Mozart Rilling

Helmut Rilling, Pinchas Zukerman, Bach-Collegium Stuttgart - Mozart: Requiem; Exsultate, jubilate [2009]

Helmut Rilling, Pinchas Zukerman, Bach-Collegium Stuttgart - Mozart: Requiem; Exsultate, jubilate [2009]
Classical | Sony 88697529902 | TT: 68.55 | EAC (FLAC, cue, log) | Covers | 304 Mb

Blegen’s technically flawless and musically peerless rendition is a pure celebration of beautiful singing and of the wonder of Mozart’s dazzling masterpiece. The sound is as clear and immediate as if it had been recorded yesterday, and Pinchas Zukerman’s direction is exemplary. … Although Helmut Rilling’s tempos are sometimes too plodding (the opening Introitus, for example), he makes up for it elsewhere–in an emphatic Recordare and smoothly flowing Benedictus. And while the chorus has a somewhat saturated, conglomerate sound, its impact is nevertheless substantial, not only in the fullest, loudest sections, but also in the quieter passages, which come off as more evenly balanced. Soloists, on the other hand, are absolutely clear if perhaps just a bit too up-front, and the orchestra, which fares well overall, gets swallowed in the mix when the entire chorus is singing. Rilling requires keen articulation from his players and singers, which although normally a good thing sometimes (as in the opening of the Confutatis) seems overly deliberate and stifles the music’s natural momentum. However, if you’re looking for a good, basic reading of the traditional edition of the Requiem–and an unrivalled performance of the Exsultate, jubilate –you won’t go wrong with this decently remastered release. (David Vernier)
W.A. Mozart - Mass in C minor, K. 427, "Great" (Robert Levin edition) (2007)

W.A. Mozart - Mass in C minor, K. 427, "Great" (Robert Levin edition) (2007)
EAC Rip | FLAC, IMG+CUE, LOG | 1 CD | Complete Scans | 333 MB
Classical/Sacred | Label: hänssler CLASSIC \ Cat.: 98227 | RS/MU

This is the world premiere recording of Robert D. Levin's critically acclaimed completion of Mozart's "Great" Mass in C minor. Joining in the festivities are the stellar soloists Juliane Banse, Diana Damrau, Lothar Odinius, and Markus Marquardt together with the Stuttgart Bach Collegium, and Gächinger Kantorei Stuttgart under the direction of Helmuth Rilling.
Mozart:  Requiem K. 626 / Auger · Watkinson · Jerusalem · Nimsgern · Bach-Collegium Stuttgart · Rilling (1990)

Mozart: Requiem K. 626 / Auger · Watkinson · Jerusalem · Nimsgern · Bach-Collegium Stuttgart · Rilling (1990)
EAC rip | FLAC, log, cue, no scans | RAR Rec. 3% | 239 MB | hotfile, fileserve
Classical | Label: Sony | Time: 52:46

Although Helmut Rilling's tempos are sometimes too plodding (the opening Introitus, for example), he makes up for it elsewhere–in an emphatic Recordare and smoothly flowing Benedictus. And while the chorus has a somewhat saturated, conglomerate sound, its impact is nevertheless substantial, not only in the fullest, loudest sections, but also in the quieter passages, which come off as more evenly balanced. Soloists, on the other hand, are absolutely clear if perhaps just a bit too up-front, and the orchestra, which fares well overall, gets swallowed in the mix when the entire chorus is singing. Rilling requires keen articulation from his players and singers, which although normally a good thing sometimes (as in the opening of the Confutatis) seems overly deliberate and stifles the music's natural momentum. –David Vernier
Mozart: Requiem / Helmuth Rilling, Stuttgart Bach Collegium, Gachinger Kantorei Stuttgart (2000)

Mozart: Requiem / Helmuth Rilling, Stuttgart Bach Collegium, Gachinger Kantorei Stuttgart (2000)
EAC Rip, FLAC (image), cue, log, covers | RAR rec. 3% | 267 MB | hotfile, filesonic
Classical | Label: Hanssler Classics

In the liner notes to this premiere recording of his completion, Levin says: "The completed version offered in this recording, however, seeks to respect the 200-year-old history of the Requiem . We have tried not to revise as much, but as little as possible and in a manner we fee it faithful to the character, writing, voice leading, design and structure of Mozart's music."

G.F.Handel - Der Messias HWV 56 (Rilling)  Music

Posted by Ignazio Favagrossa at Nov. 30, 2008
G.F.Handel - Der Messias HWV 56 (Rilling)

G.F.Handel - Der Messias HWV 56 (Rilling)
1994 | 2 CD | individual FLACs | Front Cover | RAR 555Mb

"Mozart's arrangement of Handel's Messiah dates from early 1789 and was intended for performance at the private concerts of Baron Gottfried van Swieten in Vienna. Messias was first heard at van Swieten's concerts on March 6th, 1789 when Mozart directed the orchestra in his own arrangement of Handel's masterpiece. Listeners encountering Mozart's arrangement for the first time will be by the full-bodied sound of woodwind and brass in the choruses; if momentarily startled by the presence of a horn as opposed to a trumpet in "The trumpet shall sound"… this is a lively performance of Messiah which is certainly worth considering for the solo contributions, above all… you will find much else to enjoy as well".
- Gramophone Magazine
Valery Afanassiev - Valery Afanassiev Plays Mozart (2018) [Official Digital Download 24/96]

Valery Afanassiev - Valery Afanassiev Plays Mozart (2018)
FLAC (tracks) 24-bit/96 kHz | Time - 78:15 minutes | 1.46 GB
Studio Master, Official Digital Download | Artwork: Front Cover

