Complete Beethoven Edition, Volume 19: Large Choral Works

~ Release by Ludwig van Beethoven (see all versions of this release, 1 available)

Annotation

Orchestre Révolutionnaire et Romantique performs here on authentic instruments.

Missa solemnis:
Jessye Norman performed parts prescribed for Alto with a Soprano voice.
Gert Frischmuth concert master for Rundfunkchor Leipziger.
Gustav Sjökvist concert master for Swedish Radio Chorus & Eric Ericson Chamber Choir

Tracks 1-6 (Op. 136):
Soprano (Vienna): Luba Orgonasova
Mezz-soprano (Seherin): Iris Vermillion
Tenor (Genius): Timothy Robinson
Bass (Führer des Volkes): Franz Hawlata
Coro di voci bianche dell'Arcum Chorus Master: Paolo Lucci
Coro e Orchestra dell'Accademia Nazionale di Santa Cecilia Chorus Master: Norbert Balatsch

Tracks 7-12 (Op. 80):
Soprano: Cheryl Studer, Kristina Clemenz
Mezzo-soprano: Camille Capasso
Tenor: John aler, Hiroshi Oshima
Bass: Friedrich Molsberger
RIAS Kammerchor Chorus Master: Marcus Creed

Tracks 1-7 (WoO 87):
Soprano: Charlotte Margiono
Bass: William Shimell
Soprano-solo: Veronica Verebély
Alto-solo: Ulrike Helzel
Tenor: Clemens Bieber

Tracks 8-13 (WoO 88):
Soprano: Christine Schäfer
Tenor: Clemens Bieber
Bass: Victor von Halem
Alto-solo: Ulrike Helzel

Annotation last modified on 2008-02-27 05:55 UTC.

