All Anime Applications Games Movies Music TV shows Other

JS Bach - BWV0232 - Mass in B minor - [FLAC]

    Seeders : 1      Leechers : 0

Note :

Please Update (Trackers Info) Before Start "JS Bach - BWV0232 - Mass in B minor - [FLAC]" Torrent Downloading to See Updated Seeders And Leechers for Batter Torrent Download Speed.

Trackers List

Torrent File Content (7 files)

Description

 							*******************************************************************************
  JS Bach - BWV0232 - Mass
in B minor - [FLAC]
 *******************************************************************************
 

-------------------------------------------------------------------------------
  General Information

-------------------------------------------------------------------------------
 Type.................: Music

Platform.............: Windows 9x/ME/2000
 File Validation......: SFV
 Image type...........: CD Rip
 
 Genre................: Classical
 
 Audio Format.........: Lossless
 Ripper...............: dBpowerAMP
Music Converter-------------------------------------------------------------------------------
  Release Notes
 -------------------------------------------------------------------------------
 General
 Complete name :
I:UPLOADSJS Bach - BWV0232 - Mass 
 in B minor - [FLAC]Bach - BWV0232 - Mass in B minor - 01 - Kyrie [FLAC].flac
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 File size : 77.0 MiB
 Duration : 17mn 22s
 Overall bit rate mode : Variable
 Overall bit rate : 620 Kbps
 Track name : Bach - BWV0232 - Mass in B
minor - 01 
 - Kyrie
 Composer : Johann Sebastian Bach
 Conductor : Harry Christophers
 Genre :
Mass
 Comment : The Mass in B minor (BWV 232) by 
 Johann Sebastian Bach is a musical setting of the complete
Ordinary of the Latin 
 Mass. The work was one of Bach's last compositions, not completed until 1749, 
 the
year before his death. Much of the Mass gave new form to vocal music that 
 Bach had composed throughout his
career, dating back (in the case of the 
 "Crucifixus") to 1714, but extensively revised. To complete the work, in
the 
 late 1740s Bach composed new sections of the Credo such as "Et incarnatus est". 
 / / It was unusual for
composers working in the Lutheran tradition to compose a 
 Missa tota and Bach's motivations remain a matter of
scholarly debate. The Mass 
 was never performed in its entirety during Bach's lifetime; the first documented 
 complete performance took place in 1859. Since the nineteenth century it has 
 been widely hailed as one of the
greatest compositions in musical history, and 
 today it is frequently performed and recorded.[1][2][3][4] Carl
Philipp Emanuel 
 Bach archived this work as the Great Catholic Mass. / / The work consists of 27 
 sections.
Tempo and metrical information and parodied sources come from 
 Christoph Wolff's 1997 critical urtext edition, and
from George Stauffer's Bach: 
 The Mass in B Minor.[52] except where noted. Regarding sources, Stauffer, 

summarizing current research as of 1997, states that "Specific models or 
 fragments can be pinpointed for eleven
of the work's twenty-seven movements" and 
 that "two other movements [the "Domine Deus" and "Et resurrexit">
are most 
 probably derived from specific, now lost sources."[53] But Stauffer adds "there 
 is undoubtedly
much more borrowing than this." Exceptions are the opening four 
 bars of the first Kyrie,[54] the Et incarnatus
est and Confiteor.[55] / / Butt 
 points out that "only with a musical aesthetic later than Bach's does the 

concept of parody (adapting existing vocal music to a new text) appear in an 
 unfavourable light" while it was
"almost unavoidable" in Bach's day;[56] he 
 further notes that "by abstracting movements from what he evidently
considered 
 some of his finest vocal works, originally performed for specific occasions and 
 Sundays within
the Church's year, he was doubtless attempting to preserve the 
 pieces within the more durable context of the
Latin Ordinary."[57] / / KYRIE: / 
 1.Kyrie eleison (1st). Five-part chorus (Soprano I, II, Alto, Tenor, Bass) in B