Valery Afanassiev on “WOLFGANG AMADEUS MOZART” Today we are too fond of clear-cut solutions and exhaustive explanations. Writers and film directors are supposed to shed light even on those nooks and crannies which should remain dark for the sake of perspective. And readers as well as cinema goers should remain in the dark about this and that for the sake of the same perspective, the same space, the same labyrinth. Alas, there are no more dark ladies either in sonnets or in novels. We have forgotten the aroma of unanswerable questions.
Helmuth Rilling, Bach-Collegium Stuttgart & Gächinger Kantorei - Mendelssohn: Sacred Works (2018) (6 CDs)

Helmuth Rilling, Bach-Collegium Stuttgart & Gächinger Kantorei - Mendelssohn: Sacred Works (2018) (6 CDs)
WEB Rip FLAC (Tracks) | 6 CDs, 06:23:40 min | Cover, d.booklet | 1,65 Gb
Genre: Classical / Label: Haenssler Classic

Felix Mendelssohn Bartholdy’s oratorio Elias Op. 70 was premiered in 1846 at the Birmingham Festival. It depicts the life of the prophet Elijah, taken from the books 1 and 2 Kings of the Old Testament. While it was composed in the spirit of Mendelssohn’s Baroque predecessors Bach and Handel, its lyricism and use of orchestral and choral color clearly reflects Mendelssohn’s own genius as an early Romantic composer. Paulus Op. 36, written a decade earlier, was a popular work during Mendelssohn’s lifetime, but failed to maintain its stature in comparison to his other oratorios and the oratorios of Handel and Bach.
Stuttgart Radio Symphony Orchestra, Helmut Rilling - Honegger: Jeanne d'Arc au bûcher (2013)

Stuttgart Radio Symphony Orchestra, Helmut Rilling - Honegger: Jeanne d'Arc au bûcher (2013)
EAC | FLAC (image+.cue, log) | Covers Included | 01:24:30 | 381 MB
Genre: Classical | Label: Hänssler Classic | Catalog: CD 98.636

Arthur Honegger's 1935 composition Jeanne d'Arc au bûcher (Joan of Arc at the Stake) is a rather curious work: an oratorio for adult choir, children's choirs, singers, and several speakers, including one portraying Joan herself. It is like a hybrid of oratorio, melodrama, and film music, which was a fundamental influence on Honegger's style during this period, and it is immensely enjoyable if performed by confident and enthusiastic forces.
Helmuth Rilling, Bach-Collegium Stuttgart, Gächinger Kantorei - Bach: Great Sacred Choral Works (10CDs) [2010]

Helmuth Rilling, Bach-Collegium Stuttgart, Gächinger Kantorei - Bach: Great Sacred Choral Works (10CDs) [2010]
EAC | FLAC | Image (Cue & Log) ~ 2.71 Gb | Total time: 10:48:54 | Scans included
Classical | Label: Sony Classical | # 88697687172 | Recorded: 1969-1985

Helmuth Rilling is an excellent conductor and interpreter of Bach's sacred music. Recorded from 1969 to 1985, over a longer period of time than most other sets, there is a lot of change throughout the series. Rilling's recordings are more dense and lush than others, and his tempi are often slower than HIP recordings - no "original instruments" for Rilling. But he creates such a detailed sound-world that any fan of these works should want to hear Rilling's versions to compare with others. This said, Rilling often uses a technique that I find a bit disturbing. He'll have one instrument or group of instruments sequestered to one track, and others on the other track, giving a sound similar to that of early Beatles' stereo mixes, where vocals were on one track and instruments on the other. This is something you never hear in live performance; while one instrument may be on one side, you still hear it on the other side. This tends to make some of the movements sound as though there's no blend among the singers and musicians.
(Kirk McElhearn)
Gachinger Kantorei, Bach-Collegium Stuttgart, Helmuth Rilling - Wolfgang Rihm: Deus Passus (2001) 2CDs

Wolfgang Rihm - Deus Passus (Passions-Stücke nach Lukas) (2001) 2CDs
Juliane Banse, soprano; Iris Vermillion, mezzo-soprano; Cornelia Kallisch, alto
Christoph Prégardien, tenor; Andreas Schmidt, baritone
Gächinger Kantorei; Bach-Collegium Stuttgart; Helmuth Rilling, conductor

EAC | FLAC | Image (Cue&Log) ~ 330 Mb | Mp3 (CBR320) ~ 228 Mb | Artwork included
Classical, Choral | Label: Hänssler Classic | # CD 98.397 | Time: 01:30:24

Deus Passus is one quarter of the Passion Project 2000, which celebrated not only the turning of the millennium but also commemorated the 250th anniversary of Bach’s death. German conductor Helmuth Rilling honored this occasion by commissioning Passions from four disparate composers: Wolfgang Rihm, Tan Dun, Sofia Gubaidulina, and Osvaldo Golijov. Deus Passus is a setting of the Passion according to St. Luke, and it is a marvel of a piece for many reasons. For a full hour and a half, with music that is mostly slow and largely atonal (in the sense that Berg’s music is atonal), the twisting, aching, unpredictable harmonies are totally captivating. Rihm chooses a straightforward setting, a simple, dramatic telling of the story, and it is in his capacity for restraint that the true brilliance of the piece lies. He uses the chorus sparingly, mostly for dramatic purposes, having it portray the angry rabble bent on crucifying Jesus (as it often does in Bach’s passions).