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Olga Martynova - Harpsichord Gems, Vol. 5 - Bach, J.S. - English Suites (2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 5 - Bach, J.S. - English Suites
Genre: Classical
Label: Caro Mitis
Release Date: 2009
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 02:26:57
Recorded: 5–7.10.2007; 2–4.10.2008 5th Studio of The Russian Television and Radio Broadcasting Company (RTR), Moscow, Russia

The French word ‘suite’ was quickly adopted throughout the European continent. The primary meaning (‘set, sequence’) has been preserved in widely diverse contexts – in ceremonial or court vocabulary (a group of attendants accompanying an important personage), and as an architectural term (an enfilade or series of rooms). But perhaps the word gained most currency in the world of music. As we know, the suite is a favoured cyclical form of baroque instrumental music, representing a series of dance-based pieces that are complementary in the type of movement and unified by a single key (and initially, by the common melodic source).
At the turn of the 18th century it was customary to publish collections made up of a ‘set number’ of pieces, such as 12 trio sonatas, 12 sonatas for violin and continuo, 12 concerti grossi by Arcangelo Corelli, two 6 piece collections Musicalische Ergötzung (1695) and Hexachordum Apollinis (1699) by Johann Pachelbel. Continuing this tradition, Bach wrote 6 English suites and 6 French suites, 6 Partitas for Keyboard, 6 Suites for Cello, 6 Sonatas and Partitas for Violin, and 6 Brandenburg Concertos. A list of Bach collections shows that the principle of the suite – a single musical composition consisting of several separate pieces (from 4 to 7) grouped together – was used in various genres, both for solo instruments and ensembles. Hence the suite was applicable as festive Tafelmusik at court or as music played in a small hall or chamber, for recreation and entertainment, and also for instruction on how to play the keyboard.

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Olga Martynova - Harpsichord Gems, Vol. 4 - Everything You Always Wanted to Know About Harpsichord, But Were Afraid to Ask (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Dmitry Shostakovich (1906–1975), Aram Khachaturian (1903–1978), Felix Mendelssohn (1809–1847), Franz Schubert (1797–1828), Johann Baptist Cramer (1771–1858), Robert Schumann (1810–1856)
Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 4 - Everything You Always Wanted to Know About Harpsichord, But Were Afraid to Ask
Genre: Classical
Label: Caro Mitis
Release Date: 2007
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:00:57
Recorded: October 2006 (2.10, 4.10, 10.10) 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

Nowadays many performers want to play music written for piano on the harpsichord. I began my conversation with Olga Martynova by asking what first gave her the idea. It all began a few years ago. I was curious to know how music written for another instrument would sound when played on the harpsichord. I knew that Shostakovich and Prokofiev had been played on the harpsichord but had never listened to any recordings, maybe as a conscious decision. True, I have heard contemporary music written for harpsichord, but I find it sometimes even harder to play than other compositions that were never originally intended for the instrument.
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Olga Martynova - Harpsichord Gems, Vol. 3 - Fischer, J.C.F. - Musicalisches Blumen-Buschlein (2006) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Caspar Ferdinand Fischer (1656–1746)
Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 3 - Fischer, J.C.F. - Musicalisches Blumen-Büschlein
Genre: Classical
Label: Caro Mitis
Release Date: 2006
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:19:11
Recorded: 21, 23–24.02.2006, 5th Studio of The Russian Television and Radio Broadcasting Company (RTR)


He was considered to be one of the best harpsichordists of his time and he was famous for making well known and spread- ing the art of ornamentation in Germany as well as a perfect per- forming style on this instrument.
That is the estimation Ernst Ludwig Gerber gave in his Historisch-biographisches Lexicon der Tonkünstler to Johann Caspar Ferdinand Fischer (1656–1746), a composer and Kapellmeister to the Baden court.
His talent was rated extraordinarily high by his contempo- raries; Mauritius Vogt in the Conclave thesauri magnae artis musicae (published in Prague, 1719) called him ‘the most per- fect composer of our era’ (‘nostri aevi componista absolutis- simus’). It is known that J. S. Bach kept copies of Fischer’s com- positions and that this music was a source of inspiration for him. Modern research regards Fischer as a great composer of key- board music, on a par with Froberger and Bach. Furthermore, he is written about as a musician who in German speaking countries was able to elucidate the peculiarities of the French style.
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Olga Martynova - Harpsichord Gems, Vol. 2 - The Great Transcriptions (2005) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Silvius Leopold Weiss (1686 – 1750), Johann Adam Reincken (1623? – 1722), Johann Sebastian Bach (1685 – 1750), Francesco Geminiani (1687 – 1762)
Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 2 - The Great Transcriptions
Genre: Classical
Label: Caro Mitis
Release Date: 2005
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:02:21
Recorded: 26-28.08.2004 “Manege” Hall of The Moscow Theatre “School of Dramatic Art”


