Freiburger Barockorchester Von Der Gotlzem

Von der Schule zum Urknall: Saturday Morning Physics der TU Darmstadt in Schülerbeiträgen

Von der Schule zum Urknall: Saturday Morning Physics der TU Darmstadt in Schülerbeiträgen by Erik Kremser
German | 29 Nov. 2015 | ISBN: 3662477289 | 144 Pages | EPUB | 4.87 MB

Service Design: Mit der Quadromo-Methode von der Idee zum Konzept (Repost)  eBooks & eLearning

Posted by step778 at Oct. 16, 2017
Service Design: Mit der Quadromo-Methode von der Idee zum Konzept (Repost)

Jörg Becker, Björn Niehaves, Jens Pöppelbuß, "Service Design: Mit der Quadromo-Methode von der Idee zum Konzept"
2015 | pages: 125 | ISBN: 3662465809 | PDF | 5,7 mb

Kreuzer der U.S. Navy. Von der Omaha-Klasse bis zur Long Beach (Repost)  eBooks & eLearning

Posted by Oleksandr74 at Oct. 15, 2017
Kreuzer der U.S. Navy. Von der Omaha-Klasse bis zur Long Beach (Repost)

Stefan Terzibaschitsch - Kreuzer der U.S. Navy. Von der Omaha-Klasse bis zur Long Beach
Bechtermunz Verlag | 1997 | ISBN: 3860475886 | German | 352 pages | PDF | 159.65 MB
Matthias Goerne, Freiburger Barockorchester & Gottfried von der Goltz - Bach: Cantatas for Bass (2017) [24/96]

Matthias Goerne, Freiburger Barockorchester & Gottfried von der Goltz - Bach: Cantatas for Bass (2017)
FLAC (tracks) 24-bit/96 kHz | Time - 56:32 minutes | 0.98 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

In composing his cantatas for solo voice, Johann Sebastian Bach magisterially combined two elements that might seem irreconcilable: strict devotion within the framework of weekly Lutheran worship and vocal virtuosity, served by skilful highlighting of the voice. The result is a style in which the expression of the sacred Word is raised to a peak of intensity – notably when a voice like Matthias Goerne’s tackles these two famous cantatas for bass, giving them all the lustre of rare pearls!
Freiburger Barockorchester, René Jacobs - Mozart: Symphonies Nos. 38 'Prague' & 41 'Jupiter' (2007) (Repost)

Freiburger Barockorchester, René Jacobs - Mozart: Symphonies Nos. 38 'Prague' & 41 'Jupiter' (2007)
EAC | FLAC (image+.cue, log) | Covers Included | 68:41 | 361 MB
Genre: Classical| Label: Harmonia Mundi | Catalog: HMC 901958

Renowned for his work in Baroque vocal music, René Jacobs is most frequently credited as a countertenor and as a choral director. He is somewhat less familiar as a conductor of Classical symphonic music, though he has increasingly delved into this repertoire in recordings with one of Europe's best early music groups, the Freiburger Barockorchester.
RIAS Kammerchor, Freiburger Barockorchester, Rene Jacobs - W.A. Mozart: Don Giovanni (2007) [3x SACD-ISO + Hi-Res FLAC]

RIAS Kammerchor, René Jacobs, Freiburger Barockorchester - W.A. Mozart: Don Giovanni (2007)
3x SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 170:33 minutes | Scans + PDF Booklet | 8,67 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans + PDF | 3,16 GB
The playful drama in two acts | Features Stereo and Multichannel surround sound
Carolyn Sampson, Freiburger Barockorchester & Petra Müllejans - Bach: Cantatas for Soprano (2017) [24/96]

Carolyn Sampson, Freiburger Barockorchester & Petra Müllejans - Bach: Cantatas for Soprano (2017)
FLAC (tracks) 24-bit/96 kHz | Time - 62:52 minutes | 1.12 GB
Studio Master, Official Digital Download | Artwork: Digital booklet

For biographer Philipp Spitta, Bach's period as organist and later Konzertmeister to the Duke of Weimar (1708-17) was the time of his ‘early mastery’. Nowhere is this more evident than in the small but highly distinguished body of cantatas he wrote there, whether for the court chapel – the Himmelsburg or ‘Castle of Heaven’ – or for some clearly very joyful wedding (BWV202). From the ravishing duets for soprano and oboe of the latter to the penitential strains of BWV199, the radiant voice of Carolyn Sampson and the virtuosos of the Freiburger Barockorchester do full justice to Bach's inventiveness.
Sandrine Piau, Freiburger Barockorchester - Mozart: Opera Arias (2002) (Repost)