Tracklist

| |
1▼CD
#TitleRatingLength
1Funeral Cantata on the Death of Emperor Joseph II for Solo Voices, Chorus, and Orchestra, WoO 87: I. Choir and Soli “Tot! Tot, stöhnt es durch die öde Nacht”
producer:
Werner Mayer (classical producer)
bass vocals:
William Shimell (baritone) (in 1997-02)
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin) (in 1997-02)
contralto vocals:
Ulrike Helzel (in 1997-02)
soprano vocals:
Charlotte Margiono (soprano) (in 1997-02) and Veronica Verebély (in 1997-02)
tenor vocals:
Clemens Bieber (german operatic tenor) (in 1997-02)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1997-02)
conductor:
Christian Thielemann (German conductor) (in 1997-02)
chorus master:
Karl Kamper (in 1997-02)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1997-02)
recording of:
Cantata on the Death of Emperor Joseph II, WoO 87: I. Chorus "Tot! Tot, stöhnt es durch die öde Nacht" (solo quartet) (in 1997-02)
composer:
Ludwig van Beethoven (German composer) (in 1790)
librettist:
Severin Anton Averdonk
part of:
Cantata on the Death of Emperor Joseph II, WoO 87
9:48
2Funeral Cantata on the Death of Emperor Joseph II for Solo Voices, Chorus, and Orchestra, WoO 87: IIa. Recitative (bass) “Ein Ungeheuer, sein Name Fanatismus”
producer:
Werner Mayer (classical producer)
bass vocals:
William Shimell (baritone) (in 1997-02)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1997-02)
conductor:
Christian Thielemann (German conductor) (in 1997-02)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1997-02)
recording of:
Cantata on the Death of Emperor Joseph II, WoO 87: II. Recitative "Ein Ungeheuer, sein Name Fanatismus" (bass) (in 1997-02)
composer:
Ludwig van Beethoven (German composer) (in 1790)
librettist:
Severin Anton Averdonk
part of:
Cantata on the Death of Emperor Joseph II, WoO 87
1:11
3Funeral Cantata on the Death of Emperor Joseph II for Solo Voices, Chorus, and Orchestra, WoO 87: IIb. Aria (bass) “Da kam Joseph”
producer:
Werner Mayer (classical producer)
bass vocals:
William Shimell (baritone) (in 1997-02)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1997-02)
conductor:
Christian Thielemann (German conductor) (in 1997-02)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1997-02)
recording of:
Cantata on the Death of Emperor Joseph II, WoO 87: III. Aria "Da kam Joseph" (bass) (in 1997-02)
composer:
Ludwig van Beethoven (German composer) (in 1790)
librettist:
Severin Anton Averdonk
part of:
Cantata on the Death of Emperor Joseph II, WoO 87
5:05
4Funeral Cantata on the Death of Emperor Joseph II for Solo Voices, Chorus, and Orchestra, WoO 87: III. Aria (Soprano) with Choir “Da stiegen die Menschen an’s Licht”
producer:
Werner Mayer (classical producer)
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin) (in 1997-02)
soprano vocals:
Charlotte Margiono (soprano) (in 1997-02)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1997-02)
conductor:
Christian Thielemann (German conductor) (in 1997-02)
chorus master:
Karl Kamper (in 1997-02)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1997-02)
recording of:
Cantata on the Death of Emperor Joseph II, WoO 87: IV. Aria & Chorus "Da stiegen die Menschen ans Licht" (soprano) (in 1997-02)
composer:
Ludwig van Beethoven (German composer) (in 1790)
librettist:
Severin Anton Averdonk
part of:
Cantata on the Death of Emperor Joseph II, WoO 87
6:23
5Funeral Cantata on the Death of Emperor Joseph II for Solo Voices, Chorus, and Orchestra, WoO 87: IVa. Recitative (soprano) “Er Schläft, von den Sorgen seiner Welten entladen”
producer:
Werner Mayer (classical producer)
soprano vocals:
Charlotte Margiono (soprano) (in 1997-02)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1997-02)
conductor:
Christian Thielemann (German conductor) (in 1997-02)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1997-02)
recording of:
Cantata on the Death of Emperor Joseph II, WoO 87: V. Recitative "Er schläft" (soprano) (in 1997-02)
composer:
Ludwig van Beethoven (German composer) (in 1790)
librettist:
Severin Anton Averdonk
part of:
Cantata on the Death of Emperor Joseph II, WoO 87
2:54
6Funeral Cantata on the Death of Emperor Joseph II for Solo Voices, Chorus, and Orchestra, WoO 87: IVb. Aria (soprano) “Hier schlummert seinen stillen Frieden der grosse Dulder”
producer:
Werner Mayer (classical producer)
soprano vocals:
Charlotte Margiono (soprano) (in 1997-02)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1997-02)
conductor:
Christian Thielemann (German conductor) (in 1997-02)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1997-02)
recording of:
Cantata on the Death of Emperor Joseph II, WoO 87: VI. Aria "Hier schlummert seinen stillen Frieden" (soprano) (in 1997-02)
composer:
Ludwig van Beethoven (German composer) (in 1790)
librettist:
Severin Anton Averdonk
part of:
Cantata on the Death of Emperor Joseph II, WoO 87
8:14
7Funeral Cantata on the Death of Emperor Joseph II for Solo Voices, Chorus, and Orchestra, WoO 87: V. Choir and Soli “Tot! Tot, stöhnt es durch die öde Nacht”
producer:
Werner Mayer (classical producer)
bass vocals:
William Shimell (baritone) (in 1997-02)
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin) (in 1997-02)
contralto vocals:
Ulrike Helzel (in 1997-02)
soprano vocals:
Charlotte Margiono (soprano) (in 1997-02) and Veronica Verebély (in 1997-02)
tenor vocals:
Clemens Bieber (german operatic tenor) (in 1997-02)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1997-02)
conductor:
Christian Thielemann (German conductor) (in 1997-02)
chorus master:
Karl Kamper (in 1997-02)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1997-02)
recording of:
Cantata on the Death of Emperor Joseph II, WoO 87: VII. Chorus "Tot, stöhnt es durch die öde Nacht" (solo quartet) (in 1997-02)
composer:
Ludwig van Beethoven (German composer) (in 1790)
librettist:
Severin Anton Averdonk
part of:
Cantata on the Death of Emperor Joseph II, WoO 87
10:22
8Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: Ia. Recitative (soprano, choir) “Er schlummert” - “Lasst sanft den grossen Fürsten ruhen!”
producer:
Werner Mayer (classical producer)
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin) (in 1996-09)
soprano vocals:
Christine Schäfer (soprano) (in 1996-09)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1996-09)
conductor:
Christian Thielemann (German conductor) (in 1996-09)