 minor, marked Adagio (in the four-bar choral introduction), then Largo in the 
 main section, autograph time
signature of common time or common time. Joshua 
 Rifkin argues that, except for the opening four bars, the
movement is based on a 
 previous version in C minor, since examination of autograph sources reveals "a 

number of apparent transposition errors".[58] John Butt concurs: "Certainly, 
 much of the movement—like
many others with no known models—seems to have been 
 copied from an earlier version."[59] / 2.Christe
eleison. Duet (soprano I, II) 
 in D major with obbligato violins, no autograph tempo marking, time signature of

 common time. / 3.Kyrie eleison (2nd). Four-part chorus (Soprano, Alto, Tenor, 
 Bass) in F-sharp minor,
marked "alla breve", and (in the 1748–50 
 score)"stromenti in unisono". Autograph time signature is ?.
Stauffer points out 
 (p. 49)that "the four-part vocal writing... points to a model conceived outside 
 the
context of a five-voice Mass." / 
 Soloists : Catherine Dubosc / Catherine Denley / 
 James Bowman / John Mark
Ainsley / Michael George / The Sixteen
 
 Audio
 Format : FLAC
 Format/Info : Free Lossless Audio
Codec
 Duration : 17mn 22s
 Bit rate mode : Variable
 Bit rate : 620 Kbps
 Channel(s) : 2
channels
 Sampling rate : 44.1 KHz
 Bit depth : 16 bits
 Stream size : 77.0 MiB (100%)
 Writing
library : libFLAC 1.3.1 (UTC 2014-11-25)
 
 General
 Complete name : I:UPLOADSJS Bach - BWV0232 - Mass

 in B minor - [FLAC]Bach - BWV0232 - Mass in B minor - 02 - Gloria [FLAC].flac
 Format : FLAC

Format/Info : Free Lossless Audio Codec
 File size : 145 MiB
 Duration : 34mn 2s
 Overall bit rate mode :
Variable
 Overall bit rate : 597 Kbps
 Track name : Bach - BWV0232 - Mass in B minor - 02 
 - Gloria
 Composer : Johann Sebastian Bach
 Conductor : Harry Christophers
 Genre : Mass
 Comment : (see
introduction comment in Kirie 
 Flac file) / / GLORIA: / 4.Gloria in excelsis. Five-part chorus (Soprano I, II, 
 Alto, Tenor, Bass) in D major, marked Vivace in the 1733 first violin and cello 
 parts, 3/8 time signature. In
the mid-1740s, Bach reused this as the opening 
 chorus of his cantata Gloria in excelsis Deo, BWV 191. / 5.Et in
terra pax. 
 Five-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, no autograph 
 tempo marking,
time signature of common time; in the autographs no double bar 
 separates it from the preceding Gloria section.
Again, Bach reused the music in 
 the opening chorus of BWV 191. / 6.Laudamus te. Aria (soprano II) in A major 
 with violin obbligato, no autograph tempo marking, time signature of common 
 time. / 7.Gratias agimus tibi.
4-part chorus (Soprano, Alto, Tenor, Bass) in D 
 major, marked alla breve, time signature of ?. The music is a
reworking of the 
 second movement of Bach's 1731 Ratswechsel (Town Council Inauguration) cantata 
 Wir danken
dir, Gott, wir danken dir, BWV 29, in which the time signature is the 
 number 2 with a slash through it. (Stauffer
adds that both may have an earlier 
 common source.) / 8.Domine Deus. Duet (soprano I, tenor) in G major with flute

 obbligato and muted strings, no autograph tempo marking, time signature of 
 common time. The music appears
as a duet in BWV 191. In the 1733 parts, Bach 
 indicates a "Lombard rhythm" in the slurred two-note figures in the
flute part; 
 he does not indicate it in the final score or in BWV 191. Stauffer points out 
 (p. 246) that
this rhythm was popular in Dresden in 1733; it is possible that 
 Bach added in the 1733 parts to appeal to tastes
at the Dresden court and that 
 he no longer wanted it used in the 1740s, or that he still preferred it but no 
 longer notated it. / 9.Qui tollis peccata mundi. 4-part chorus (Soprano II, 
 Alto, Tenor, Bass) in B minor,
marked adagio in the two violin 1 parts from 1733 
 and lente in the cello, continuo, and alto parts from 1733; 3/4
time signature. 
 No double bar separates it from the preceding movement in the autograph. The 
 chorus is a
reworking of the first half of the opening movement of the 1723 
 cantata Schauet doch und sehet, ob irgend ein
Schmerz sei, BWV 46. In the 
 autograph sources no double bar separates it from the previous movement. / 

