Classical

Biber - Missa Christi Resurgentis (2005)

2012-08-08T19:00:57Z

Biber - Missa Christi Resurgentis (2005)


1. Fanfare No. 4 à due (from Sonatae tam aris quam aulis servientes, 1676)	1:55
2. Missa Christi resurgentis: Sonata	1:16	
3. Missa Christi resurgentis: Kyrie	3:10
4. Missa Christi resurgentis: Gloria	8:56	
5. Sonata à 6 (c. 1673) for trumpet, 2 violins, 2 violas & bass	7:09
6. Missa Christi resurgentis: Credo	11:20
7. Sonata XII (from Sacro-profanus concentus musicus, 1662)	4:39	
8. Missa Christi resurgentis: Sanctus	4:39	
9. Sonata XI (from Fidicinium Sacro-profanum, 1682)	6:08
10. Missa Christi resurgentis: Agnus Dei	  4:14
11. Fanfare No. 1 à due (from Sonatae tam aris quam aulis servientes, 1676)	1:31	
12. Sonata I (from Fidicinium Sacro-profanum, 1682)	7:37	
13. Sonata V (from Fidicinium Sacro-profanum, 1682)	3:58
14. Sonata III (from Fidicinium Sacro-profanum, 1682)	5:09	
15. Sonata VII (from Fidicinium Sacro-profanum, 1682)	5:44

Michael Harrison (Trumpet)
Mark Bennett (Trumpet) 
Andrew Manze (Violin) 
English Concert,  English Concert Choir
Andrew Manze – conductor

The music on this disc is about sonority, about the brilliance of trumpets and strings in a live, reverberant acoustic such as that of Salzburg cathedral, for which at least some of these works were conceived. And Andrew Manze and his English Concert unequivocally deliver (albeit in the less-opulent confines of London's Temple Church), from the opening fanfare through the vibrant, tuneful, richly scored sonatas that periodically spice this thoughtfully organized program. The featured work is a Mass, the Missa Christi Resurgentis, likely written for Easter in 1764. It's a lavish celebration scored for two four-part choirs, an added bass singer, plus two instrumental ensembles, designed to be performed antiphonally in a grand display. Here, Andrew Manze enhances the work with authentic touches, such as opening and closing trumpet fanfares and instrumental "sonatas" interspersed throughout. In fact, it's these instrumental pieces--including the four Sonatas at the end of the program--that really demonstrate the brilliance and beauty of Biber's compositional skill, his command of "sonority" and how to maximize its effect in a large acoustic space.

I'm not as wild about the choral writing, which too often relies on pat imitative devices--try the opening minutes of the Gloria, for instance--and formulaic rhythmic/harmonic schemes to advance or to illustrate the text--again, the Gloria provides ample evidence during its first six minutes. In addition, the voices, which use full vibrato technique throughout, tend to become lost in the texture when the orchestra joins them--and it's the scoring, not the recording that's responsible. Consequently in many of the tutti sections the singers seem to be trying to compensate by maintaining an aggressively loud dynamic (sections of the Sanctus, for example). However, there is an odd perspective regarding the two choirs--they appear too close, at least for my listening comfort, both to the microphones and to each other, especially if the intended effect is of antiphonal "dialogue".

Keeping with the style of the time and place, Manze inserts an instrumental Sonata (trumpet, two violins, two violas, and bass) following the Gloria, and it's a wonderful, uplifting, exciting seven minutes. Manze's violin is never far away (there are a couple of interesting violin duets in the Mass), and there are nice bits from trumpets and harpsichord. Sonatas also come after the Credo and Sanctus, and as mentioned, the disc closes with four more. They're all expertly scored, and the recording fully exploits the richness of tone and timbre of the brass and strings. While the Mass certainly is a magnificent work--and I'm sure it's most impressive if heard live--if you want to experience some fine instrumental music from one of the Baroque's great composers, don't let this one get away. --- David Vernier, ClassicsToday.com

download: uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

Biber - Missa Sancti Henrici - Sonatæ Tam Aris Quam Aulis Servientes (1996)

2015-06-06T15:56:57Z

Biber - Missa Sancti Henrici - Sonatæ Tam Aris Quam Aulis Servientes (1996)

