L'Arpeggiata: Via Crucis (2010) [HD] / [SD]

Here I have an album I highly recommended purchasing. It is Via Crucis featuring Nuria Rial, Philippe Jaroussky and Christina Pluhar. I have provided a link to this product's Amazon page, as well as downloads of both MP3, and Lossless formats. Full description:

L'Arpeggiata, the French-based ensemble directed by Austrian-born harpist and lutenist Christina Pluhar, releases its second Virgin Classics album, following Teatro d'amore, a programme of Monteverdi which blended instruments and voices, score and improvisation in a kind of sublime Baroque jam session! Figaro magazine observed that "L'Arpeggiata invests Monteverdi with a dazzling array of vocal and instrumental colours. A touch of improvisation raises the singing to an incandescent level ... A unique distillation of explosive vitality," while the leading German news magazine Spiegel exclaimed: "Roll over, Monteverdi; it is a long time since classical music has held so many surprises or taken such a broad view."

L'Arpeggiata has made a speciality of exploring and exploiting the close links between Baroque repertoire and the traditional music of the Latin world and its characteristic forms such as the tarantella, the folia or the canario. In this new collection, Via Crucis, 'the way of the Cross', the focus is on the pervasive presence of religious feeling in Southern Europe. The Passion of Christ evokes the same fervour in composers such as Giovanni Felice Sances (1600-1679) or Tarquinio Merula (1594-1665) - both active in northern Italy -- as it does in the streets of Naples or the villages of Corsica. The two main works in the collection are Sance's extraordinary Stabat Mater and Merula's Hor ch'e tempo di dormire, in which the Virgin Mary lulls her baby to sleep while weeping for his future suffering and both enthrall the listener with a basso ostinato and hypnotic swaying rhythms.

Reviewing Teatro d'amore, L'Education musicale wrote that: "Ingeniously chosen vocal works are interspersed with important instrumental pieces, taking us on a supreme journey through Monteverdi. The communicative energy and the intense sculptural beauty of pieces like the final duet from L'incoronazione de Poppea or rich sequences of madrigals are transformed by an ensemble that is palpably composed of soloists. Most astonishing of all - and this is a significant discovery - is the modernity that lurks in this music ... A Venetian piece from 1664 makes one wonder whether it's a matter of Monteverdian style or jazz rhythms. ... The addition of two exceptional voices adds further appeal to this fusion of genres : Philippe Jaroussky, whose angelic timbre fills the lines blissfully and Nuria Rial, who brings a velvety tenderness. When they come together the mood reaches sensual heights. This is far more than a compilation ... it is music in its truest manifestation."

Tracklisting:

1.Heinrich Ignaz Franz von Biber: L'Annonciation
2.Anonyme: Ninna nanna alla Napoletana
3.Traditionnel/Merlandi/Guissani: Maria (sopra la Carpinese)
4.Tarquinio Merula: Hor ch'e tempo di dormine
5.Heinrich Ignaz Franz von Biber: L'Aria
6.Giovanni Legrenzi: Lumi, potete piangere
7.Traditionnel corse: Suda sangue
8.Benedetto Ferrari: Queste pungente spine
9.Luigi Rossi: Voglio morire
10.Traditionnel corse: Stabat mater
11.Giovanni Felice Sances: Stabat mater
12.Maurizio Cazzati: Passacaglia
13.Roccu Mambrini/Toni Casalonga: Lamentu di Ghjesu (sopra la Follia)
14.Tarquinio Merula: Ciaccona
15.Claudio Monteverdi: Laudate Dominum
16.Lorenzo Allegri: Canario
17.Anonyme: Ciaccona di Paradiso e dell'Inferno
18.Enzo Gragnaniello: 'Stu Criato

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Standard Definition (MP3, 200Kbps, VBR ~100MB)

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http://hotfile.com/dl/40610691/ec82016/Crucis-2010.rar.html

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High Definition (APE+CUE, 353MB, Lossless)

http://rapidshare.com/files/387934872/Via_Crucis.part1.rar.html
http://rapidshare.com/files/387934665/Via_Crucis.part2.rar.html
http://rapidshare.com/files/387934741/Via_Crucis.part3.rar.html
http://rapidshare.com/files/387934906/Via_Crucis.part4.rar.html
http://rapidshare.com/files/387934973/Via_Crucis.part5.rar.html
http://rapidshare.com/files/387935484/Via_Crucis.part6.rar.html
http://rapidshare.com/files/387935596/Via_Crucis.part7.rar.html
http://rapidshare.com/files/387935655/Via_Crucis.part8.rar.html


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Note: For those using jdownloader, it seems to be having issues with rapidshare lately. Alas, you will either need a premium account, or to use the rapidshare links in your browser (though Tucan may get around it). It's out of my hands.

Schindler's List: Original Motion Picture Soundtrack

Schindler's List: Original Motion Picture Soundtrack

Classical | WMA lossless | 67min | 273MB | RS

Schindler's List is a multiple Academy Award-winning 1993 film based on the book Schindler's Ark by Thomas Keneally. The movie, adapted by Steven Zaillian and directed by Steven Spielberg, relates the tale of Oskar Schindler, a Sudeten-German Catholic businessman who was instrumental in saving the lives of over one thousand Polish Jews during the Final Solution. The title refers to a list of the names of 1,100 Jews whom Schindler hired to work in his factory and kept from being sent to the Nazi concentration camps.



