Sort articles by: Date | Most Rates | Most Views | Comments | Alphabet
» Articles for 28.12.2014
Jean-Philippe Rameau - Pieces de clavecin - Mahan Esfahani (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Jean-Philippe Rameau (1683-1764)
Artist: Mahan Esfahani
Title: Rameau - Pièces de clavecin
Genre: Classical
Label: © Hyperion Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 128 minutes 22 seconds
Recorded: February 2014 at The Music Room, Hatchlands Park, Surrey, United Kingdom

Gramophone-Award-winning harpsichordist Mahan Esfahani has recorded Rameau’s Pièces de clavecin in the historic setting of the Music Room at Hatchlands Park in Surrey. This is a masterclass for the instrument, confirming this young artist as a truly great player: in the words of International Record Review ‘his technique is beyond criticism and his inherent musicianship goes far deeper than mere surface understanding … it is difficult not to warm to such a musician’.
This double album comprises the whole of Rameau’s output of keyboard suites, and Esfahani rejoices in its wealth of genius, its excitement and drama. Rameau is a composer whose revival is ongoing, and his unique combination of the witty and the cerebral, the light and the curmudgeonly, abounds throughout his harpsichord music.
  • 60
Prayer: Voice & Organ - Magdalena Kozena, Christian Schmitt (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Magdalena Kozená, Christian Schmitt
Title: Prayer: Voice & Organ
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 1:24:24
Recorded: September 2013 at Konzertsaal der Hochschule für katholische Kirchenmusik und Musikpädagogik, Regensburg, Germany

The new recording from Magdalena Kožená features deeply-felt interpretations of sacred songs from the Baroque to the 20th Century.
In a rare recording collaboration, she is joined by virtuoso Christian Schmitt, in music for voice and organ from the sacred traditions of Germany, Austria, France and England, as well as her native Czechoslovakia.
Of course, the album includes music by J.S. Bach – a composer with whom Magdalena Kožená has long been associated - with sacred aspects of German song represented by Hugo Wolf and Schubert.
The French tradition is heard in the music of Bizet, Ravel and the great Parisian organist Maurice Duruflé.

. . . Magdalena Kozená takes a broad, dramatic approach to devotional music . . . If this is unlikely material for a singer whose bright timbre and temperament seem to predestine her for lyric, mischievous operatic roles, especially Dorabella, that challenge adds zest to the recital. --David J. Baker, Opera News
  • 100
Felix Mendelssohn: Symphony No 3 'Scottish' / Robert Schumann: Piano Concerto - London Symphony Orchestra, Sir John Eliot Gardiner (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Felix Mendelssohn (1809-1847), Robert Schumann (1810-1856)
Artist: London Symphony Orchestra, Sir John Eliot Gardiner
Title: Mendelssohn: Symphony No 3 'Scottish'; Schumann: Piano Concerto
Genre: Classical
Label: © LSO Live
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 79 minutes 17 seconds
Recorded: January 2014 at Barbican, London, United Kingdom

Inspired by his travels to the British Isles and full of the influence of the rolling Scottish landscape, both Mendelssohn’s Symphony No 3 ‘Scottish’ and his overture The Hebrides (‘Fingal’s Cave’) are amongst the composer’s most popular and admired works. The London Symphony Orchestra present us with inspiring performances of these works, as well as a performance of Schumann’s Piano Concerto, featuring the celebrated pianist, Maria João Pires.

Sir John Eliot Gardiner writes of this coupling; ‘Even if they spoke with different accents these genial Romantics were united in their ambitious fervour for ‘abstract’ music to be acknowledged as having the same expressive force as poetry, drama or the literary novel. The three works on this album exemplify the endeavour and range of invention of two of them, friends and colleagues in Leipzig’.
  • 80
Peter Maxwell Davies - Symphony No. 10 'Alla ricerca di Borromini' - LSO, Antonio Pappano (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Sir Peter Maxwell Davies (b.1934)
Artist: London Symphony Orchestra, Antonio Pappano
Title: Maxwell Davies - Symphony No. 10 'Alla ricerca di Borromini'
Genre: Classical
Label: © LSO Live
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 41 minutes 56 seconds
Recorded: February 2014 at Barbican, London, United Kingdom

‘Sometimes, the music knows something you don’t.’