Missa Sancti Henrici - For 5 Soloists, 5-Part Chorus, 5 Trumpets, Timpani,
 2 Violins, 3 Violas, Violone And Organ
1 	Kyrie 	7:56
2 	Gloria 	8:20
3 	Credo 	11:51
4 	Sanctus Et Benedictus 	5:00
5 	Agnus Dei 	3:20
Sonatæ Tam Aris Quam Aulis Servientes- For 2 Clarini, 2 Violins, 4 Violas And B.C.
	Sonata I A Otto 1676
6 	(Allegro) 	1:29
7 	Adagio - Presto 	2:39
8 	Allegro 	1:03
	Sonata XII A Otto 1676
9 	(Allegro) 	1:32
10 	Adagio - Allegro 	2:16
11 	Adagio - Presto 	1:12

James Griffett – tenor
Michael Schopper – bass
Regensburger Domspatzen – choir
Herbert Metzger – organ
Collegium Aureum – orchestra
Georg Ratzinger – director

Die Missa Sancti Henrici gehört zu Bibers reifsten und umfangreichsten kirchenmusikalischen Werken. Im gekonnten Wechsel von «stile antico» und «stile moderno» sowie im Kontrast zwischen Solo und Tutti erzielt Biber eine abwechslungsreiche Gliederung innerhalb der einzelnen Sätze. Die architektonische Konzeption der Salzburger Domkirche mit den vier Kuppelpfeileremporen und den dazugehörigen Orgeln bildete die räumliche Voraussetzung für eine doppel- und mehrchörige Musizierpraxis nach venezianischem Vorbild. In Bibers prachtvollen geistlichen Werken gipfelt diese Tradition in einem für den Raum nördlich der Alpen einzigartigen kirchenmusikalischen «Kolossalstil». ---amazon.de

download (mp3 @320 kbs):

uploaded yandex 4shared mega mediafire solidfiles zalivalka cloudmailru oboom

back

Biber - Sonates Du Rosaire (Goebel) [1991]

2012-08-05T16:48:30Z

Biber - Sonates Du Rosaire (Goebel) [1991]

CD1
1. Sonata I: The Annunciation	4:39	
2. Sonata II: The Visitation - Sonata - Presto - Allemande - Presto	5:51
3. Sonata III: The Nativity - Sonata - Presto - Adagio - Courante - Double - Adagio Adagio 5:35
4. Sonata IV: The Presentation - with 12 variations	7:41
5. Sonata V: The Finding in the Temple - Prealudium - Presto - Allemande - Gigue – Sarabande 7:35
6. Sonata VI: The Agony in the Garden - Lamento - Adagio - Presto - Adagio I-III	7:03
7. Sonata VII: The Scourging of Jesu - Allemande - Variatio - Sarabande - Variatio	8:37
8. Sonata VIII: The Crowing Of Jesus With Thorns - Adagio - Presto - Gigue – 
   Double I. Presto - Double II	6:00

CD2
1. Sonata IX: Jesus carries His Cross - Sonata - Courante - Double - Finale	5:45
2. Sonata X: The Crucifixion - Praeludium - Aria (with 5 Variations)	8:11
3. Sonata XI: The Resurrection - Sonata - Adagio	6:27	
4. Sonata XII: The Ascension - Intrada - Aria Tubicinum - Allemande - Courante - Double I 7:38
5. Sonata XIII: The Descent Of The Holy Ghost - Sonata - Gavotte - Gigue - Sarabande	7:00	
6. Sonata XIV in D "The Assumption of Our Lady" - Grave - Adagio - AriaI Aria II - Gigue	8:03
7. Sonata XV: The Crowing of the Blessed Virgin Mary - Sonata - Aria - Canzone – Sarabande 9:43
8. Passacaglia g-moll - without tempo indication - adagio - allegro - adagio	6:42

Reinhard Goebel - violin
Phoebe Carrai - Violoncello
Konrad Junghanel - Lute
Andreas Spering - Harpsichord & Organ.

