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Gloria/Magnificat


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1. Gloria In Exelsis
2. Et In Terra Pax
3. Laudamus Te
4. Gratias Agimus Tibi
5. Domine Deus
6. Domine Fili Unigenite
7. Domine Deus, Agnus Dei
8. Qui Tollis Peccata Mundi
9. Qui Sedes Ad Dexteram Patris
10. Qouniam Tu Solus Santus
11. Cum Sancto Spiritu
12. Magnificat
13. Et Exsultavit Spiritus Meus
14. Quia Respexit Humilitatem
15. Omnes Generationses
16. Quia Fecit Mihi Magna
17. Et Misericordia
18. Fecit Potentiam
19. Deposuit Potentes
20. Esurientes Implevit Bonis
See all 24 tracks on this disc

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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
13 of 18 people found the following review helpful
Fine authentic instruments crushed by Soloists Feb. 18 2006
By Teop Tnomrev - Published on Amazon.com
Format: Audio CD
As with his recording of Dido, Pearlman's instruments may be authentic, but he instructs or allows his soloists to belt out their lines with all the tact of opera in the full throes of Wagner. For those who swoon at the sound of the full throttled, warbling operatic voice, this is the recording for you, otherwise, stay far, far away.

The voices entirely overpower any sense of ensemble -- which is to say, the "authentic instruments" are thoroughly dominated by the soloists.

Besides that, these performances really add nothing new. They are conventional in every sense of the word.
This recording doesn't deserve the poor reviews that have been given here at Amazon March 8 2015
By Thomas H. Moody - Published on Amazon.com
Format: Audio CD Verified Purchase
This recording doesn't deserve the poor reviews that have been given here at Amazon. Is this the best recording of Vivaldi's "Gloria" of Bach's "Magnificat"? Probably not - but it far exceeds many other recordings. The complaints about the soloists are preference based. If you prefer the type of voice in this repertoire that Emma Kirkby produced, then you won't care for the soloists who have larger, more operatic-styled voices. I can (and do) appreciate either.

What you get here is a typical Boston Baroque/Martin Pearlman presentation of these two works. Either you like their interpretations - or you don't. However, they are not "incorrect" interpretations. I have read criticisms before about the lack of reverence in Bach from Boston Baroque. Frankly, I don't understand where that criticism comes from. (This type of criticism reminds me of how critical some are of the French school of piano playing. What is missed in the criticism of that particular style is a lack of understanding in what the performance style is rooted in.) My guess would be that critics of Boston Baroque are being critical of a chosen performance style that the ensemble employs. Performance styles will always have their supporters and their naysayers. That's fair. What's not fair is to criticize a performance style and rather try to wrap that criticism up as something else - such as a lack of reverence. Any kind of criticism should be pointed and not vague.

I've always enjoyed the performances of Boston Baroque - and I've heard them several times in concert. I like their direct, clear approach and execution of whatever the undertake.

I must admit to being baffled at times by Telarc, however. I'm not sure that they always served the ensemble properly. (Boston Baroque now records fro Linn and Teldec has been dissolved.) The recorded sound on Boston Baroque's debut of Handel's "Messiah" on Telarc had splendid sound. The choral works that followed were muddier in sound in comparison. I always attributed it to the recording venues. "Messiah" was recorded at a hall in Newton, Mass. and all of the other Boston Baroque recordings were recorded at Mechanics Hall in Worcester, Mass. It was my feeling that the choice of Mechanics Hall may have not have produced the cleanest of sound. (Boston Baroque usually performs in the acoustically splendid Jordan Hall at The New England Conservatory in Boston.) But the recorded sound was Telarc's responsibility and if one finds criticism with them, then so be it. I feel that the label did not always serve the group in the best manner. (For instance, Telarc really fell short most of the time on their cover art. It lacked originality and wasn't very inspired.)

Anyway.....this recording holds its own, IMO. With Telarc discs now selling at very low prices, you can't go wring with a Boston Baroque recording, if you're looking for quality at a discount!
Tube recording. Don't spend your money and time on this CD Jan. 28 2011
By capezio - Published on Amazon.com
Format: Audio CD
My interest on this CD grown as I listened to it's samples on Amazon and considered it's low price and nice classic repertoire.
Listening to it as soon as the CD arrived my expectations have changed and I don't recommend it.

Martin Pearlman have received some accolades for some of his readings and he has a good team of players.
For the Vivaldi he used a reduced choral group and a small ensemble with gut strings.
The Vivaldi reading is good but not the best around. I recommend you to get Vittorio Negri's readings with the John Aldis Choir. They are reference on Vivaldi choral music (on redbook CD) but with a great sound.

The Bach Magnificat is not good and the first track of the piece shows that the group isn't in the mood to praise God for the promise of the Redemptor incarnation. You should go to Gardiner with the Monteverdi Choir that, although a redbook CD, is far better technically and have a nice spacious sound.

The worse on this CD is the recording.
It's difficult to understand why Telarc mastered it as we are listening to the group through a great tube. There is no sound stage and the volume is very low, as we are listen to the players singing in a kind of a bathroom-acoustics.
I have some SACD, some other 300 CD and I'm comparing the sound played on a Magnepan 3.6R planar speaker.
I even didn't't listen to the complete CD and I'm just thinking on someone to give it to.

Don't spend your money on this, try the options listed, they are far better.
4 of 7 people found the following review helpful
Yeah, not so good. Aug. 15 2006
By DAK - Published on Amazon.com
Format: Audio CD
I'll give it some points for good recorded sound, but the performance really isn't what I was looking for. Some of the soloists aren't bad, but one at least (in the Bach exsultavit movement) sounds just amateurish. Not to mention a one oboe line where the player is essentially inaudible except for the dissonant note in the melody, making it sound like a really bad mistake. I'll stick with the Gardiner recording for now.


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