Beethoven, Brahms – Triple & Double Concertos – Geza Anda, Wolfgang Schneiderhan, Pierre Fournier, Janos Starker, Radio-Symphonie-Orchester Berlin, Ferenc Fricsay (1961/1962/2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:11:23 minutes | 1,35 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Deutsche Grammophon
Recording date: #1-3 in June 1960, #4-6 in June 1961 ; Recording Location: Jesus Christ Church, Berlin, Germany

Fricsay conducts concertos by Beethoven and Brahms: Friendship is the connecting link between the two works here. Beethoven is thought to have written his Triple Concerto in 1803 – 04 for his favorite pupil, the Archduke Rudolph. Brahms composed his Double Concerto in 1887 as a peace offering, to heal a breach with his friend the violinist Joseph Joachim. It seems to have done the trick; and it was canny of Brahms, who conducted the first performance (Cologne, October 1887), to have the cellist of the Joachim Quartet, Robert Hausmann, sharing solo hon- ours – it would have been difficult for Brahms and Joachim to have a row with a third party present. I do not know how friendly the soloists on these two famous recordings were, but I recall what a strong “house style” manated from Deutsche Grammophon productions in the 1950s and early 1960s.

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Johann Sebastian Bach – Motets – Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner (2012)
FLAC (tracks) 24-bit/48 kHz | Time – 01:12:17 minutes | 724 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz | Booklet, Front Cover | © SDG
Recorded: Recorded live at St John’s, Smith Square, London, on 3-5 October 2011

Thirty years on from their acclaimed recording for Erato, Sir John Eliot Gardiner and the Monteverdi Choir return to the Bach Motets in a new SDG recording, taken from a concert in London last year at the end of a tour which saw performances in Italy, France, The Netherlands and Germany.

The Motets can be seen as some of Bach’s most perfect and hypnotic compositions. Through their extraordinary complexity and density, they require exceptional virtuosity and sensitivity of all the performers.
Each of them is endlessly fascinating, and each inhabits its own sound world, Bach’s masterful use of canon, fugue and counterpoint, the brilliant exploitation of double-choir sonorities are perfectly matched by the Monteverdi Choir’s virtuosity.

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