chorus master:
Karl Kamper (in 1996-09)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1996-09)
recording of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: Ia. Recitative (soprano, choir) "Er schlummert" - "Lasst sanft den grossen Fürsten ruhen!" (in 1996-09)
composer:
Ludwig van Beethoven (German composer) (in 1790)
part of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88
4:22
9Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: 1b. Arie (soprano) “Fliesse, Wonnezähre, fliesse!”
producer:
Werner Mayer (classical producer)
soprano vocals:
Christine Schäfer (soprano) (in 1996-09)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1996-09)
conductor:
Christian Thielemann (German conductor) (in 1996-09)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1996-09)
recording of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: Ib. Arie (soprano) "Fliesse, Wonnezähre, fliesse!" (in 1996-09)
composer:
Ludwig van Beethoven (German composer) (in 1790)
part of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88
12:08
10Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: II. Recitative (bass) “Ihr staunt, Völker der Erde!”
producer:
Werner Mayer (classical producer)
bass vocals:
Victor von Halem (operatic bass) (in 1996-09)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1996-09)
conductor:
Christian Thielemann (German conductor) (in 1996-09)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1996-09)
recording of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: II. Recitative (bass) "Ihr staunt, Völker der Erde!" (in 1996-09)
composer:
Ludwig van Beethoven (German composer) (in 1790)
part of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88
0:50
11Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: IIIa. Recitative (tenor) “Wie bebt mein Herz vor Wonne!”
producer:
Werner Mayer (classical producer)
tenor vocals:
Clemens Bieber (german operatic tenor) (in 1996-09)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1996-09)
conductor:
Christian Thielemann (German conductor) (in 1996-09)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1996-09)
recording of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: IIIa. Recitative (tenor) "Wie bebt mein Herz vor Wonne!" (in 1996-09)
composer:
Ludwig van Beethoven (German composer) (in 1790)
part of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88
0:55
12Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: IIIb. Trio (tenor, bass, soprano) “Ihr, die Joseph ihren vater nannten”
producer:
Werner Mayer (classical producer)
bass vocals:
Victor von Halem (operatic bass) (in 1996-09)
soprano vocals:
Christine Schäfer (soprano) (in 1996-09)
tenor vocals:
Clemens Bieber (german operatic tenor) (in 1996-09)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1996-09)
conductor:
Christian Thielemann (German conductor) (in 1996-09)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1996-09)
recording of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: IIIb. Trio (tenor, bass, soprano) "Ihr, die Joseph ihren vater nannten" (in 1996-09)
composer:
Ludwig van Beethoven (German composer) (in 1790)
part of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88
4:15
13Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: IV. Choir “Heil! Stürzet nieder, Millionen’”
producer:
Werner Mayer (classical producer)
bass vocals:
Victor von Halem (operatic bass) (in 1996-09)
choir vocals:
Chor der Deutschen Oper Berlin (Chorus of the German Opera Berlin) (in 1996-09)
contralto vocals:
Ulrike Helzel (in 1996-09)
soprano vocals:
Christine Schäfer (soprano) (in 1996-09)
tenor vocals:
Clemens Bieber (german operatic tenor) (in 1996-09)
orchestra:
Orchester der Deutschen Oper Berlin (Orchestra of the German Opera Berlin) (in 1996-09)
conductor:
Christian Thielemann (German conductor) (in 1996-09)
chorus master:
Karl Kamper (in 1996-09)
balance engineer:
Gregor Zielinsky (Balance engineer)
recorded at:
Jesus‐Christus‐Kirche (Dahlem) in Berlin, Germany (in 1996-09)
recording of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88: IV. Choir "Heil! Stürzet nieder, Millionen'" (in 1996-09)
composer:
Ludwig van Beethoven (German composer) (in 1790)
part of:
Cantata on the Accession of Emperor Leopold II for Solo Voices, Chorus, and Orchestra, WoO 88
5:10
2▼CD
#TitleRatingLength
1Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 “The Moment of Glory”: I. Choir “Europa stet!”
choir vocals:
Coro dell’Accademia Nazionale di Santa Cecilia (Chorus of the National Academy of Santa Cecilia) and Coro di voci bianche dell’Arcum
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
정명훈 (Myung-Whun Chung, pianist and conductor)
chorus master:
Norbert Balatsch (baritone, chorus master and conductor) and Paolo Lucci (chorus master)
recording of:
Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 "The Moment of Glory": I. Choir "Europa stet!"
composer:
Ludwig van Beethoven (German composer) (in 1814)
part of:
Der glorreiche Augenblick, op. 136
3:49
2Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 “The Moment of Glory”: II. Recitative “O seht sie nah und näher treten!” (Führer des Volkes) - Choir “Vienna, Vienna, Vienna!”
choir vocals:
Coro dell’Accademia Nazionale di Santa Cecilia (Chorus of the National Academy of Santa Cecilia) and Coro di voci bianche dell’Arcum
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
정명훈 (Myung-Whun Chung, pianist and conductor)
chorus master:
Norbert Balatsch (baritone, chorus master and conductor) and Paolo Lucci (chorus master)
recording of:
Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 "The Moment of Glory": II. Recitative "O seht sie nah und näher treten!" (Führer des Volkes) - Choir "Vienna, Vienna, Vienna!"
composer:
Ludwig van Beethoven (German composer) (in 1814)
part of:
Der glorreiche Augenblick, op. 136
3:32
3Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 “The Moment of Glory”: III. Recitative “O Himmel, wlch’ Entzüchekn!” (Vienna) - Aria with Choir “Alle die Herrscher darf ich grüssen” (Vienna)
choir vocals:
Coro dell’Accademia Nazionale di Santa Cecilia (Chorus of the National Academy of Santa Cecilia) and Coro di voci bianche dell’Arcum
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
정명훈 (Myung-Whun Chung, pianist and conductor)
chorus master:
Norbert Balatsch (baritone, chorus master and conductor) and Paolo Lucci (chorus master)
