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Edition Staatskapelle Dresden vol.51 (24/48 FLAC)

Edition Staatskapelle Dresden vol.51 (24/48 FLAC)
Edition Staatskapelle Dresden vol.51 (24/48 FLAC)


Composer: Johann Sebastian Bach, Giuseppe Verdi, Hector Berlioz, Gustav Mahler
Performer: Krešimir Stražanac, Dorothee Mields, Krassimira Stoyanova, Sinfoniechor Dresden, Charlotte Margiono, Georg Zeppenfeld, Jard Van Nes
Orchestra: Staatskapelle Dresden
Conductor: Philippe Herreweghe, Sir Colin Davis, Christian Thielemann, Bernhard Haitink
Format: FLAC (tracks)
Label: Profil
Release: 2022
Size: 1.18 GB
Recovery: +3%
Scan: yes

CD 01
Bach: Ich hatte viel Bekümmernis, BWV 21
01. No. 1, Sinfonia

Bach: Ich habe genug, BWV 82
02. No. 1, Ich habe genug
03. No. 2, Ich habe genug
04. No. 3, Schlummert ein, ihr matten Augen
05. No. 4, Mein Gott! Wenn kömmt das schöne. Nun!
06. No. 5, Ich freue mich auf meinen Tod

Bach: Weinen, Klagen, Sorgen, Zagen, BWV 12
07. No. 1, Sinfonia

Bach: Mein Herze schwimmt im Blut, BWV 199
08. No. 1, Mein Herze schwimmt im Blut
09. No. 2, Stumme Seufzer, stille Klagen
10. No. 3, Doch Gott muss mir gnädig sein
11. No. 4, Tief gebückt und voller Reue
12. No. 5, Auf diese Schmerzens-reu
13. No. 6, Ich, Dein betrübtes Kind
14. No. 7, Ich lege mich in diese Wunden
15. No. 8, Wie freudig ist mein Herz

CD 02
01. Interview with Philippe Herreweghe

Verdi: Messa da Requiem
02. I. Requiem
03. IIa. Dies irae
04. IIb. Tuba mirum – IIc. Mors stupebit

Berlioz: Grande messe des morts, Op. 5, H. 75
05. II. Dies irae

Mahler: Symphony No. 2 in C Minor “Resurrection”
06. V. In Tempo des Scherzos

07. Interview with Andreas Schreiber

The musicians of the Sächsische Staatskapelle Dresden were committed to their tradition of staging an annual commemorative concert even under these difficult circumstances and decided to organize a “Memento mori” to mark this date that is inscribed in the annals of city history.

The program comprised a small ensemble conducted by an expert for Baroque music and two ideally suited voices for the format. The concert was recorded for the Deutschlandfunk Kultur station and broadcast as a message of peace in the world. There were fewer than ten people in the auditorium of the Semperoper, all socially distanced and listening raptly to this unique event. Ultimately this was the first sign of life, the first musical greeting from the orchestra in a concert not open to the public after months of inactivity due to the pandemic.

When, barely a year ago, Arnold Schoenberg’s Gurre-Lieder (featuring more than 300 performers on stage to a full house! directed by Thielemann) were performed and produced for album shortly afterwards, no one would have predicted that this sonorous performance would be followed by a long phase of silence. May the present recording serve as testimony in the form of a contemporary sign of a cultural reawakening.

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