Dans ces Sonates du Rosaire, Biber invente un style virtuose et fulgurant des plus osés pour son temps. Il fait du violon son véritable porte-parole. Reinhardt Goebel nous offre évidemment une version pleine de fougue et de puissance. A la tête de son ensemble Musica Antiqua de Cologne, il bouscule la partition pour nous en livrer une interprétation tout simplement ébouriffante. On reste sans voix après l'écoute ! --Marc Aigneaux, Editorial Reviews

Biber was among the most talented violin virtuosos and imaginative composers for his instrument during the second half of the seventeenth century. The 15 Mystery or Rosary Sonatas with their additional Passacaglia for unaccompanied violin were written in about 1678 and dedicated to Biber's employer, Max Gandolph, Archbishop of Salzburg. Each sonata is inspired by a section of the Rosary devotion of the Catholic Church which offered a system of meditation on 15 "Mysteries" from the lives of Jesus and His mother. The music is not, strictly speaking programmatic though Biber's skill at conveying specific images is often startlingly vivid. This we find above all, perhaps, in those sonatas related to scenes leading to the Crucifixion. All but the opening Sonata and the concluding Passacaglia require scordatura (retuning of the violin strings from the standard fifths). By so doing Biber extended the technical range of the violin, facilitated fingerings and achieved resonances which would otherwise have been unavailable to him. The 15 sonatas are disposed into three groups of five: Joyful, Sorrowful and Glorious Mysteries whose contrasting affections are evoked in music whose spirit ranges from a characteristically South German baroque exuberance to one of profound and tender contemplation. --- N.A., gramophone.net

download: uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

Biber Schmelzer Poglietti Kerll - Imitatio (2016)

2017-09-30T13:44:43Z

Biber Schmelzer Poglietti Kerll - Imitatio (2016)


1 Biber - Serenada à 5 		9'36
2 Biber - Balletti Lamentabili à 4 	9'45   
3 Schmelzer - Sonata representative	    11'33
4 Schmelzer - Sonata à viol. è viola 	6'36
5 Schmelzer - Serenata con altre arie à 5 	7'07
6 Poglietti - Toccatina sopra la Ribellione di Hungheria & Kerll, Halter. Der steyrische Hirt 	3'42
7 Biber - Sonata VI 	13'01
8 Kerll - Sonata A 3 ex G Bmol 		7'15
9 Biber - Battalia 		10'47

Ricercar Consort:
Sophie Gent, Tuomo Suni [violins]
Philippe Pierlot [alto & bass viols]
Kaori Uemura, Rainer Zipperling [bass viols]
Frank Coppieters [violone]
Maude Gratton [harpsichord]
Julien Wolfs [organ, harpsichord]

Philippe Pierlot – director

At the end of the Thirty Years War, the support of the Viennese Imperial Court allowed the emergence of an extraordinarily talented generation of musicians speaking with virtuosity, humour and depth. Schmelzer, Biber and Kerll were at the forefront. For Carnival festivities where music has pride of place they regale us with earthy works that mimic the sounds of nature and everyday life. They also had to meet the taste of Emperor Leopold I, who particularly appreciated imitative counterpoint, and for whom they composed these sonatas which have the power to elevate the soul and spirit.

"the Ricercar Consort, whose offerings on Mirare over the years are always exquisitely rendered.” Jonathan Freeman-Attwood, Gramophone

The Austrian baroque era produced a wealth of outstanding instrumental music, among which the works of Biber, Muffat, Schmelzer and Fux spring to mind. The present programme is on the theme of instrumental works in the 'representative' style, setting out to imitate the sounds of life, nature and human activities. The composers represented here are Schmelzer, Biber, Kerll and Poglietti - the latter also well worth hearing for his other keyboard output, available in several recordings.

The choice of works for the present disc is fascinating, and the playing absolutely outstanding. The period-instrument Ricercar Consort, consisting here of strings and keyboard, produce beautiful, pointed playing and a lovely blend of instrumental tone. Viol player Philippe Pierlot's direction is extremely stylish and expressive. Biber's oft-recorded opening 'Serenada à 5', which includes a Ciacona movement based on the Nightwatchman's call, is very nicely done, the vocal part sung by Matthias Vieweg. The same composer's Balletti Lamentabili (track 2) is outstanding for its expressive rendition by the ensemble. Schmelzer's Sonata representativa (3) brings a catalogue of imitation bird calls and other animal noises which will surely delight fans of David Attenborough; this is a fine example of the work of this extraordinarily inventive composer, and it's rendered here with both virtuosity and feeling.