recording of:
Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 "The Moment of Glory": III. Recitative "O Himmel, welch' Entzücken!" (Vienna) - Aria with Choir "Alle die Herrscher darf ich grüssen" (Vienna)
composer:
Ludwig van Beethoven (German composer) (in 1814)
part of:
Der glorreiche Augenblick, op. 136
9:19
4Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 “The Moment of Glory”: IV. Recitative “Das Auge schaut” (Seherin) - Kavatine with Choir “Dem die erste Zähre” (Seherin)
choir vocals:
Coro dell’Accademia Nazionale di Santa Cecilia (Chorus of the National Academy of Santa Cecilia) and Coro di voci bianche dell’Arcum
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
정명훈 (Myung-Whun Chung, pianist and conductor)
chorus master:
Norbert Balatsch (baritone, chorus master and conductor) and Paolo Lucci (chorus master)
recording of:
Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 "The Moment of Glory": IV. Recitative "Das Auge schaut" (Seherin) - Kavatine with Choir "Dem die erste Zähre" (Seherin)
composer:
Ludwig van Beethoven (German composer) (in 1814)
part of:
Der glorreiche Augenblick, op. 136
7:09
5Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 “The Moment of Glory”: V. Recitative “Der den Bund im Sturme festgehalten” - Quartet “In meinen Mauern bauen sich neue Zeiten auf” (Vienna, Genius, Führer des Volkes, Seherin)
choir vocals:
Coro dell’Accademia Nazionale di Santa Cecilia (Chorus of the National Academy of Santa Cecilia) and Coro di voci bianche dell’Arcum
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
정명훈 (Myung-Whun Chung, pianist and conductor)
chorus master:
Norbert Balatsch (baritone, chorus master and conductor) and Paolo Lucci (chorus master)
recording of:
Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 "The Moment of Glory": V. Recitative "Der den Bund im Sturme festgehalten" - Quartet "In meinen Mauern bauen sich neue Zeiten auf" (Vienna, Genius, Führer des Volkes, Seherin)
composer:
Ludwig van Beethoven (German composer) (in 1814)
part of:
Der glorreiche Augenblick, op. 136
6:20
6Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 “The Moment of Glory”: VI. Choir “Es treten vor die Scharen der Frauen”
choir vocals:
Coro dell’Accademia Nazionale di Santa Cecilia (Chorus of the National Academy of Santa Cecilia) and Coro di voci bianche dell’Arcum
orchestra:
Orchestra dell’Accademia Nazionale di Santa Cecilia (Orchestra of the National Academy of Santa Cecilia)
conductor:
정명훈 (Myung-Whun Chung, pianist and conductor)
chorus master:
Norbert Balatsch (baritone, chorus master and conductor) and Paolo Lucci (chorus master)
recording of:
Cantata for 4 Solo Voices, Chorus, and Orchestra, op. 136 "The Moment of Glory": VI. Choir "Es treten vor die Scharen der Frauen"
composer:
Ludwig van Beethoven (German composer) (in 1814)
part of:
Der glorreiche Augenblick, op. 136
4:04
7Fantasy for Piano, Choir, and Orchestra in C minor, op. 80 “Choral Fantasy”: I. Adagio (live)
piano:
Evgeny Kissin (Russian classical pianist)
choir vocals:
RIAS Kammerchor (German chamber choir)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Claudio Abbado (conductor)
chorus master:
Marcus Creed (conductor)
live recording of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”: I. Adagio
composer:
Ludwig van Beethoven (German composer) (in 1808)
revised by:
Ludwig van Beethoven (German composer) (in 1809)
version of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”: Original introduction (Original introduction, not part of standard repertoire)
part of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”
3:19
8Fantasy for Piano, Choir, and Orchestra in C minor, op. 80 “Choral Fantasy”: II‐i. Finale. Allegro - Meno allegro - Allegro molto (live)
piano:
Evgeny Kissin (Russian classical pianist)
choir vocals:
RIAS Kammerchor (German chamber choir)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Claudio Abbado (conductor)
chorus master:
Marcus Creed (conductor)
live partial recording of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”: II. Finale: Allegro – Meno allegro (Allegretto) – Allegro molto – Adagio ma non troppo – Marcia, assai vivace – Allegro – Allegretto ma non troppo quasi andante con moto »Schmeichelnd hold und liebliech klingen« – Presto
composer:
Ludwig van Beethoven (German composer) (in 1808)
revised by:
Ludwig van Beethoven (German composer) (in 1809)
part of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”
6:18
9Fantasy for Piano, Choir, and Orchestra in C minor, op. 80 “Choral Fantasy”: II‐ii. Adagio ma non troppo (live)
piano:
Evgeny Kissin (Russian classical pianist)
choir vocals:
RIAS Kammerchor (German chamber choir)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Claudio Abbado (conductor)
chorus master:
Marcus Creed (conductor)
live partial recording of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”: II. Finale: Allegro – Meno allegro (Allegretto) – Allegro molto – Adagio ma non troppo – Marcia, assai vivace – Allegro – Allegretto ma non troppo quasi andante con moto »Schmeichelnd hold und liebliech klingen« – Presto
composer:
Ludwig van Beethoven (German composer) (in 1808)
revised by:
Ludwig van Beethoven (German composer) (in 1809)
part of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”
2:52
10Fantasy for Piano, Choir, and Orchestra in C minor, op. 80 “Choral Fantasy”: II‐iii. Marcia, assai vivace - Allegro (live)
piano:
Evgeny Kissin (Russian classical pianist)
choir vocals:
RIAS Kammerchor (German chamber choir)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Claudio Abbado (conductor)
chorus master:
Marcus Creed (conductor)
live partial recording of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”: II. Finale: Allegro – Meno allegro (Allegretto) – Allegro molto – Adagio ma non troppo – Marcia, assai vivace – Allegro – Allegretto ma non troppo quasi andante con moto »Schmeichelnd hold und liebliech klingen« – Presto
composer:
Ludwig van Beethoven (German composer) (in 1808)
revised by:
Ludwig van Beethoven (German composer) (in 1809)
part of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”
2:09
11Fantasy for Piano, Choir, and Orchestra in C minor, op. 80 “Choral Fantasy”: II‐iv. Allegretto, ma non troppo quasi andante con moto “Schmeichelnd hold un liblich klingen” (live)
piano:
Evgeny Kissin (Russian classical pianist)
