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Léon Berben - Wenn mein Stündlein vorhanden ist (2021) Hi-Res

Léon Berben - Wenn mein Stündlein vorhanden ist (2021) Hi-Res

BAND/ARTIST: Léon Berben

  • Title: Wenn mein Stündlein vorhanden ist
  • Year Of Release: 2021
  • Label: Aeolus
  • Genre: Classical
  • Quality: FLAC 16/24 Bit (96 KHz / tracks+booklet)
  • Total Time: 156:58 min
  • Total Size: 853 MB / 2,9 GB
  • WebSite:
Tracklist:

1. Magnificat Octavi Toni: I. Primus Versus
2. Magnificat Octavi Toni: II. Secundus Versus
3. Magnificat Octavi Toni: III. Tertius Versus
4. Magnificat Octavi Toni: IV. Quartus Versus
5. Hymnus Christe qui es lux et dies: I. Primus Versus
6. Hymnus Christe qui es lux et dies: II. Secundus Versus
7. Hymnus Christe qui es lux et dies: III. Tertius Versus
8. Hymnus Christe qui es lux et dies: IV. Quartus Versus
9. Magnificat Quinti Toni: I. Primus Versus
10. Magnificat Quinti Toni: II. Secundus Versus
11. Magnificat Quinti Toni: III. Tertius Versus
12. Hymnus A solis ortus cardine: I. Primus Versus
13. Hymnus A solis ortus cardine: II. Secundus Versus
14. Hymnus Iesu nostra redemptio: I. Primus Versus
15. Hymnus Iesu nostra redemptio: II. Secundus Versus
16. Hymnus Iesu nostra redemptio: III. Tertius Versus
17. Hymnus Vexilla regis prodeunt: I. Primus Versus
18. Hymnus Vexilla regis prodeunt: II. Secundus Versus
19. Magnificat Secundi Toni: I. Primus Versus
20. Magnificat Secundi Toni: II. Secundus Versus
21. Magnificat Secundi Toni: III. Tertius Versus
22. Hymnus Deus creator omnium: I. Primus Versus
23. Hymnus Deus creator omnium: II. Secundus Versus
24. Hymnus O lux beata trinitas: I. Primus Versus
25. Hymnus O lux beata trinitas: II. Secundus Versus
26. Magnificat Quarti Toni: I. Primus Versus
27. Magnificat Quarti Toni: II. Secundus Versus
28. Magnificat Quarti Toni: III. Secundus Versus Alio modo
29. Magnificat Quarti Toni: IV. Tertius Versus
30. Christ unser Herr zum Jordan kam
31. Magnificat Primi Toni (Zellerfeld Tabulatur): I. Primus Versus
32. Magnificat Primi Toni (Zellerfeld Tabulatur): II. Secundus Versus
33. Magnificat Primi Toni (Zellerfeld Tabulatur): III. Tertius Versus
34. Hymnus Dies absoluti praetereunt: I. Primus Versus
35. Hymnus Dies absoluti praetereunt: II. Secundus Versus
36. Magnificat Primi Toni: I. Primus Versus
37. Magnificat Primi Toni: II. Secundus Versus
38. Magnificat Primi Toni: III. Tertius Versus
39. Magnificat Tertii Toni: I. Primus Versus
40. Magnificat Tertii Toni: II. Secundus Versus
41. Magnificat Tertii Toni: III. Tertius Versus
42. Magnificat Tertii Toni: IV. Quartus Versus
43. Hymnus Veni redemptor gentium: I. Primus Versus
44. Hymnus Veni redemptor gentium: I. Secundus Versus
45. Magnificat Sexti Toni: I. Primus Versus
46. Magnificat Sexti Toni: II. Secundus Versus
47. Magnificat Sexti Toni: III. Tertius Versus
48. Magnificat Septimi Toni: I. Primus Versus
49. Magnificat Septimi Toni: II. Secundus Versus
50. Magnificat Septimi Toni: III. Tertius Versus
51. Magnificat Septimi Toni: IV. Quartus Versus
52. Magnificat Septimi Toni: V. Quartus Versus Alio modo
53. Wenn mein Stündlein vorhanden ist


After his award:winning Weckmann recording on the organs of Lübeck and Tangermünde released a year ago, Léon Berben chose the two historic organs of Langwarden (1650) and Lemgo (1613) for his new album "Hieronymus Praetorius: Wenn mein Stündlein vorhanden ist" (When my hour is at hand) : two instruments ideally suited for 16th:century music, of which there are hardly any recordings so far.

Hieronymus Praetorius is at the beginning of the North German organ school and is an important representative of the German:Venetian school, not least because of his vocal works.
His organ music is particularly interesting and appealing because it has not yet undergone the development of the "Amsterdam:Hamburg Sweelinck School" and therefore many aspects of performance practice are not yet clearly defined. This raises a number of practical performance questions, not least concerning the choice of registrations, to which Léon Berben would like to provide an answer with this recording.
The choice of the two historic organs from Langwarden (1650) and Lemgo (1613) : two instruments ideally suited to 16th:century music, both of which there are very few recordings to date : complete the impression of an absolutely substantiated new recording.


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  • platico
  •  wrote in 00:51
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gracias...
  • User offline
  • Cantor
  •  wrote in 23:52
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Gracias!!!