Schmelzer's Serenata con altre arie (5) is another atmospheric and affecting work. The two keyboard pieces by Poglietti and Kerll (6) make an entertaining pairing, very nicely played although we're not told in the listing which of the two keyboard players to thank for this. Another brilliant work by Biber, Sonata VI, with its superb Passacaglia, is also beautifully performed (7). The programme is rounded off with a dashing rendition of Biber's Battalia (9), with some lovely melodies and a Lamento to end the disc on a subdued note.

There are many fine recordings of selections from this Austrian baroque repertoire, and rightly so, including those from the likes of Musica Antiqua Köln, Ars Antiqua Austria, Concentus Musicus Wien, Accentus Austria and Freiburger BarockConsort. But this one from Pierlot's Ricercar Consort is among the loveliest I've heard, both in selection and in execution. The recorded sound and booklet notes are excellent, and altogether this is an extremely entertaining baroque programme graced by outstanding musicianship. --- Stephen Midgley, amazon.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru gett

back

Biber — Unam Ceylum (Violin Sonatas) [2002]

2012-09-11T16:57:06Z

Biber — Unam Ceylum (Violin Sonatas) [2002]


1. Sonata III F major from Sonatae Violino solo 1681
2. Sonata IV D major from Sonatae Violino solo 1681
3. Sonata No. 81 A major – unpublished
4. Sonata VI C minor from Sonatae Violino solo 1681
5. Sonata VII G major from Sonatae Violino solo 1681
6. Sonata No. 84 E major: Adagio – unpublished

John Holloway: violin
Aloysia Assenbaum: organ
Lars Ulrik Mortensen: harpsichord

Throughout his career, Biber composed and published liberally. He is best known for his violin compositions and was considered the finest violin virtuoso of the seventeenth century, his talent predating Niccolo Paganini’s by one hundred years. In the violin arena, Biber was especially known for writing pieces exploiting effects made possible through scordatura, or non-standard tuning of the violin, a method also favored by Paganini.

A good bit of Biber’s composition was devoted to violin sonatas with continuo (harpsichord or organ) accompaniment. His Mystery Sonatas, based on the three sets of divine mysteries of the Catholic Rosary, are his masterpieces but do not represent his total output. Biber wrote many fine violin sonatas, a series of which are performed here.

Violinist John Holloway has previously recorded the complete set of Biber's Mystery Sonatas (Virgin Classics Veritas, VCD7 59551-2, 1991), which were warmly received when released. On Unam Ceylum, Holloway explores four sonatas from Biber's set of 16 sonatas entitled Sonatae Violino solo 1681, plus two previously unpublished sonatas from approximately the same period. Several other versions of these pieces appear on record, including one by Monica Huggett of Sonatas 3 and 7 (ASV CD GAU203, 1991) and the complete reading by Andrew Manze with his trio Romanesca (Harmonia Mundi, 90 7134/5, 1995). These alternate recordings are not merely fine but are also Gramophone Award Winners as was Holloway’s Mystery offerings. This begs the question about the music that has inspired such accolades over the last decade.

Biber music was mostly cheerful and full of the baroque invention that made his contemporaries, as well as himself, famous. In Holloway’s hands, these sonatas reveal both their folk origins and reverential beginnings. This present ECM recording sounds like warm music played in a cold place. All of the intonation is concise and clear and the execution crystalline. The tone and mood of the music makes one think that this is what Keat’s Beadsman was listening to as he prayed in The Eve of St. Agnes. This music is at once pious and fertile, highlighting that constant struggle.

When performed capably, one cannot own too much of this music. Biber is well ignored by the majority of pedestrian classical listeners, a fact that must be reversed. John Holloway is addressing this fact directly with Unam Ceylum. This recording is beautiful in every way. And besides that, one can only hear so much Vivaldi anyway. --- C. Michael Bailey, allaboutjazz.com

download: uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

Biber: Requiem - 2 Cantatas - Sonatas - Battalia (2005)

2011-03-29T18:40:53Z

Biber: Requiem - 2 Cantatas - Sonatas - Battalia (2005)

CD1
    1. Sonata St. Polycarpy e 9
    2. Laetatus sum e 7
    3. In Festo Trium Regium, Muttetum Natale e 6
    4. Requiem - Introitus
    5. Requiem - Dies irae
    6. Requiem - Domine Jesu Christe
    7. Requiem - Sanctus
    8. Requiem - Agnus Dei
    9. Sonata Violino Solo representativa - Representatio Avium

