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Robert Jones, St. Bride's Choir - Johannes Brahms: Motets (1999)

Posted By: ArlegZ
Robert Jones, St. Bride's Choir - Johannes Brahms: Motets (1999)

Robert Jones, St. Bride's Choir - Johannes Brahms: Motets (1999)
EAC | FLAC | Image (Cue & Log) ~ 211 Mb | Total time: 56:42 | Scans included
Classical | Label: Naxos | # 8.553877 | Recorded: 1996

Throughout his composing career, from his Hamburg days onwards, Brahms was devoted to writing choral music, both religious and secular, superbly crafted. In their recording, Robert Jones and the Choir of St Bride’s, Fleet Street, give fresh, clear performances. They are beautifully scaled to give the illusion of church performance, helped by warm, atmospheric recording.

Robert Jones, Choir of St. Bride's Church - Anton Bruckner: Motets (1994)

Posted By: ArlegZ
Robert Jones, Choir of St. Bride's Church - Anton Bruckner: Motets (1994)

Robert Jones, Choir of St. Bride's Church - Anton Bruckner: Motets (1994)
EAC | FLAC | Image (Cue & Log) ~ 202 Mb | Total time: 62:24 | Scans included
Classical | Label: Naxos | # 8.550956 | Recorded: 1994

This Naxos disc is the first commercial recording of the St Bride’s Church Choir, and very impressive it is, for with crisp, clear ensemble and fresh tone from boyish-sounding sopranos they give warmly sympathetic performances of these fine Bruckner motets, an excellent selection covering most of the best known. The recording is full and vivid, set against a helpful church acoustic which does not obscure detail.

Michael Chance, David Cordier, Tragicomedia - A Musicall Dreame: Music by Robert Jones, Tobias Hume, Giles Farnaby (1990)

Posted By: ArlegZ
Michael Chance, David Cordier, Tragicomedia - A Musicall Dreame: Music by Robert Jones, Tobias Hume, Giles Farnaby (1990)

Michael Chance, David Cordier, Stephen Stubbs, Tragicomedia - A Musicall Dreame: Music by Robert Jones, Tobias Hume, Giles Farnaby (1990)
EAC | FLAC | Image (Cue & Log) ~ 230 Mb | Total time: 64:00 | Scans included
Classical | Label: Hyperion | # CDA66335 | Recorded: 1988

Sublime musical expression does not necessarily proceed from serene spirits whose philosophical loftiness leaves them unmoved by the push and shove of the marketplace. Prefaces to printed editions of music in the sixteenth and seventeenth centuries seldom reveal much of the personality behind the writer's effusive urge to prostrate himself before the dedicatee and his invocations to the muses to make worthy his humble efforts. Robert Jones, Tobias Hume and John Dowland were exceptions in this regard and often used their printed prefaces as a platform for polemics, self-defence and bile. In so doing they illumine the contemporary pressures of public opinion and changing fashions, as well as highly individual — not to say curmudgeonly — natures.