choir vocals:
RIAS Kammerchor (German chamber choir)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Claudio Abbado (conductor)
chorus master:
Marcus Creed (conductor)
live partial recording of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”: II. Finale: Allegro – Meno allegro (Allegretto) – Allegro molto – Adagio ma non troppo – Marcia, assai vivace – Allegro – Allegretto ma non troppo quasi andante con moto »Schmeichelnd hold und liebliech klingen« – Presto
composer:
Ludwig van Beethoven (German composer) (in 1808)
revised by:
Ludwig van Beethoven (German composer) (in 1809)
part of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”
2:18
12Fantasy for Piano, Choir, and Orchestra in C minor, op. 80 “Choral Fantasy”: II‐v. Presto (live)
piano:
Evgeny Kissin (Russian classical pianist)
choir vocals:
RIAS Kammerchor (German chamber choir)
orchestra:
Berliner Philharmoniker (Berlin Philharmonic Orchestra)
conductor:
Claudio Abbado (conductor)
chorus master:
Marcus Creed (conductor)
live partial recording of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”: II. Finale: Allegro – Meno allegro (Allegretto) – Allegro molto – Adagio ma non troppo – Marcia, assai vivace – Allegro – Allegretto ma non troppo quasi andante con moto »Schmeichelnd hold und liebliech klingen« – Presto
composer:
Ludwig van Beethoven (German composer) (in 1808)
revised by:
Ludwig van Beethoven (German composer) (in 1809)
part of:
Fantasia for Piano, Chorus, and Orchestra in C minor, op. 80 “Choral Fantasy”
1:37
3▼CD
#TitleRatingLength
1Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: I. Kyrie. Andante con moto assai vivace quasi Allegretto ma non troppo
recording engineer:
Ulrich Vette (engineer)
executive producer:
Dr. Andreas Holschneider and Charlotte Kriesch
producer:
Karl-August Naegler (balance engineer)
bass vocals:
Alastair Miles (operatic bass) (in 1989-11)
choir vocals:
Monteverdi Choir (English vocal Baroque ensemble) (in 1989-11)
mezzo-soprano vocals:
Catherine Robbin (Canadian mezzo-soprano) (in 1989-11)
soprano vocals:
Charlotte Margiono (soprano) (in 1989-11)
tenor vocals:
William Kendall (tenor) (in 1989-11)
orchestra:
Orchestre Révolutionnaire et Romantique (in 1989-11)
conductor:
Sir John Eliot Gardiner (John Eliot Gardiner) (in 1989-11)
phonographic copyright (℗) by:
Deutsche Grammophon (in 1992)
recorded at:
All Saints Church (Tooting, London) in London (Greater London), England, United Kingdom (in 1989-11)
recording of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: I. Kyrie. Andante con moto assai vivace quasi Allegretto ma non troppo (in 1989-11)
composer:
Ludwig van Beethoven (German composer) (in 1807)
part of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86
5:35
2Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: II. Gloria. Allegro con brio
recording engineer:
Ulrich Vette (engineer)
executive producer:
Dr. Andreas Holschneider and Charlotte Kriesch
producer:
Karl-August Naegler (balance engineer)
bass vocals:
Alastair Miles (operatic bass) (in 1989-11)
choir vocals:
Monteverdi Choir (English vocal Baroque ensemble) (in 1989-11)
mezzo-soprano vocals:
Catherine Robbin (Canadian mezzo-soprano) (in 1989-11)
soprano vocals:
Charlotte Margiono (soprano) (in 1989-11)
tenor vocals:
William Kendall (tenor) (in 1989-11)
orchestra:
Orchestre Révolutionnaire et Romantique (in 1989-11)
conductor:
Sir John Eliot Gardiner (John Eliot Gardiner) (in 1989-11)
phonographic copyright (℗) by:
Deutsche Grammophon (in 1992)
recorded at:
All Saints Church (Tooting, London) in London (Greater London), England, United Kingdom (in 1989-11)
recording of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: II. Gloria. Allegro con brio (in 1989-11)
composer:
Ludwig van Beethoven (German composer) (in 1807)
part of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86
8:49
3Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: III. Credo. Allegro con brio
recording engineer:
Ulrich Vette (engineer)
executive producer:
Dr. Andreas Holschneider and Charlotte Kriesch
producer:
Karl-August Naegler (balance engineer)
bass vocals:
Alastair Miles (operatic bass) (in 1989-11)
choir vocals:
Monteverdi Choir (English vocal Baroque ensemble) (in 1989-11)
mezzo-soprano vocals:
Catherine Robbin (Canadian mezzo-soprano) (in 1989-11)
soprano vocals:
Charlotte Margiono (soprano) (in 1989-11)
tenor vocals:
William Kendall (tenor) (in 1989-11)
orchestra:
Orchestre Révolutionnaire et Romantique (in 1989-11)
conductor:
Sir John Eliot Gardiner (John Eliot Gardiner) (in 1989-11)
phonographic copyright (℗) by:
Deutsche Grammophon (in 1992)
recorded at:
All Saints Church (Tooting, London) in London (Greater London), England, United Kingdom (in 1989-11)
recording of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: III. Credo. Allegro con brio (in 1989-11)
composer:
Ludwig van Beethoven (German composer) (in 1807)
part of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86
10:30
4Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: IV. Sanctus. Adagio - Allegro - Allegretto ma non troppo - Allegro
recording engineer:
Ulrich Vette (engineer)
executive producer:
Dr. Andreas Holschneider and Charlotte Kriesch
producer:
Karl-August Naegler (balance engineer)
bass vocals:
Alastair Miles (operatic bass) (in 1989-11)
choir vocals:
Monteverdi Choir (English vocal Baroque ensemble) (in 1989-11)
mezzo-soprano vocals:
Catherine Robbin (Canadian mezzo-soprano) (in 1989-11)
soprano vocals:
Charlotte Margiono (soprano) (in 1989-11)
tenor vocals:
William Kendall (tenor) (in 1989-11)
orchestra:
Orchestre Révolutionnaire et Romantique (in 1989-11)
conductor:
Sir John Eliot Gardiner (John Eliot Gardiner) (in 1989-11)
phonographic copyright (℗) by:
Deutsche Grammophon (in 1992)
recorded at:
All Saints Church (Tooting, London) in London (Greater London), England, United Kingdom (in 1989-11)
recording of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: IV. Sanctus. Adagio - Allegro - Allegretto ma non troppo - Allegro (in 1989-11)
composer:
Ludwig van Beethoven (German composer) (in 1807)
part of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86
10:47
5Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: V. Agnus Dei. Poco andante - Allegro ma non troppo - Andante con moto, tempo del kyrie
recording engineer:
Ulrich Vette (engineer)
executive producer:
Dr. Andreas Holschneider and Charlotte Kriesch
producer:
Karl-August Naegler (balance engineer)
bass vocals:
Alastair Miles (operatic bass) (in 1989-11)
choir vocals:
Monteverdi Choir (English vocal Baroque ensemble) (in 1989-11)
mezzo-soprano vocals:
Catherine Robbin (Canadian mezzo-soprano) (in 1989-11)
soprano vocals:
Charlotte Margiono (soprano) (in 1989-11)
tenor vocals:
William Kendall (tenor) (in 1989-11)
orchestra:
Orchestre Révolutionnaire et Romantique (in 1989-11)
conductor:
Sir John Eliot Gardiner (John Eliot Gardiner) (in 1989-11)
phonographic copyright (℗) by:
Deutsche Grammophon (in 1992)
recorded at:
All Saints Church (Tooting, London) in London (Greater London), England, United Kingdom (in 1989-11)
recording of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86: V. Agnus Dei. Poco andante - Allegro ma non troppo - Andante con moto, tempo del kyrie (in 1989-11)
composer:
Ludwig van Beethoven (German composer) (in 1807)
part of:
Mass for 4 Solo Voices, Chorus, and Orchestra in C major, op. 86
6:28
6Cantata for Mixed Chorus and Orchestra, op. 112 “Meeresstille und glückliche Fahrt”: I. Meeresstille. Sostenuto “Tiefe Stille herrscht im Wasser” Sostenuto / II. Glückliche Fahrt. Allegro vivace “Die Nebel zerreißen”
recording engineer:
Ulrich Vette (engineer)
executive producer:
Dr. Andreas Holschneider and Charlotte Kriesch
producer:
Karl-August Naegler (balance engineer)
bass vocals:
Alastair Miles (operatic bass) (in 1989-11)
choir vocals:
Monteverdi Choir (English vocal Baroque ensemble) (in 1989-11)
mezzo-soprano vocals:
Catherine Robbin (Canadian mezzo-soprano) (in 1989-11)
soprano vocals:
Charlotte Margiono (soprano) (in 1989-11)
tenor vocals:
William Kendall (tenor) (in 1989-11)
orchestra:
Orchestre Révolutionnaire et Romantique (in 1989-11)
conductor:
Sir John Eliot Gardiner (John Eliot Gardiner) (in 1989-11)
phonographic copyright (℗) by:
Deutsche Grammophon (in 1992)
recorded at:
All Saints Church (Tooting, London) in London (Greater London), England, United Kingdom (in 1989-11)
recording of:
Cantata for Mixed Chorus and Orchestra, op. 112 "Meeresstille und glückliche Fahrt" (in 1989-11)
lyricist:
Johann Wolfgang von Goethe
composer:
Ludwig van Beethoven (German composer) (in 1807)
dedicated to:
Johann Wolfgang von Goethe
part of:
Works of Ludwig van Beethoven by opus number (number: op. 112)
7:16
4▼CD
#TitleRatingLength
1Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: Ia. Kyrie. Kyrie eleison (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa Solemnis D-Dur, op. 123: Ia. Kyrie: Kyrie eleison
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: I. Kyrie
4:21
2Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: Ib. Kyrie. Christe eleison (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa Solemnis D-Dur, op. 123: Ib. Kyrie: Christe eleison
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: I. Kyrie
2:05
3Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: Ic. Kyrie. Kyrie eleison (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa Solemnis D-Dur, op. 123: Ic. Kyrie: Kyrie eleison
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: I. Kyrie
5:00
4Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIa. Gloria. Gloria in excelsis Deo (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIa. Gloria: Allegro vivace: Gloria in excelsis Deo
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: II. Gloria
2:36
5Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIb. Gloria. Gratias agimus (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIb. Gloria. Gratias agimus
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: II. Gloria
2:14
6Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIc. Gloria. Qui tollis peccata mundi (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIc. Gloria: Allegro vivace: Qui tollis peccata mundi, miserere nobis
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: II. Gloria
5:33
7Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IId. Gloria. Quoniam tu solus Sanctus (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IId. Gloria: Allegro vivace: Quoniam tu solus Sanctus
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: II. Gloria
1:39
8Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIe. Gloria. In gloria Dei Patris (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIe. Gloria: Allegro vivace: In gloria Dei Patris. Amen
composer:
Ludwig van Beethoven (German composer)
part of:
Missa Solemnis D‐Dur, op. 123: II. Gloria
3:15
9Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIf. Gloria. Amen, in gloria dei Patris (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIf. Gloria: Allegro vivace: Amen, Amen, in gloria Dei Petris / Quoniam tu solus Sanctus
composer:
Ludwig van Beethoven (German composer)
part of:
Missa Solemnis D‐Dur, op. 123: II. Gloria
2:15
10Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIIa. Credo. Credo in unum Deum (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIIa. Credo: Allegro ma non troppo: Credo in unum Deum
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: III. Credo
4:04
11Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIIb. Credo. Et incarnatus est (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIIb. Credo: Allegro ma non troppo: Et incarnatus est
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: III. Credo
5:37
12Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIIc. Credo. Et resurrexit - Et ascendit in coelum (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIIc. Credo: Allegro ma non troppo: Et resurrexit - Et ascendit in coelum
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: III. Credo
2:46
13Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIId. Credo. Et vitam venturi sauculi (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIId. Credo: Allegro ma non troppo: Et vitam venturi saeculi
composer:
Ludwig van Beethoven (German composer)
part of:
Missa Solemnis D‐Dur, op. 123: III. Credo
2:09
14Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IIIe. Credo. Amen, et vitam venturi sauculi. Amen (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IIIe. Credo: Allegro ma non troppo: Amen, et vitam venturi saeculi. Amen
composer:
Ludwig van Beethoven (German composer)
part of:
Missa Solemnis D‐Dur, op. 123: III. Credo
4:12
15Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IVa. Sanctus. Sanctus, Sanctus, Sanctus Dominus, Desu Sabaoth (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IVa. Sanctus: Adagio: Sanctus, Sanctus, Sanctus Dominus, Deus Sabaoth
premiered in:
Sankt-Peterburg (Saint Petersburg), Russia (on 1824-04-07)
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: IV. Sanctus
2:50
16Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IVb. Sanctus. Pleni sunt coeli et terra - Osanna in excelsis (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IVb. Sanctus: Adagio: Pleni sunt coeli et terra
premiered in:
Sankt-Peterburg (Saint Petersburg), Russia (on 1824-04-07)
composer:
Ludwig van Beethoven (German composer)
part of:
Missa Solemnis D‐Dur, op. 123: IV. Sanctus
1:16
17Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IVc. Sanctus. Praeludium (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IVc. Sanctus: Adagio: Praeludium
premiered in:
Sankt-Peterburg (Saint Petersburg), Russia (on 1824-04-07)
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: IV. Sanctus
2:03
18Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: IVd. Sanctus. Benedictus qui venit in nomine Domini (live)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
recording of:
Missa solemnis D-Dur, op. 123: IVd. Sanctus: Adagio: Benedictus, qui venit in nomine Domini
premiered in:
Sankt-Peterburg (Saint Petersburg), Russia (on 1824-04-07)
composer:
Ludwig van Beethoven (German composer)
part of:
Missa Solemnis D‐Dur, op. 123: IV. Sanctus
12:22
5▼CD
#TitleRatingLength
1Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: Va. Agnus Dei. Agnus Dei, qui tollis peccata mundi (live)
bass vocals:
Kurt Moll (operatic bass) (in 1991-08)
choir vocals:
Eric Ericsons Kammarkör (in 1991-08), MDR Rundfunkchor Leipzig (in 1991-08) and Radiokören (Swedish Radio Choir) (in 1991-08)
soprano vocals:
Jessye Norman (soprano) (in 1991-08) and Cheryl Studer (soprano) (in 1991-08)
tenor vocals:
Plácido Domingo (tenor) (in 1991-08)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
chorus master:
Gert Frischmuth (in 1991-08) and Gustaf Sjökvist (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
live recording of:
Missa solemnis D-Dur, op. 123: Va. Agnus Dei: Adagio: Agnus Dei, qui tollis peccata mundi (in 1991-08)
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: V. Agnus Dei
7:21
2Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: Vb. Agnus Dei. Dona nobis pacem (live)
bass vocals:
Kurt Moll (operatic bass) (in 1991-08)
choir vocals:
Eric Ericsons Kammarkör (in 1991-08), MDR Rundfunkchor Leipzig (in 1991-08) and Radiokören (Swedish Radio Choir) (in 1991-08)
soprano vocals:
Jessye Norman (soprano) (in 1991-08) and Cheryl Studer (soprano) (in 1991-08)
tenor vocals:
Plácido Domingo (tenor) (in 1991-08)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
chorus master:
Gert Frischmuth (in 1991-08) and Gustaf Sjökvist (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
live recording of:
Missa solemnis D-Dur, op. 123: Vb. Agnus Dei: Allegretto vivace: Dona nobis pacem (in 1991-08)
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
is based on:
Dona nobis pacem
part of:
Missa Solemnis D‐Dur, op. 123: V. Agnus Dei
2:10
3Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: Vc. Agnus Dei. Agnus Dei, qui tollis peccata mundi (live)
bass vocals:
Kurt Moll (operatic bass) (in 1991-08)
choir vocals:
Eric Ericsons Kammarkör (in 1991-08), MDR Rundfunkchor Leipzig (in 1991-08) and Radiokören (Swedish Radio Choir) (in 1991-08)
soprano vocals:
Jessye Norman (soprano) (in 1991-08) and Cheryl Studer (soprano) (in 1991-08)
tenor vocals:
Plácido Domingo (tenor) (in 1991-08)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
chorus master:
Gert Frischmuth (in 1991-08) and Gustaf Sjökvist (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
live recording of:
Missa solemnis D-Dur, op. 123: Vc. Agnus Dei: Allegro assai – Recit. – Tempo I – Presto – Tempo I: Agnus Dei, miserere (in 1991-08)
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: V. Agnus Dei
2:52
4Missa solemnis for 4 Solo Voices, Chorus, Orchestra, and Organ in D major, op. 123: Vd. Agnus Dei. Agnus Dei - Dona nobis pacem (live)
bass vocals:
Kurt Moll (operatic bass) (in 1991-08)
choir vocals:
Eric Ericsons Kammarkör (in 1991-08), MDR Rundfunkchor Leipzig (in 1991-08) and Radiokören (Swedish Radio Choir) (in 1991-08)
soprano vocals:
Jessye Norman (soprano) (in 1991-08) and Cheryl Studer (soprano) (in 1991-08)
tenor vocals:
Plácido Domingo (tenor) (in 1991-08)
orchestra:
Wiener Philharmoniker (Vienna Philharmonic) (in 1991-08)
conductor:
James Levine (US conductor and pianist) (in 1991-08)
chorus master:
Gert Frischmuth (in 1991-08) and Gustaf Sjökvist (in 1991-08)
recorded at:
Großes Festspielhaus Salzburg in Salzburg, Salzburg, Austria (in 1991-08)
live recording of:
Missa solemnis D-Dur, op. 123: Vd. Agnus Dei: Adagio: Agnus Dei - Dona nobis pacem (in 1991-08)
composer:
Ludwig van Beethoven (German composer) (from 1819 until 1823)
part of:
Missa Solemnis D‐Dur, op. 123: V. Agnus Dei
3:42
5Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Ia. Introduction. Grave - Adagio
producer:
Werner Mayer (classical producer)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Ia. Introduction. Grave - Adagio (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: I
6:52
6Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Ib. Recitative “Jehova, du mein Vater!” (Jesus)
producer:
Werner Mayer (classical producer)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Ib. Recitative "Jehova, du mein Vater!" (Jesus) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: I
4:22
7Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Ic. Aria “Meine Seele ist erschüttert” (Jesus)
producer:
Werner Mayer (classical producer)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Ic. Aria "Meine Seele ist erschüttert" (Jesus) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: I
5:11
8Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIa. Recitative “Erzittre, Erde, Jehova’s Sohn liegt hier!” (Seraph)
producer:
Werner Mayer (classical producer)
soprano vocals:
Elizabeth Harwood (soprano) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIa. Recitative "Erzittre, Erde, Jehova's Sohn liegt hier!" (Seraph) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: II
1:48
9Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIb. Aria “Preist des Erlösers Güte” (Seraph) / IIc. Choir of Angels “O Heil euch, ihr Erlösten” (Seraph, Choir)
producer:
Werner Mayer (classical producer)
choir vocals:
Wiener Singverein (from 1970-05 until 1970-07)
soprano vocals:
Elizabeth Harwood (soprano) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIb. Aria "Preist des Erlösers Güte" (Seraph) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: II
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIc. Choir of Angels "O Heil euch, ihr Erlösten" (Seraph, Choir) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: II
8:44
10Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIIa. Recitative “Verkündet, Seraph, mir dein Mund Erbarmen” (Jesus, Seraph)
producer:
Werner Mayer (classical producer)
soprano vocals:
Elizabeth Harwood (soprano) (from 1970-05 until 1970-07)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIIa. Recitative "Verkündet, Seraph, mir dein Mund Erbarmen" (Jesus, Seraph) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: III
1:21
11Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIIb. Duet “So ruhe denn mit ganzer Schwere” (Jesus, Seraph)
producer:
Werner Mayer (classical producer)
soprano vocals:
Elizabeth Harwood (soprano) (from 1970-05 until 1970-07)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IIIb. Duet "So ruhe denn mit ganzer Schwere" (Jesus, Seraph) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: III
6:06
12Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IVa. Recitative “Willkommen, Tod” (Jesus)
producer:
Werner Mayer (classical producer)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IVa. Recitative "Willkommen, Tod" (Jesus) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IV
1:00
13Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IVb. Choir of Warriors “Wir haben ihn gesehen”
producer:
Werner Mayer (classical producer)
choir vocals:
Wiener Singverein (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IVb. Choir of Warriors "Wir haben ihn gesehen" (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: IV
2:39
14Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Va. Recitative “Die mich zu fangen ausgezogen sind” (Jesus)
producer:
Werner Mayer (classical producer)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Va. Recitative "Die mich zu fangen ausgezogen sind" (Jesus) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: V
1:52
15Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Vb. Choir of Warriors “Hier ist er, der Verbannte” / Vc. Choir of Children “Was soll der Lärm bedeuten?”
producer:
Werner Mayer (classical producer)
choir vocals:
Wiener Singverein (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Vb. Choir of Warriors "Hier ist er, der Verbannte" (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: V
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: Vc. Choir of Children "Was soll der Lärm bedeuten?" (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: V
2:12
16Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VIa. Recitative “Nicht ungestraft soll der Verweg’nen Schar” (Petrus, Jesus)
producer:
Werner Mayer (classical producer)
bass vocals:
Franz Crass (operatic bass) (from 1970-05 until 1970-07)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VIa. Recitative "Nicht ungestraft soll der Verweg'nen Schar" (Petrus, Jesus) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VI
1:24
17Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VIb. Trio “In meinen Adern wühlen gerechter Zorn und Wut” (Petrus, Jesus, Seraph)
producer:
Werner Mayer (classical producer)
bass vocals:
Franz Crass (operatic bass) (from 1970-05 until 1970-07)
soprano vocals:
Elizabeth Harwood (soprano) (from 1970-05 until 1970-07)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VIb. Trio "In meinen Adern wühlen gerechter Zorn und Wut" (Petrus, Jesus, Seraph) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VI
5:12
18Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VIc. Choir of Warriors “Auf, auf! Ergreifet den Verräter” / VId. Choir of Children “Ach! wir werden seinetwegen auch gehasst, verfolget sein” / VIe. “Meine Qual ist bald ver…” (Jesus)
producer:
Werner Mayer (classical producer)
choir vocals:
Wiener Singverein (from 1970-05 until 1970-07)
tenor vocals:
James King (tenor) (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VIc. Choir of Warriors "Auf, auf! Ergreifet den Verräter" / VId. Choir of Children "Ach! wir werden seinetwegen auch gehasst, verfolget sein" / VIe. "Meine Qual ist bald ver..." (Jesus) (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VI
2:42
19Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VIf. Choir of Angels “Welten singen Dank und Ehre”
producer:
Werner Mayer (classical producer)
choir vocals:
Wiener Singverein (from 1970-05 until 1970-07)
orchestra:
Wiener Symphoniker (Vienna Symphony Orchestra) (from 1970-05 until 1970-07)
conductor:
Bernhard Klee (conductor) (from 1970-05 until 1970-07)
balance engineer:
Klaus Scheibe (editor/engineer)
recorded at:
Wiener Musikverein: Großer Musikvereinssaal in Innere Stadt, Wien (Vienna), Austria (from 1970-05 until 1970-07)
recording of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VIf. Choir of Angels "Welten singen Dank und Ehre" (from 1970-05 until 1970-07)
composer:
Ludwig van Beethoven (German composer) (in 1803)
revised by:
Ludwig van Beethoven (German composer) (in 1804)
part of:
Christus am Ölberge for 3 Solo Voices, Chorus, and Orchestra, op. 85: VI
4:40

Credits

Release

chorus master:Karl Kamper
alto vocals:Ulrike Helzel
bass vocals:Victor von Halem (operatic bass)
Franz Hawlata (bass-baritone)
Friedrich Molsberger (german operatic bass and medical scientist)
William Shimell (baritone)
mezzo-soprano vocals:Camille Capasso
Iris Vermillion (mezzo-soprano)
soprano vocals:Kristina Clemenz
Charlotte Margiono (soprano)
Ľuba Orgonášová (soprano)
Christine Schäfer (soprano)
Cheryl Studer (soprano)
Veronica Verebély
tenor vocals:John Aler (tenor)
Clemens Bieber (german operatic tenor)
Hiroshi Oshima (operatic tenor)
Timothy Robinson (tenor)
part of:Complete Beethoven Edition (Deutsche Grammophon) (number: 19) (order: 22)
ASIN:US: B000001GZM [info]

Release group

part of:Complete Beethoven Edition (Deutsche Grammophon, release groups) (number: 19) (order: 19)