These words, spoken by Peter Maxwell Davies before a performance of his Sixth Symphony on 12 March 2013, refer to the coincidence of the completion of that work with the death of his friend and collaborator George Mackay Brown in 1996.
The morning after the performance, Maxwell Davies received a cancer diagnosis that was to prove life-changing if not life-ending and one that in retrospect had seemed to him a long time coming. The crystallising of the new Tenth Symphony around the life and work of the Italian Baroque architect Francesco Borromini (1599–1667) had been in progress since at least the beginning of 2013 and one thing that did not change as a result of Maxwell Davies’ illness was his desire to press ahead with a composition that is essentially a meditation on creativity and mortality in the full knowledge that he might not live to finish it.
The Symphony is conceived in four parts, none of which conforms for long to any formal archetype evoked by Maxwell Davies’ other symphonic works. Instead it is the (subjective) drama of Borromini’s life and the (objective) design of his architecture that underpins a sequence that alternates purely instrumental movements with settings of texts from three sources.
  • 60
Joe Satriani - Unstoppable Momentum (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Joe Satriani
Title: Unstoppable Momentum
Genre: Rock, Hard Rock, Instrumental Rock, Fusion, Guitar Virtuoso
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: qobuz
Duration: 00:44:58
Recorded: Late 2012 – early 2013 at Skywalker Sound in Marin County, California; Studio 21 in San Francisco

In 2013, over a quarter century removed from his first album, Joe Satriani uses his solo albums as a way to stretch himself, both to flaunt his skills and perhaps to move him into areas where he's not quite comfortable. Unstoppable Momentum, his first album since 2010's boogie- and prog-heavy Black Swans & Wormhole Wizards, finds the guitarist occasionally indulging himself in a bit of swing, letting him ride an elastic beat ("Three Sheets to the Wind" has a supremely delicate touch), and he also digs into a bit of a nasty ZZ Top groove on "Jumpin' In," a boogie he turns inside-out on its immediate successor "Jumpin' Out." This is a pretty good indication that this is the work of a virtuoso who enjoys playing with his surroundings, tweaking tempos and arrangements to coax out unexpected wrinkles. Compared to Black Swans, this is livelier and fuller, containing a greater variety of textures, rhythms, and attacks, spending not quite so much time with head-down, barrel-headed boogie and rather suggesting jazz, blues, even soul. Satriani often seems a little too restless for his confines -- he seems to enjoy when the tempo slows, so he can get a little lyrical -- but part of the appeal of Unstoppable Momentum is how Satch decides he should abandon his comfort zone, at least in part. He still adheres too strongly to the heavily phased instrumentals that make him feel stuck in a past before MTV, but he'll also indulge in a bit of swing, rhythm, and momentum that not only give Unstoppable Momentum character, but suggest there's an audience outside of guitar fanatics for this densely layered instrumental music. --Stephen Thomas Erlewine
  • 0
Joachim Raff - Orchestral Works Vol. 2 - Orchestre de la Suisse Romande, Neeme Jarvi (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Joachim Raff (1822-1882)
Artist: Orchestre de la Suisse Romande, Neeme Järvi
Title: Orchestral Works Vol. 2
Genre: Classical
Label: © Chandos Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: theCLASSICAL|shop
Duration: 01:20:51
Recorded: Victoria Hall, Geneva, Switzerland, 9 and 10 July 2013

This is the second volume in a series from Neeme Järvi and the Orchestre de la Suisse Romande dedicated to the orchestral music of the Swiss-born composer Joachim Raff. Although he was a highly popular and prolific composer during his day, his works quickly fell out of the repertoire after his death and are largely forgotten today. The idiomatic performances by Neeme Järvi and his Swiss orchestra in Volume 1, described as ‘peerless’ by BBC Music (*****), suggest that they are the perfect performers to reinvigorate interest in Raff’s music.