CD2
    1. Sonata III a 5 Violae
    2. Sonata prima a 8, 2 Clarini, 6 Violae
    3. Ballettae a 4 Violettae
    4. Battalia
    5. Sonata a 7, 6 Tromb, Tramburin con Organo Ao 1668
    6. Sonata IV a 5 Violae
    7. Sonata seconda a 8, 2 Clarini, 6 Violae
    8. Sonata a 6 die Pauern Kirchfahrt genandt

Max von Egmont -  bass
Jacques Villisech -  bass
Alice Harnoncourt - violin
Kurt Equiluz -  tenor
Vienna Concentus Musicus
Nikolaus Harnoncourt – conductor

Biber's music is heavily underrated, and this album demonstrates the sheer beauty and elegance of Biber. Unlike some of his later choral works, there is less emphasis on the martial in his Requiem, but nothing else is missed.

Although not Biber at his very best, it still is significant, and for those seriously into baroque and early baroque, a true indication of where later composers 'poached' some good ideas. --- Joan H. Hammond, amazon.com

download: uploaded anonfiles mega 4shared mixturecloud yandex

back

Heinrich Biber - Missa Bruxellensis (1999)

2010-02-16T17:59:56Z

Heinrich Biber - Missa Bruxellensis (1999)


1. Kyrie
2. Gloria
3. Credo
4. Sanctus
5. Agnus Dei

La Capella Reial de Catalunya / Le Concert des Nations
Jordi Savall – director

Cathedral, Salzburg, Austria [05/1999]

The technology at our command, the electronic images we see every day, the ease and swiftness of world travel and communication has left modern humans with a waning sense of awe. We can argue about who was or is better off, but for 17th century Europeans, awe-inspiring events happened with some regularity. Pageantry was one of the more effective and popular means to impress a congregation, and there was nothing like a huge celebration in a massive cathedral to remind each person of his place in the grand scheme.

Composer Heinrich Biber, who was in charge of the music at the great Salzburg Cathedral in the late 17th century, really rose to such an occasion in 1682 when he composed his monumental 53-voice Missa Salisburgensis to celebrate the anniversary of the founding of the Salzburg archbishopric. This work (recorded a couple of years ago by Paul McCreesh for Archiv) must have raised its audience from its collective seat with the sheer power of its performing forces and Biber's all-stops-open scoring that fully exploits the varied timbres and textures of brass, strings, and voices. It doesn't take long to realize that, with the Missa Bruxellensis, he's done it again, only this time, he employs "only" 23 voices. Remarkably, the occasion for which this work was written is not certain--its name refers only to where the manuscript was found--but its date of composition was probably around 1700. (In fact, the composer of these two masses isn't even absolutely certain, but modern scholarship has all but determined that they are the work of Biber.)

Importantly, the work's impact is best realized not just by duplicating the required number of performers, but by positioning them properly in the cathedral for which the work was designed. This world premiere recording tries to do just that, placing the five different groups of singers and instrumental choirs exactly where they would have stood 300 years ago. To say the least, hearing walls of sound hurled from one choir to its counterpart in the loft across the aisle, mixing with the rising tones from the orchestra below, joined by four organs and two ensembles of winds and brass, all resonating for long seconds throughout the soaring Salzburg Cathedral nave is a memorable experience. This is music on the grandest imaginable scale.

Of course, we know the effect loses something on a recording, but it's hard to complain about the results of this tremendous effort by Jordi Savall and his impressive cast of musicians and recording team. The huge echoing performing space dictated a more or less consistently homophonic texture, so the music doesn't offer much in the way of linear intricacy; however, there's considerable variety in the use of soloists and smaller concertato groups. The sound is vibrant and full-bodied, giving a real "feel" for the spacious environment and yet presenting voices and instruments with remarkable detail. To fully describe this recording event, we just may have to bring back the word "awesome". --- David Vernier, ClassicsToday.com

download: uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

Heinrich Biber - Mystery (Rosary, Rosenkranz) Sonatas 1996

2011-03-27T18:56:35Z

Heinrich Biber - Mystery (Rosary, Rosenkranz) Sonatas [1996]

CD 1:
01-03 Sonata I
04-06 Sonata II
07-09 Sonata III
10 Sonata IV             play
11-14 Sonata V
15-17 Sonata VI
18-19 Sonata VII
20-21 Sonata VIII
22-24 Sonata IX