10.Qui sedes ad dexteram Patris. Aria (alto) in B minor with oboe d'amore 
 obbligato, no autograph tempo marking,
6/8 time signature. / 11.Quoniam tu solus 
 sanctus. Aria (bass) in D major with obbligato parts for solo corno da
caccia 
 (hunting horn or Waldhorn) and two bassoons, no autograph tempo marking, 3/4 
 time signature.
Stauffer notes that the unusual scoring shows Bach writing 
 specifically for the strengths of the orchestra in
Dresden: while Bach wrote no 
 music for two obbligato bassoons in his Leipzig cantatas, such scoring was 

common for works others composed in Dresden, "which boasted as many as five 
 bassoonists",[60] and that Dresden
was a noted center for horn playing. Peter 
 Damm has argued that Bach designed the horn solo specifically for the
Dresden 
 horn soloist Johann Adam Schindler, whom Bach had almost certainly heard in 
 Dresden in 1731.[61]
Regarding lost original sources, Stauffer says, "A number 
 of writers have viewed the clean appearance of the
"Quoniam" and the finely 
 detailed performance instructions in the autograph score as signs that this 

movement is also a parody."[62] Klaus Hafner[63] argues that the bassoon lines 
 were, in the original, written for
oboe, and that in this original a trumpet, 
 not the horn, was the solo instrument. John Butt agrees, adding as
evidence that 
 Bach originally notated both bassoon parts with the wrong clefs, both indicating 
 a range an
octave higher than the final version, and then corrected the error, 
 and adding that "oboe parts would almost
certainly have been scored with trumpet 
 rather than horn."[64] Stauffer, however, entertains the possibility that
it may 
 be new music.[65] / 12.Cum Sancto Spiritu. Five-part chorus (Soprano I, II, 
 Alto, Tenor, Bass) in D
major, marked Vivace, 3/4 time signature. Bach reused 
 the music in modified form as the closing chorus of BWV
191. As to origins, 
 Donald Francis Tovey argued that it is based on a lost choral movement from 
 which Bach
removed the opening instrumental ritornello, saying "I am as sure as 
 I can be of anything".[66] Hafner agrees,
and like Tovey, has offered a 
 reconstruction of the lost ritornello;[63] he also points to notational errors 
 (again involving clefs) suggesting that the lost original was in four parts, and 
 that Bach added the Soprano 2
line when converting the original into the Cum 
 Santo Spiritu chorus. Rifkin argues from the neat handwriting in
the 
 instrumental parts of the final score that the movement is based on a lost 
 original, and he argues
from the musical structure, which involves two fugues, 
 that the original was probably a lost cantatas from the
middle or late 1720s, 
 when Bach was especially interested in such structures.[58] Stauffer is agnostic 
 on
the question.[62]
 Soloists : Catherine Dubosc / Catherine Denley / 
 James Bowman / John Mark Ainsley /
Michael George / The Sixteen
 
 Audio
 Format : FLAC
 Format/Info : Free Lossless Audio Codec

Duration : 34mn 2s
 Bit rate mode : Variable
 Bit rate : 597 Kbps
 Channel(s) : 2 channels
 Sampling
rate : 44.1 KHz
 Bit depth : 16 bits
 Stream size : 145 MiB (100%)
 Writing library : libFLAC 1.3.1 (UTC
2014-11-25)
 