When we speak about music, baroque means more than the age of figured bass and stile concertato. Today, as never before, there is a growing awareness that it is also the era of transcriptions and arrangements, which are just as indicative of the face of the age as are any innovations in the sphere of musical composition.
In those far off times, the public’s attitude to their favorite works of art was quite different to what it is today. It would never occur to anyone then to jealously guard from interference — as if it were sacred — each note of a generally recognized masterpiece. If a composition was popular it should be played as often as possible, in different transcriptions and arrangements. No musician would miss the opportunity of re-arranging a work, that had caught the public’s fancy, for different players: for the leading court soloists, for his friends and pupils, or even for musicians who were quite unknown to him — professionals and wealthy amateurs (willing to spend a fair sum of money on the acquisition of sheet music for a piece they liked). And even the duties of court music director or leader of a church choir were inconceivable without the constant re-working of their own pieces — for yet another holiday or some other ceremonial occasion.
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Olga Martynova - Harpsichord Gems, Vol. 1 - Bach, J.C. - Clavier Sonatas (2005) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Christian Bach (1735–1782)
Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 1 - Bach, J.C. - Clavier Sonatas
Genre: Classical
Label: Caro Mitis
Release Date: 2005
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:08:27
Recorded: 11,15, 20 / 05.2004 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

Supposedly Johann Sebastian Bach was a strict father who used a quotation from the poet Gellert to describe his youngest offspring: ‘He will go far guided by his stupidity!’ Even if the story is true, the elder Bach was undoubtedly speaking in jest: his youngest son was his favourite. And he certainly did go far. Incidentally, he lost his father when he was only 15, and few people have learned wisdom by that age.
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Okinero - Charity Cafe (2005/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Okinerò
Title: Charity Cafè
Genre: Jazz, Modern Jazz, Fusion
Label: © Alfa Music
Release Date: 2005/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-onkyo
Duration: 00:55:40

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Oliver Nelson Sextet - Screamin' The Blues (1960/2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Oliver Nelson Sextet
Title: Screamin' The Blues
Genre: Jazz, Hard Bop, Saxophone Jazz
Label: © Prestige Records, New Jazz Series/Concord Music Group
Release Date: 1960/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 39:54
Recorded: May 17, 1960 at the Van Gelder Studio, Englewood Cliffs, NJ
Remastered: 200, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ


Posterity remembers Oliver Nelson (1932-1975) primarily as an arranger/conductor. When he first began to attract attention with a series of albums for Prestige and its subsidiaries, however, Nelson was hailed as a versatile leader of small groups and a composer/instrumentalist who could refresh the music’s traditional verities while also looking ahead. There is no better showcase for these skills among his initial sessions than Screamin’ the Blues, a rousing set of funky modernism interpreted by a sextet of players who shared Nelson’s allegiance to both virtuosity and vision. The pairing of saxophonist Eric Dolphy with Nelson was particularly inspired as both men were adept on more than one instrument, and allowed this sextet to create an uncommon diversity of colors. Nelson and Dolphy would reunite a year later on both the classic Blues and the Abstract Truth and (with the band heard here minus trumpeter Richard Williams) on the looser yet intense Straight Ahead.
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Wolfgang Amadeus Mozart - Violin Sonatas K301, 304, 379 & 481 - Alina Ibragimova, Cedric Tiberghien (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alina Ibragimova, Cédric Tiberghien
Title: Mozart - Violin Sonatas K301, 304, 379 & 481
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 103 minutes 54 seconds
Recorded: October 2014, Concert Hall, Wyastone Estate, Monmouth, United Kingdom


