toute l'Europe occupe désormais les sérieuses fonctions de Kapellmeister à Weimar — petite ville de Thuringe encore emplie du souvenir de Goethe - car le moment est venu pour lui de « briser sa chrysalide de virtuosité pour laisser plein vol à sa pensée ».

This recording is, quite frankly, a marvel. In the opening bars of the Kyrie, where tradition dictates a powerful, agonized cry for mercy, Philippe Herreweghe offers a gentle, awestruck plea that took this listener's breath away. Extroverted movements like the Gloria, Et resurrexit, and Sanctus lack nothing in excitement; Qui tollis and Dona nobis pacem feel like fervent prayers. Herreweghe's luminous Collegium Vocale and skillful, sensitive instrumentalists make every gesture, large and small, seem exactly right. The soloists have attractive voices that blend with the period instruments and each other; while each is exquisite, tenor Christoph Prégardien and alto Andreas Scholl are magnificent.

For the 200th anniversary of the birth of Franz Liszt, pianist François-Frédéric Guy has recorded an impressive album of the Harmonies poétiques et religieuses and the Sonata in B minor, a presentation that covers two CDs and demonstrates both the composer's inexhaustible imagination and the performer's commitment to the music. Because Harmonies poétiques et religieuses is predominantly defined by its meditative quality and serene moods, it contains some of Liszt's most sustained and shimmering music, and the expressive control required to play at a soft level for most of the work is fully evident in Guy's rapt and gentle performance.