This second volume features the rhapsody, Abends, and a number of overtures and preludes alongside Symphony No. 5. Subtitled Lenore, the fifth is one of Raff’s so-called programme symphonies, the only one based on a precise extra-musical source: Gottfried August Bürger’s poetic ballad of the same name. The shorter works show very different sides of Raff’s compositional personality. The grandiose Overture to König Alfred reflects the heroic/romantic nature of the opera’s story while the overtures to the comic operas Dame Kobold and Die Eifersüchtigen are full of humour and high spirits. Dornröschen is an oratorio based on the famous story of Briar Rose, or The Sleeping Beauty, by the brothers Grimm and its prelude has been recorded here.
  • 80
Johann Sebastian Bach - Magnificat in D major / Unser Mund sei voll Lachens - The Netherlands Bach Society, Jos van Veldhoven (2010) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: The Netherlands Bach Society, Jos Van Veldhoven
Title: J.S. Bach: Magnificat in D major (bwv 243) / Unser Mund sei voll Lachens (bwv 110)
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: channelclassics.com
Duration: 01:04:20
Recorded: Concert Hall, Tilburg, The Netherlands, December 2009

All the music on this CD is associated with the festival of Christmas. Bach wrote the cantata Unser Mund sei voll Lachens (BWV 110) for morning service on Christmas Day 1725, and the first version of the Magnificat in E flat major (BWV 243a) for Vespers on Christmas Day 1723, seven months after the Leipzig town council appointed him cantor of the Thomaskirche. It would hardly be exaggerating to say that Bach thus presented his visiting card to his new employer. According to the Bach scholar Christoph Wolff, the work is his "first really large-scale and complex piece of church music". Christmas was not the only occasion to sing the Magnificat text, however, for it was also a standard part of the Vespers liturgy. This may explain why Bach made a second version some years later (in D major, BWV 243).
For a Christmas CD in the year 2010 it is obviously attractive to add new movements to Bach's Magnificat, entirely in keeping with the tradition of the seventeenth and eighteenth centuries. His own choice, in the E flat major version, remains unsurpassed. By adding extra Christmas music to the second version in D major, however, a new and unexpected form arises which lends the performance a certain topicality. What is more, it gives us the opportunity to present Bach with several Netherlands composers of the seventeenth century. --Jos van Veldhoven
  • 100
Johann Sebastian Bach - Brandenburg Concertos Nos. 1-6 - Munchener Bach-Orchester, Karl Richter (2002/2012)  High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685 - 1750)
Artist: Münchener Bach-Orchester, Karl Richter
Title: J.S. Bach - Brandenburg Concertos Nos. 1-6 BWV1046-1051 (Complete), etc.
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2002/2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 03:32:55
Recorded: 1960-1980; Musikhochschule; Hochschule Fur Musik, Grosser Saal; Residenz, Herkulessaal, Munich, Germany

Very few conductors have recorded as much Bach as Karl Richter, and none can lay a stronger claim to a legacy based on championing the master. Throughout his prolific though sadly short life (he died at age 54 from a heart attack, though the devoted still steadfastly attribute the burgeoning original-instrument movement for breaking his heart) Richter always returned to Bach and rarely recorded (or performed) the music of other composers. Richter's reverence for Bach is evinced by the simplicity, splendor, and grandeur with which he consistently imbued his performances. Richter understood that the profound underlying architecture of Bach's music was critical to its appreciation, enjoyment, and yes, power. As a long-standing Richter fan, I couldn't be more overjoyed to see these benchmark Archiv performances reissued again (the fourth time for the Brandenburg's!).
The first CD of this three-disc set begins with a performance of Brandenburg Concerto No. 1 that superbly exemplifies Richter's remarkable intuitive grasp of Bach's language. To get an idea of just how ahead of his time Richter was, compare the timing of his first movement (whose "brisk tempos" the Penguin Guide went out of its way to condemn when the cycle was first released in 1987) with the contemporary original-instrument account by Musica Antiqua Köln directed by Reinhard Goebel. Richter's 1967 modern-instrument performance is two seconds slower. The man was no slouch; he understood that in Bach's day this was contemporary orchestral music whose success required vitality as well as authority.
  • 80
Tobias Hume: Poeticall Musicke / Eric Fischer: Topographic Long Range - Marianne Muller (2010) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Captain Tobias Hume (1569-1645), Eric Fischer
Artist: Marianne Müller, Pau Marcos, Liam Fennelly
Title: Hume - Poeticall Musicke; Fischer - Topographic Long Range
Genre: Classical
Label: © Zig-Zag Territoires | Outhere Music
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:12:48
Recorded: 20 au 24 juillet 2009 à l’église évangélique allemande PARIS 9