 General
 Complete name : I:UPLOADSJS Bach - BWV0232 - Mass 
 in B minor - [FLAC]Bach
- BWV0232 - Mass in B minor - 03 - Credo [FLAC].flac
 Format : FLAC
 Format/Info : Free Lossless Audio
Codec
 File size : 130 MiB
 Duration : 31mn 19s
 Overall bit rate mode : Variable
 Overall bit rate
: 582 Kbps
 Track name : Bach - BWV0232 - Mass in B minor - 03 
 - Credo 
 Composer : Johann Sebastian
Bach
 Conductor : Harry Christophers
 Genre : Mass
 Comment : (see introduction comment in Kirie 

Flac file) / / CREDO: / 1.Credo in unum Deum. Five-part chorus (Soprano I, II, 
 Alto, Tenor, Bass) in A
mixolydian, no autograph tempo marking, ?. Stauffer 
 identifies an earlier Credo in unum Deum chorus in G major,
probably from 1748–
 49. / 2.Patrem omnipotentem. Four-part chorus (Soprano, Alto, Tenor, Bass) in D 

major, no autograph tempo marking, time signature of 2 with a slash through it 
 in the autograph manuscript. The
music is a reworking of the opening chorus of 
 Gott, wie dein Name, so ist auch dein Ruhm, BWV 171. / 3.Et in unum
Dominum. 
 Duet (soprano I, alto) in G major, marked Andante, common time. Stauffer derives 
 it from a "lost
duet, considered for "Ich bin deine", BWV 213/11 (1733) / 4.Et 
 incarnatus est. Five-part chorus (Soprano I, II,
Alto, Tenor, Bass) in B minor, 
 no autograph tempo marking, 3/4 time signature. / 5.Crucifixus. Four-part chorus

 (Soprano II, Alto, Tenor, Bass) in E minor, no autograph tempo marking, 3/2 time 
 signature. The music is a
reworking of the first section of the first chorus of 
 the 1714 cantata Weinen, Klagen, Sorgen, Zagen, BWV 12. /
6.Et resurrexit. 
 Five-part chorus (Soprano I, II, Alto, Tenor, Bass) in D major, no autograph 
 tempo
marking, 3/4 time signature. / 7.Et in Spiritum Sanctum. Aria (Bass) in A 
 major with oboi d'amore obbligati, no
autograph tempo marking, 6/8 time 
 signature. / 8.Confiteor. Five-part chorus (Soprano I, II, Alto, Tenor, Bass)
in 
 F-sharp minor, no autograph tempo marking (until the transitional music in bar 
 121, which is marked
"adagio"), ? time signature. John Butt notes that "the only 
 positive evidence of Bach actually composing afresh
within the entire score of 
 the mass is in the 'Confiteor' section", by which he means, "composing the music 
 directly into the autograph. Even the most unpracticed eye can see the 
 difference between this and surrounding
movements"; one part of the final 
 transitional music is "still illegible...and necessitates the conjectures of a

 judicious editor."[67] / 9.Et expecto. Five-part chorus (Soprano I, II, Alto, 
 Tenor, Bass) in D major,
marked Vivace ed allegro, implicitly in ? (as it is not 
 set off with a double bar in the autograph from the
Confiteor). The music is a 
 reworking of the second movement of Bach's 1728 Ratswechsel (Town Council 

Inauguration) cantata Gott, man lobet dich in der Stille, BWV 120 on the words 
 Jauchzet, ihr erfreute Stimmen.
 Soloists : Catherine Dubosc / Catherine Denley / 
 James Bowman / John Mark Ainsley / Michael George / The
Sixteen
 
 Audio
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 Duration : 31mn
19s
 Bit rate mode : Variable
 Bit rate : 582 Kbps
 Channel(s) : 2 channels
 Sampling rate : 44.1
KHz
 Bit depth : 16 bits
 Stream size : 130 MiB (100%)
 Writing library : libFLAC 1.3.1 (UTC
2014-11-25)
 