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http://rapidshare.com/files/47564962/John_Williams_-_Schindler_s_List__OST_.part3.rar


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Spem in Alium - Lamentations - Mass & Motets

Note: This description is not mine and appears to be poorly translated from another language.

"In Queene Elizabeths time there was a songe sent into England of 30 parts (whence the Italians obteyned the name to be called the Apices of the world) which beeinge songe mad[e] a heavenly Harmony. The Duke of ______ bearing a great love to Musicke asked whether none of our English men could sett as good a songe, & Tallice beinge very skillfull was felt to try whether he would undertake the Matter, which he did and mad[e] one of 40 p[ar]ts which was songe in the longe gallery at Arundell house which so farre surpassed the other th[a]t the Duke hearinge of the songe tooke his chayne of gold from of his necke & putt yt about Tallice his necke & gave yt him."
Anon.

So goes the story of the composition of Spem in alium, Tallis's great motet for 40 voices, recorded here, in the round, by Magnificat.

Although Thomas Tallis is often (rightly) described as the father of English church music - that is, music to English texts, written for the Reformed rite - his early career of course took place in Catholic establishments, and he never lost his taste for Latin music,as the contents of this disc demonstrate very clearly. Although there are good grounds for thinking that the four-part mass may date from the reign of Queen mary tudor (1553 - 8), when the Catholic rite was revived, the Lamentations and the other motets are certainly later, and therefore for different performance circumstances. Indeed, it is quite likely that Tallis did not merely have a taste for Latin music, but that he also had recusant sympathies (recusants were Catholics who refused to attend church in Elizabethan England)......

Certainly his life and music show a very clear involvement with the Catholic party, which, incidentally, was remarkably ubiquitous during Elizabeth's reign, with very large numbers of the nobility retaining their old religious affiliation. We first see this in Tallis's links with the Ropers, a strongly recusant Kentish family, who were clearly his patrons. Tallis's role as a protector of his pupil William Byrd should not be underplayed, for it was through the good offices of the Roper family that Byrd found somehere to live in the 1580s. It seems to have been through Tallis's influence that Byrd gained access to this circle, thus allowing Byrd's much more open recusancy to find its expression.

Having explained Tallis's recusant links, we have less difficulty in explaining the Latin music he wrote after about 1560, when there could have been little if any opportunity for performance as part of the English liturgy. Wherever else her religious and political sympathies (or duties) lay, Elizabeth clearly enjoyed and supported the music of both Byrd and Tallis: in 1575, Elizabeth issued letters-patent, granting them an exclusive licence to print and publich music. Later that year they jointly issued what was the first collection fo Latin motets ever published in England, the Cantiones quae ab argumento Sacrae vocantur. Each composer included seventeen motets (no doubt a tribute to this the seventeenth year of Elizabeth's reign). The motets on this recording all come from this publication.

Track Listing

• 01 - Te lucis ante terminum.flac
• 02 - Salvator mundi.flac
• 03 - Spem in alium.flac
• 04 - In iejunio et fletu.flac
• 05 - O Salutaris hostia.flac
• 06 - Lamentations I.flac
• 07 - Lamentations II.flac
• 08 - Miserere.flac
• 09 - Mass for 4 voices Gloria.flac
• 10 - Credo.flac
• 11 - Sanctus.flac
• 12 - Benedictus.flac
• 13 - Agnus Dei.flac

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http://rapidshare.com/files/320956458/magnspem.r00
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Monteverdi: Vespers of 1610

Classical, Baroque | 2 CD | EAC | APE+CUE+LOG | Scans | 389 MB | RS | TT 93:29

Recorded: February 1997, Campion Center, Massachusetts | Released: 1997 | Label: TELARC 80453

Boston Baroque, Martin Pearlman (conductor)

This set was nominated for the 1999 Grammy Awards for "Best Engingeered Album, Classical" and "Best Choral Performance."

Claudio Monteverdi's 'Vespers of the Blessed Virgin' are among history's great showpieces, having set new standards for sonic opulence in the early Baroque which are still hard to surpass today. Scored for seven vocal soloists, multiple choirs and orchestra, the Vespers, as published in 1610, are settings of texts common to the various feasts in the church year honoring the Virgin Mary. There is some mystery surrounding the works, as no one is sure for what occasion, if any, they were written, how or where they were first performed and even for what instruments some of the parts were intended.

Boston Baroque's director Martin Pearlman has put together a comparatively large orchestra of twenty-two period instruments with a chorus of thirty voices for this recording. In order to place the music in a liturgical context chants for an appropriate festival must be added and he has done that here with antiphons from the late summer Feast of Assumption. The performance, recorded in a suitably spacious acoustic, does justice to all the facets of this dazzling work, its virtuoso instrumental writing, intimate arias and massive ensembles, proving again that whatever form it takes, it still has the power to amaze.

'...[Jeffrey Kurtzman's] analysis of almost every known recording, approached with the insight of a specialist and a scholar, should give us a valuable, nay definitive, discography of the work. Hence Martin Pearlman could have done no better than pick his brains before realizing his performance, and that he did...Pearlman is the best choice for one who is coming to the work now for the first time...The surround sound is spectacular...' (Weber, Fanfare)

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Release size is 389MB

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