Academy of Ancient Music, Choir of King's College, Cambridge & Stephen Cleobury - Bach: St. John Passion, BWV 245 (Live) (2017) [Hi-Res]

Tracklist
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CD1
01. St John Passion, BWV 245 Part I: I. Herr, unser Herrscher (Chorus) (Live)
02. St John Passion, BWV 245 Part I: II. Jesus ging mit seinem Jungern (Recitative) (Live)
03. St John Passion, BWV 245 Part I: III. O grosse Lieb (Chorale) (Live)
04. St John Passion, BWV 245 Part I: IV. Auf dass das Wort erfullet wurde (Recitative) (Live)
05. St John Passion, BWV 245 Part I: V. Dein Will gescheh, Herr Gott, zugleich (Chorale) (Live)
06. St John Passion, BWV 245 Part I: VI. Die Schar aber und der Oberhauptmann (Recitative) (Live)
07. St John Passion, BWV 245 Part I: VII. Von den Stricken meiner Sunden (Aria) (Live)
08. St John Passion, Bwv 245 Part I: VIII. Simon Petrus Aber Folgete Jesu Nach (Recitative) (Live)
09. St John Passion, BWV 245 Part I: IX. Ich folge dir gleichfalls (Aria) (Live)
10. St John Passion, BWV 245 Part I: X. Derselbige Junger war dem Hohenpriester bekannt (Recitative) (Live)
11. St John Passion, BWV 245 Part I: XI. Wer hat dich so geschlagen (Chorale) (Live)
12. St John Passion, BWV 245 Part I: XII. Und Hannas sandte ihn gebunden (Recitative) (Live)
13. St John Passion, Bwv 245 Part I: XIII. Ach, Mein Sinn (Aria) (Live)
14. St John Passion, BWV 245 Part I: XIV. Petrus, der nicht denkt zuruck (Chorale) (Live)
15. St John Passion, BWV 245 Part II: XV. Christus, der uns selig macht (Chorale) (Live)
16. St John Passion, BWV 245 Part II: XVI. Da fuhreten sie Jesum (Recitative) (Live)
17. St John Passion, Bwv 245 Part II: XVII. Ach Grosser Konig (Chorale) (Live)
18. St John Passion, Bwv 245 Part II: XVIII. Da Sprach Pilatus Zu Ihm (Recitaitve) (Live)
19. St John Passion, BWV 245 Part II: XIX. Betrachte, meine Seel (Arioso) (Live)
20. St John Passion, BWV 245 Part II: XX. Erwage, wie sein blutgefarbter Rucken (Aria) (Live)

CD2
01. St John Passion, BWV 245 Part II: XXI. Und die Kriegsknechte flochten eine Krone (Recitative) (Live)
02. St John Passion, Bwv 245 Part II: Xxii. Durch Dein Gefangnis, Gottes Sohn (Chorale) (Live)
03. St John Passion, Bwv 245 Part II: Xxiii. Die Juden Aber Schrieen Und Sprachen (Recitative) (Live)
04. St John Passion, Bwv 245 Part II: Xxiv. Eilt, Ihr Angefochtnen Seelen (Aria) (Live)
05. St John Passion, BWV 245 Part II: XXV. Allda kreuzigten sie ihn (Recitative) (Live)
06. St John Passion, Bwv 245 Part II: Xxvi. In Meines Herzens Grunde (Chorale) (Live)
07. St John Passion, Bwv 245 Part II: Xxvii. Die Kriegsknechte Aber (Recitative) (Live)
08. St John Passion, Bwv 245 Part II: Xxviii. Er Nahm Alles Wohl In Acht (Chorale) (Live)
09. St John Passion, Bwv 245 Part II: Xxix. Und Von Stund An Nahm Sie Der Junger (Recitative) (Live)
10. St John Passion, BWV 245 Part II: XXX. Es ist vollbracht (Aria) (Live)
11. St John Passion, Bwv 245 Part II: Xxxi. Und Neiget Das Haupt (Recitative) (Live)
12. St John Passion, Bwv 245 Part II: Xxxii. Mein Teurer Heiland, Lass Dich Fragen (Aria) (Live)
13. St John Passion, Bwv 245 Part II: Xxxiii. Und Siehe Da, Der Vorhang Im Tempel Zerriss (Recitative) (Live)
14. St John Passion, Bwv 245 Part II: Xxxiv. Mein Herz, Indem Die Ganze Welt (Arioso) (Live)
15. St John Passion, Bwv 245 Part II: Xxxv. Zerfliesse, Mein Herze (Aria) (Live)
16. St John Passion, Bwv 245 Part II: Xxxvi. Die Juden Aber, Dieweil Es Der Rusttag War (Recitative) (Live)
17. St John Passion, Bwv 245 Part II: Xxxvii. O Hilf, Christe, Gottes Sohn (Chorale) (Live)
18. St John Passion, Bwv 245 Part II: Xxxviii. Darnach Bat Pilatum Joseph Von Arimathia (Recitative) (Live)
19. St John Passion, Bwv 245 Part II: Xxxix. Ruht Wohl, Ihr Heiligen Gebeine (Chorus) (Live)
20. St John Passion, BWV 245 Part II: XL. Ach Herr, lass dein lieb Engelein (Chorale) (Live)

[quote]Keyboardist Christopher Hogwood established the Academy of Ancient Music in 1973, using as his model an ensemble that had been founded in 1726 to perform music that was at least 150 years old. Thus, Hogwood's orchestra was one of the first in modern times to perform Baroque works on Baroque instruments. Hogwood chose members who were not only masters of their instruments, but also scholars of performance style of the period. The orchestra quickly gained recognition for its authentic performances and recordings, or at least stirred up musicological debate. In 1978, it spawned a Classical period orchestra to perform the works of Mozart and Haydn and their contemporaries. That orchestra has recorded or taken on recording the complete symphonies of Mozart (the first such cycle on period instruments), Haydn, and Beethoven, and the complete piano concertos of Beethoven and Mozart. Recorded for Decca, these were under the direction of Hogwood, who also led recordings of Mozart's La clemenza di Tito, Haydn's Orfeo ed Euridice, and Handel's Rinaldo, all of which were prize-winners and featured Cecilia Bartoli. In 1996, Andrew Manze was named associate director, and Paul Goodwin was named associate conductor, allowing the Academy to expand its performance schedule and begin recording for the Harmonia Mundi label. The Academy also began extending invitations to others, such as Stephen Cleobury with the Choir of King's College, Cambridge; Edward Higginbottom with the Choir of New College, Oxford; Stephen Layton with Polyphony; and Masaaki Suzuki with the Japan Bach Collegium to be guest directors, furthering the Academy's vocal and choral repertoire. Instrumentalists Giuliano Carmignola, Richard Egarr, and Pavlo Beznosiuk were also asked to guest direct. Paul Goodwin began commissioning new works specifically for the distinctive instruments of the Academy, the first being 1997's Eternity's Sunrise for voice & baroque ensemble by John Tavener. Other commissioned works came from David Bedford; John Woolrich, whose Arcangelo for the group commemorated the 350th birthday of Arcangelo Corelli; and Thea Musgrave. Andrew Manze stepped down from his post in 2003, as the Academy celebrated its 30th anniversary. The ensemble marked the year by also celebrating the Corelli anniversary and the 60th birthday of John Tavener in special concerts, and by beginning an exploration of the music of Mendelssohn, once again expanding its musicological horizons.

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