 General
 Complete name : I:UPLOADSJS Bach - BWV0232 - Mass 
 in B minor - [FLAC]Bach
- BWV0232 - Mass in B minor - 04 - Sanctus [FLAC].flac
 Format : FLAC
 Format/Info : Free Lossless Audio
Codec
 File size : 24.4 MiB
 Duration : 4mn 49s
 Overall bit rate mode : Variable
 Overall bit rate
: 705 Kbps
 Track name : Bach - BWV0232 - Mass in B minor - 04 
 - Sanctus
 Composer : Johann Sebastian
Bach
 Conductor : Harry Christophers
 Genre : Mass
 Comment : (see introduction comment in Kirie 

Flac file) / / SANCTUS: / 1.Sanctus. Six-part chorus (Soprano I, II, Alto I, 
 II, Tenor, Bass) in D major, no
autograph tempo marking, common time time 
 signature; leading immediately—without double bar in the
sources—into the Pleni 
 sunt coeli , marked Vivace, 3/8 time signature. Derived from an earlier 3 

soprano, 1 alto work written in 1724; in that 1724 Sanctus the first section was 
 marked in ?, perhaps suggesting
a tempo faster than what Bach conceived of when 
 he finally re-used it in the Mass.
 Soloists : Catherine
Dubosc / Catherine Denley / 
 James Bowman / John Mark Ainsley / Michael George / The Sixteen
 
 Audio
 Format : FLAC
 Format/Info : Free Lossless Audio Codec
 Duration : 4mn 49s
 Bit rate mode :
Variable
 Bit rate : 705 Kbps
 Channel(s) : 2 channels
 Sampling rate : 44.1 KHz
 Bit depth : 16
bits
 Stream size : 24.4 MiB (100%)
 Writing library : libFLAC 1.3.1 (UTC 2014-11-25)
 
 General
 Complete name : I:UPLOADSJS Bach - BWV0232 - Mass 
 in B minor - [FLAC]Bach - BWV0232 - Mass in B minor - 05 -

 Osanna,Bendictus,Osanna,Agnus dei,Dona nobis pacem [FLAC].flac
 Format : FLAC
 Format/Info : Free
Lossless Audio Codec
 File size : 74.6 MiB
 Duration : 18mn 50s
 Overall bit rate mode : Variable

Overall bit rate : 554 Kbps
 Track name : Bach - BWV0232 - Mass in B minor - 05 
 -
Osanna,Bendictus,Osanna,Agnus dei,Dona nobis pacem
 Composer : Johann Sebastian Bach
 Conductor : Harry
Christophers
 Genre : Mass
 Comment : (see introduction comment in Kirie 
 Flac file) / / ---: /
1.Osanna. Double chorus (both four parts) in D major, no 
 autograph tempo marking, 3/8 time signature. A reworking
of the A section of the 
 chorus "Es lebe der König" (BWV Anh. 11 						

Related torrents

Torrent Name	Added	Size	Seed	Leech	Health
J S Bach: Mass in B Minor, Masses BWV 233-236 C P E Bach: The Resurrectio..	1 Year+ - in Music	1.22 GB	0	0
Rene Jacobs - Bach Mass in B Minor, BWV 232 (2022) [24Bit-96kHz] FLAC [PMEDIA] �..	1 Year+ - in Music	1.76 GB	0	1
Bach - Mass in B Minor, Gardiner (2015) [FLAC]	1 Year+ - in Other	472.89 MB	0	1
Bach - Mass in B minor, Otto Klemperer (2005) [FLAC]	1 Year+ - in Music	680.19 MB	0	0
Bach - Mass in B minor ; The Monteverdi Choir - The English Baroque Soloists - G..	1 Year+ - in Music	531.28 MB	1	3

Note :

Feel free to post any comments about this torrent, including links to Subtitle, samples, screenshots, or any other relevant information. Watch JS Bach - BWV0232 - Mass in B minor - [FLAC] Full Movie Online Free, Like 123Movies, FMovies, Putlocker, Netflix or Direct Download Torrent JS Bach - BWV0232 - Mass in B minor - [FLAC] via Magnet Download Link.

Comments (0 Comments)

Please login or create a FREE account to post comments