Marianne Muller - fierce player of viola da gamba, recently applauded for her outstanding interpretation of Folies d’Espagne of Marin Marais on Zig-Zag Territoires - brings us solo and consort pieces of Tobias Hume - captain and eccentric English composer of the XVII century. Committed to her instrument, Marianne Muller commissions to contemporary composers new pieces for viola di gamba...and Eric Fischer created a piece dedicated to Tobias Hume.Little is known of Hume’s life. Some have suggested that he was born in 1569 because he was admitted to the London Charterhouse in 1629, a pre-requisite to which was being at least 60 years old, though there is no certainty over this. He had made his living as a professional soldier, probably as a mercenary. He was an officer with the Swedish and Russian armies.His published music includes pieces for viols (including many solo works for the lyra viol) and songs. They were gathered in two collections, The First Part of Ayres (or Musicall Humors, 1605) and Captain Humes Poeticall Musicke (1607). He was a particular champion of the viol over the then-dominant lute, something which caused John Dowland to publish a rebuttal of Hume's ideas.Hume was also known as a prankster, as some of his somewhat unusual compositions illustrate. His most notorious piece was "An Invention for Two to Play upone one Viole". Two bows are required and the smaller of the two players is obliged to sit in the lap of the larger player. This work was notated in tablature and is indeed technically possible to play. His instructions to "drum this with the backe of your bow" in another piece, "Harke, harke," constitute the earliest known use of col legno in Western music.Eric Fischer has composed more than 200 works, which range from pieces for solo instrument to symphonic form by way of every type of instrumental forces and the most diverse experiences, including chamber music, electronics, vocal works, incidental music for the theatre, improvised music and pieces for period instruments. His openness to encounters of all kinds has led to other highly unusual artistic exchanges.
  • 60
Joseph Haydn - String Quartets, op.33 - The London Haydn Quartet (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Joseph Haydn (1732-1809)
Artist: The London Haydn Quartet
Title: Joseph Haydn - String Quartets, op.33 'Russian' - performed from the Schmitt edition published in Amsterdam in 1782
Genre: Classical
Label: © Hyperion Records
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 133 minutes 19 seconds
Recorded: June 2012 at Concert Hall, Wyastone Estate, Monmouth, United Kingdom


The calling card here is the use of an Amsterdam edition of Haydn's Op. 33 string quartets that reverses the order of some of the inner movements. It's never made clear why this edition should get priority over the dozens of others that circulated around Europe, with and without Haydn's consent, but so be it; there are some tempo novelties here that shed some light on how Haydn's music was received, at least in some quarters. There the good news ends. These performances are sterling examples of the kind that gave historical-instrument readings a bad name for so long among ordinary listeners. The problem is not with the Classical-era bows and gut strings that many musicians have applied profitably to Classical chamber music. Nor is it with the lack of vibrato, which done right gives Haydn a brisk, bracing humor. The problem is instead with the total lack of humor and gradation in the music, which is as inexpressive as you will find anywhere. The London Haydn Quartet proclaims itself to have been born out of "a passion for Haydn's string quartets," but the passion is hard to hear, and the group's playing would be more typical of musicians with a background in the terraced dynamics of Baroque music; for the most part they have an inflexible attitude toward dynamics. There may be a market for this among the historical-performance hard core, but even for this leaner in that direction it did not satisfy. Sample well before buying. Even the normally unimpeachable sonics of the Wyastone Estate concert hall get distorted here, with the players unpleasantly closely miked. --James Manheim
  • 80
Dear visitor, you have not login. We recommend you to REGISTER and LOGIN to gain access to the full resource on our website.