Mozart’s violin sonatas span his entire career—the early ones are billed as piano sonatas with optional violin accompaniment—and they develop over the years into the first triumphs of the modern genre. Alina Ibragimova and Cédric Tiberghien have been enthralling audiences worldwide with these works, and now the first instalment is available as a highly desirable 2-for-1 album.
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Wolfgang Amadeus Mozart - Divertimento - Trio Zimmerman (2010) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Wolfgang Amadeus Mozart (1756–91)
Artist: Trio Zimmerman
Title: Mozart - Divertimento
Genre: Classical
Label: © BIS Records
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: eClassical
Duration: 59:25
Recorded: July 2009 (Mozart) and July 2010 (Schubert) at Nybrokajen 11 (the former Academy of Music), Stockholm, Sweden


Classics Today 10/10: "This is a magnificent recording"; Music Web International: "Beautifully presented and recorded this impressive disc will prove a most worthwhile addition to any chamber music collection".
‘Each instrument is primus inter pares, every note is significant …’ is how the scholar Alfred Einstein described W.A. Mozart’s Divertimento in E flat major for string trio. What other work could then be more suitable for the first disc of a star-studded ensemble such as Trio Zimmermann, in which each member is very definitely first among equals? Composed in the same year as the three final symphonies, Mozart’s only real trio for violin, viola and cello is a weighty work – six movements and close to 50 glorious minutes of music – and the fact that Mozart chose the title Divertimento (from the Italian divertire: to amuse) for a piece of these dimensions has often been remarked upon. But to Mozart, there was no real dividing line between ‘serious’ art and pleasure or amusement – and so, to quote Einstein once more, he gave us ‘the most perfect, finest thing that has ever been heard in this world’. To round off the disc, Frank Peter Zimmermann, Antoine Tamestit and Christian Poltéra have chosen to record Franz Schubert’s first contribution to the string trio genre, the opening – and only complete – movement (Allegro) of his String Trio in B flat major, D 471, written in 1816 when the composer was only nineteen.
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Wolfgang Amadeus Mozart - Concertos for Two & Three Pianos - Alexei Lubimov, Ronald Brautigam, Manfred Huss (2007) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Wolfgang Amadeus Mozart (1756–91)
Artist: Alexei Lubimov, Ronald Brautigam, Manfred Huss, Haydn Sinfonietta Wien
Title: Mozart - Concertos for Two & Three Pianos
Genre: Classical
Label: © BIS Records
Release Date: 2007
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: eClassical
Duration: 69:02
Recorded: September 2006 at the Florianikirche, Straden, Austria

There is only a limited number of works for two or more solo instruments with orchestra. One reason may be that the concerto genre in the 19th century became the stomping ground of the great virtuosi of the day, and the works themselves vehicles for the great and unique talent of one, special performer – not two, or three. Mozart, however, was evidently attracted by the sinfonia concertante genre and created some of the finest examples of it, such as the Sinfonia Concertante for Violin and Viola and the Concerto for Flute and Harp, as well as his two concertos for more than one piano. The ‘Lodron Concerto’ for three pianos was composed in 1776 for Countess Lodron and her daughters. It is Mozart’s third piano concerto and the young man’s irrepressible sense of fun is obvious: in his liner notes conductor and pianist Manfred Huss calls the concerto ‘a true musical joke, in which the musical line is divided between the three players quite arbitrarily; one piano continues what another has started and the third will conclude. The listener hardly notices the humour, however, as the music sounds quite “normal”, and only the pianists know (and the score shows) what Mozart is up to.’ When the composer three years later returns to the task of writing for more than one piano, the result is quite different. The Concerto in E flat major KV 365, composed for Mozart himself and his sister Nannerl, is according to Huss ‘in many respects Mozart’s first ‘big’ piano concerto. It is the first in which we find the very characteristic intertwining of the woodwind and the piano part, accomplished very effectively and virtuosically.’ Mozart seems to have been fond of the work, so fond that for a later performance he added clarinets, trumpets and timpani to the orchestra. Both versions of the score are found on the present recording, played by Alexei Lubimov and Ronald Brautigam, two of today’s finest performers on the fortepiano. The two versions frame the triple concerto, in which Lubimov and Brautigam are joined by Manfred Huss, artistic director of the eminent Haydn Sinfonietta Wien, who here make their first appearance on BIS.
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