CD 2:
01-02 Sonata X
03-05 Sonata XI
06-09 Sonata XII          play
10-13 Sonata XIII
14-16 Sonata XIV
17-20 Sonata XV
21 Passacaglia

Performers:
Gunar Letzbor - violin
Lorenz Duftschmid - basse de viole
Wolfgang Zerer - organ
Wolfgang Glüxam - harpsichord
Axel Wolf - luth

These sonatas are close to the sublime. Their richness is no obstacle to an austere spirituality, profound, new and active. They allow the performers to experience a shared search for the "truth". Gunar Letzbor's violin captures the fascination of the Baroque. The mysterious asymmetry, the unforeseen and evocative fantasy and the passion for life. (www.goldberg-magazine.com)

download:

yandex: CD1 CD2

mixturecloud: CD1 CD2

anonfiles: CD1 CD2

4shared: CD1 CD2

mega: CD1 CD2

mediafire: CD1 CD2

ziddu: CD1 CD2

back

Heinrich Biber - Mystery Sonatas (2007)

2012-05-06T15:52:07Z

Heinrich Biber - Mystery Sonatas (2007)

CD 1:
Sonata no. 1 (The Annunciation)
1 Praeludium [2:56]
2 Variatie [2:26]
3 untitled [1:29]
Sonata no. 2 (The Visitation)
4 untitled [1:35]
5 Allaman [2:13]
6 Presto [0:48]
Sonata no. 3 (The Nativity)
7 untitled [1:59]
8 Courente [2:54]
9 Adagio [2:24]
Sonata no. 4 (The Presentation of the Infant Jesus in the Temple)
10 Ciacona [8:59]
Sonata no. 5 (The Twelve-Year-Old Jesus in the Temple)
11 Praeludium [1:36]
12 Allaman [1:22]
13 Gigue [1:07]
14 Saraban [2:11]
Sonata no. 6 (Christ on the Mount of Olives)
15 Lamento [9:56]
Sonata no. 7 (The Scourging at the Pillar)
16 Allamanda [3:31]
17 Sarab: Variatio [5:15]
Sonata no. 8 (The Crown of Thorns)
18 untitled [3:23]
19 Gigue & Double Presto, Double [4:26]
Sonata no. 9 Jesus carries the cross
20 untitled [3:02]
21 Courente, Double [3:45]
22 Finale [1:49]

Total running time: [69:36]

Disc 2
Sonata no. 10 (The Crucifixion)
1 Praeludium [1:26]
2 Aria [1:46]
3 Variatio [5:25]
4 Variatio [2:07]
Sonata no. 11 (The Resurrection)
5 untitled [10:45]
Sonata no. 12 (The Ascension)
6 Intrada [0:48]
7 Aria Tubicinum [1:26]
8 Allamanda [2:03]
9 Courente
Sonata no. 13 (Pentecost)
10 untitled [5:01]
11 Gavott [1:46]
12 Gigue [1:35]
13 Sarabanda [0:55]
Sonata no. 14 (The Assumption of the Virgin)
14 untitled [3:56]
15 Aria, Aria, Gigue [6:34]
Sonata no. 15 (The Beatification of the Virgin)
16 untitled [1:40]
17 Aria [4:45]
18 Canzon [1:43]
19 Sarabanda [2:16]

20 Passacaglia [10:55]

Total running time: [69:03]

Walter Reiter – violin
Ensemble Cordaria:
Timothy Roberts – harpsichord, organ
Elisabeth Kenny – theorbo
Joanna Levine – cello, viola da gamba
Frances Kelly – double harp
Mark Levy – lirone
Kah-Ming Ng – regal

download: CD1 CD2

back

Heinrich Biber - Requiem a 15 [Savall] (2002)

2010-05-27T21:01:42Z

Heinrich Biber - Requiem in A Major a 15 [Savall] (2002)


1. Requiem aeternam
2. Kyrie
3. Dies irae
4. Domine Jesu Christe
5. Sanctus
6. Benedictus
7. Agnus Dei
8. Lux aeterna

Antoine Ladrette - cello
La Capella Reial de Catalunya
Le Concert des Nations
Jordi Savall – conductor

download: uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back