ChorSymphonica with Richard Allen Roe, conductor performing Johann Sebastian Bach's Cantata Himmelskönig, sei willkommen, BWV 182

ChorSymphonica with Richard Allen Roe, conductor performing Johann Sebastian Bach's Cantata Himmelskönig, sei willkommen, BWV 182

Wolfgang Amadeus Mozart (Salisburgo 1756 - Vienna 1791) sei NOTTURNI per tre voci e tre corni di bassetto Anna Giordano, soprano Giovanna Greco, mezzosoprano Michele Dispoto, baritono Sabino Manzo, pianoforte Martedì 27 ottobre 2015 - Teatro ...  moreWolfgang Amadeus Mozart (Salisburgo 1756 - Vienna 1791) sei NOTTURNI per tre voci e tre corni di bassetto Anna Giordano, soprano Giovanna Greco, mezzosoprano Michele Dispoto, baritono Sabino Manzo, pianoforte Martedì 27 ottobre 2015 - Teatro Mercadante Altamura (Ba)  

sei Lob und Preis mit Ehren, a chorus from the cantata "Lobe den Herrn meine Seele" by Philipp Heinrich Erlebach (1657-1714), based on the melody published in Johannes Kugelmann's 1540 collection. In this performance I have sung the first part of the or...  moresei Lob und Preis mit Ehren, a chorus from the cantata "Lobe den Herrn meine Seele" by Philipp Heinrich Erlebach (1657-1714), based on the melody published in Johannes Kugelmann's 1540 collection. In this performance I have sung the first part of the original melody (as countertenor) followed by the Erlebach setting (as the dwsChorale - one-man multitrack choir). I have added trills to the dotted crotchets in the unannotated violin parts, since these seem to be appropriate, and I have also added my own bowings. (Strings and harpsichord are Garritan samples).  less

The St. Olaf Choir (Anton Armstrong, conductor) performs "Ehre sei Gott in der Höhe" by Felix Mendelssohn. This performance was part of the choir's home concert in Boe Memorial Chapel on the campus of St. Olaf College, Northfield, Minnesota, February 1...  moreThe St. Olaf Choir (Anton Armstrong, conductor) performs "Ehre sei Gott in der Höhe" by Felix Mendelssohn. This performance was part of the choir's home concert in Boe Memorial Chapel on the campus of St. Olaf College, Northfield, Minnesota, February 15, 2009. To view the complete concert, please visit: http://stolaf.edu/multimedia/streams/tube.cfm?eventid=175 Copyright © 2009 St. Olaf College. All rights reserved.  

Bach BWV 230 alleluja movement Live in concert recording March 2011 St Clement's Anglican Church Cantabile Chamber Singers Margarita String Quartet www.cantabilechambersingers.com

Motet III "Jesu, meine Freude", BWV 227 -After "Gute Nacht, O Wesen": Trio Sonata in G, BWV 1038: Adagio Johann Sebastian Bach (1685-1750) Flos Campi La Monarca Baroque Ensemble Yoon-Hee Jung, Baroque flute YuEun Kim, violin Frédéric Rosselet,...  moreMotet III "Jesu, meine Freude", BWV 227 -After "Gute Nacht, O Wesen": Trio Sonata in G, BWV 1038: Adagio Johann Sebastian Bach (1685-1750) Flos Campi La Monarca Baroque Ensemble Yoon-Hee Jung, Baroque flute YuEun Kim, violin Frédéric Rosselet, violoncello Vicente Chavarria, harpsichord, Artistic Director Soloists: Amelia Tobiason, soprano Katina Mitchell, soprano Antona Yost, alto Ryan Tani, tenor Joel Nesvadba, bass From "Singet dem Herrn: The Thomaskantor from Schein to Bach" May 5, 2014 • USC Catholic Center, Los Angeles, CA  less

The Mansfield University Concert Choir at the 2012 World Choir Games in their Gold Medal winning performance in the Musica Sacra competition.

Aghias Triados Choir of Thessaloniki Χορωδία Αγίας Τριάδος Θεσσαλονίκης Μέγαρο Μουσικής Θεσσαλονίκης Μάιος 2012

The Graduate Choir NZ and NZ Barok perform JS Bach's Easter Oratorio, BWV 249. Conductor: Terence Maskell Soloists: Jayne Tankersley (soprano), Dean Sky-Lucas (countertenor), David Hamilton (tenor), Chalium Poppy (bass) --- This performance by T...  moreThe Graduate Choir NZ and NZ Barok perform JS Bach's Easter Oratorio, BWV 249. Conductor: Terence Maskell Soloists: Jayne Tankersley (soprano), Dean Sky-Lucas (countertenor), David Hamilton (tenor), Chalium Poppy (bass) --- This performance by The Graduate Choir NZ exploits with delight the wonderful collaboration with NZ Barok who provide the gamut of instrumental colour using original instruments (or modern copies of originals) and with specialist players from Auckland, Wellington, Sydney, Melbourne and Perth. This performance is further enhanced by the use of "Baroque pitch" - the nearest equivalent to the pitch used in Germany at the start of the 18th century where A = 415, a semitone lower than our modern pitch. In keeping with these stylistic demands, the size of the choir is reduced to 3-5 voices per part. In these ways, every effort is made to preserve and re-create as far as possible the "Affekt" of the music, aligning this performance as closely as possible with what may have been expe...    less