Sandrine Piau, Freiburger Barockorchester - Mozart: Opera Arias (2002)
EAC | APE (image+.cue, log) | Covers Included | 64:14 | 292 MB
Genre: Classical, Opera, Vocal | Label: Astree | Catalog: E8877

Anyone who enjoys Mozart opera should hear this disc. Yet quite a few people who'd probably love it to death if they listened are going to pass it by. Why? Well, look at the selections - it's not exactly a 'greatest hits' selection in the truly popular sense. Lucio Silla, Il re pastore, Mitridate, Zaïde - hardly front rank Mozart operas in the public consciousness; with Die Entführung we're getting closer - and suddenly you spot track 2, Pamina's gorgeous lament to lost love from The Magic Flute: 'Ach, ich fühl's' - anyone who hears Sandrine Piau singing this famous number will want to experience the rest of the recording no matter what.
Nicholas McGegan, Freiburger Barockorchester - Handel: Giustino [1994]

Handel - Giustino (Nicholas McGegan) [1994]
Classical | Harmonia Mundi 907130.32 | TT: 74.22+38.35+60.20 | EAC (FLAC, cue, log) | Covers | 789 Mb

Giustino is the Baroque version of a ‘ripping yarn’. The eponymous hero rises from ploughboy to emperor via an action-packed curriculum vitae that has him seeing visions, routing traitors, fighting bears and even slaying a sea-monster! Written in the autumn of 1736, shortly after Handel had suffered a period of ill-health, Giustino is not among his greatest operas, but it is thoroughly entertaining and offers much fine music. Particularly felicitous are Giustino’s bucolic aria ‘Può ben nascere tra li boschi’ and Anastasio’s lovely ‘O fiero e rio sospetto’. The headlong pace leaves Handel little time to develop the more sensual, amorous side of his music. One exception – and the opera’s most entrancing interlude – is the ravishing love duet in Act II, superbly sung here by Dorothea Röschmann (Arianna) and Dawn Kotoski (Anastasio). Michael Chance too is outstanding in the title role, proving that even countertenors can exude machismo. Nicholas McGegan coaxes a stylish performance from the Freiburg Baroque Orchestra. Giustino is the fourth Handel opera he has now recorded following a staging at the Göttingen Festival and this is his most assured reading to date. Mention in the credits of a Bear Growl Advisor suggests a commendable attention to grizzly detail. (Graham Lock)
Nicholas McGegan, Freiburger Barockorchester - Handel: Ottone [1992]

Handel - Ottone (Nicholas McGegan) [1992]
Classical | Harmonia Mundi 907073.75 | TT: 70:44+64:07+54:56 | EAC (FLAC, cue, log) | Covers | 854 Mb

With over 30 of Handel’s operas awaiting a first CD recording, it seems indecent luxury to find two splendid new recordings of Ottone, a work in the vanguard of the German Handel opera revival in the 1920s, but long since relegated to obscurity. Both benefit immensely by being based on stage performances, Nicholas McGegan’s from the Göttingen Handel Festival, of which he is artistic director, Robert King’s from a production that successfully toured the UK and Japan. Broadly speaking, McGegan’s reading is distinguished by a compelling sense of drama and a wonderful feeling for Handelian style, sometimes at the expense of tonal beauty; King’s is smoother, occasionally letting the dramatic impetus flag, but offering playing of consistent strength and fine shading. McGegan, however, fields the marginally more convincing team of singers, led by Drew Minter, whose pure bright tone, breathtaking coloratura and ardent delivery give pleasure at every hearing; Bowman, for King, sings with sensitivity but his mannered tone and technical limitations are serious drawbacks. Conversely, Dominique Visse, for King, with his inimitable reedy timbre and impeccable musicianship, is matchless as Ottone’s rival in kingship, Adelberto, fine as Ralf Popken is for McGegan. Of the female roles, Claron McFadden produces a stream of radiant tone as Teofane; but so does Lisa Saffer, who, in addition, offers a wider range of colour. Both sets are recommendable, but Minter’s charismatic performance, Saffer’s deeper perceptions and the inclusion of arias Handel wrote for later revivals tip the balance in favour of McGegan. Whatever your choice, it’s an opera not to be missed. (Antony Bye)