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William Walton - Symphony No. 1 & Violin Concerto - BBC Symphony Orchestra, Edward Gardner, Tasmin Little (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: William Walton (1902 – 1983)
Artist: BBC Symphony Orchestra, Edward Gardner, Tasmin Little
Title: William Walton - Symphony No. 1 & Violin Concerto
Genre: Classical
Label: © Chandos Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: theCLASSICAL|shop
Duration: 75:45
Recorded: Watford Colosseum: 18 September 2013 (Violin Concerto); Fairfield Halls, Croydon: 3 and 4 February 2014 (Symphony No. 1)

Edward Gardner, a Chandos exclusive artist, conducts the BBC Symphony Orchestra in two masterpieces by William Walton, the Violin Concerto and Symphony No. 1.
Walton burst onto the British musical scene in his twenties, the success of works such as Façade, the Viola Concerto, and Belshazzar’s Feast establishing him in both the avant-garde and the mainstream of British composers. The obvious next step for Walton was to compose a symphony and he was duly commissioned to do so by Sir Hamilton Harty in 1932. The first complete performance of his Symphony No. 1, in 1935, was a triumph, immediately gaining the work an honoured place in British music which it has never lost. It is a highly virtuosic work with a remarkable expressive range, in turns powerful and broad, malicious, melancholic, and majestic.
The Violin Concerto was written in 1938 in response to a commission from Jascha Heifetz. The solo part reflects not only the legendary virtuosity for which Heifetz was famous, but also the sweetness and purity of his playing of long lyrical lines. In this recording the soloist is Tasmin Little whose acclaimed recordings of concertos by Britten, Elgar, Delius, and Moeran on Chandos have already established her as one of the foremost interpreters of British music for the violin.
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Walking In The Air - The Music of Howard Blake - Vladimir Ashkenazy (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Howard Blake (b.1938)
Artist: Vladimir Ashkenazy, Vovka Ashkenazy
Title: Walking In The Air - The Music of Howard Blake
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:20:48
Recorded: Potton Hall, Suffolk, 15, 16 March, 10, 11 June 2013

Vladimir Ashkenazy returns with an unexpected album of compositions by his long-standing friend Howard Blake, best known for the Christmas favourite Walking In The Air.
Walking in the Air, which Ashkenazy has chosen as the title track of the disc is arranged here for solo piano (and available as an e-single). The song was composed by Blake as the centrepiece of his score for the children’s classic animated film The Snowman, and exemplifies the composer’s warmly accessible style.
Ashkenazy performs no fewer than nine world premiere recordings from Blake’s repertoire and the album features music from Blake’s other film scores, including Ridley Scott’s ‘The Duellists’ and horror classic ‘The Changeling’ and the Prelude for Vova Op.640, written after Ashkenazy asked Blake to “make a piece out of my initials A.S.H. – like Liszt did with B.A.C.H.”
Howard Blake’s illustrious career has spanned over 50 years in which he has composed more than 650 works, both classical and popular. He has written scores for numerous films, beginning in the 1970s, but it was in 1982, with his orchestral score for The Snowman that Blake achieved widespread acclaim. While he is best known for the Christmas classic, he has written a wide range of music, including a piano concerto for the 30th birthday of Princess Diana.
“His piano music is extremely well written and pianistic, due, of course, to the fact that he is a very good pianist himself,” explains Ashkenazy, “and so it is truly a joy to play.”

On this unique and maybe unexpected album, there are no fewer than nine world premiere recordings including . . . a prelude written especially for Ashkenazy, made out of his initials . . . "Walking in the Air" is a stand-out track on this generous 80-minute collection. Blake's compositions are attractive and accessible and Ashkenazy's joy at playing his friend's music is evident on this album. --Classic FM
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Richard Strauss - Four Last Songs - Anna Netrebko, Staatskapelle Berlin, Daniel Barenboim (2014 ) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Richard Strauss (1864 - 1949)
Artist: Anna Netrebko, Staatskapelle Berlin, Daniel Barenboim
Title: Richard Strauss - Four Last Songs
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:08:19
Recorded: Berlin, Philharmonie, 8/2014

Saving the best for last in the Richard Strauss anniversary 2014. The world’s most luxurious soprano, Anna Netrebko, sings Richard Strauss’ sumptuous Four Last Songs, accompanied by the Staatskapelle Berlin and Daniel Barenboim. An irresistible, all-star combination.

Netrebko is a phenomenon. The world’s best-selling active soprano and quite simply, the undisputed superstar – “la prima donna assoluta" (New York Post) – of opera today. Known equally for her poise, her sensuality and her voice’s unmistakable color, Strauss’s elegiac Four Last Songs are an exquisite vehicle for her expressive gifts: Netrebko’s first recording of these gorgeous, iconic songs.

Barenboim: conductor, pianist, humanitarian - perhaps the world’s most complete living musician. A venerated interpreter of Wagner, Mozart, Beethoven and Bruckner, in many ways the music of Richard Strauss represents the apotheosis of Barenboim’s musical ethos. In 1954, the then 11 year-old Barenboim was introduced to his idol, conductor Wilhelm Furtwängler. It was Furtwängler who conducted the world premiere of Strauss’ Four Last Songs in 1949

The Staatskapelle Berlin, one of Germany’s oldest and most prestigious orchestras boasts a proud Strauss tradition including great performances and recording under the composer himself, as well as under great Straussians Felix Weingartner, Leo Blech, Erich Kleiber, Wilhelm Furtwängler, Otto Klemperer, Clemens Krauss, Hans Knappertsbusch, Joseph Keilberth, Ottmar Suitner and Daniel Barenboim.

The Staatskapelle and Barenboim then interpret Ein Heldenleben, one of the most vivid and popular tone poems by Strauss, who himself was Generalmusikdirektor of the Staatskapelle a century ago.
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Dmitri Shostakovich - Piano Concertos 1 Op. 35, 2 Op. 102, Violin Sonata Op. 134 - Alexander Melnikov, Isabelle Faust, Mahler Chamber Orchestra, Teodor Currentzis (2012) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Dmitri Shostakovich (1906-1975)
Artist: Alexander Melnikov, Isabelle Faust, Mahler Chamber Orchestra, Teodor Currentzis
Title: Dmitri Shostakovich - Piano Concertos 1 Op. 35, 2 Op. 102, Violin Sonata Op. 134
Genre: Classical
Label: © Harmonia Mundi
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 01:14:09
Recorded: novembre-décembre 2010, Rathaus-Prunksaal, Landshut (DE) (Concertos) | mars 2011, Teldex Studio Berlin (Sonate)

The programming of this recording by Alexander Melnikov seems to be no accident. The two large, witty, outward-looking piano concertos surround the more grave, inward-facing Violin Sonata the way a sonata's or concerto's two fast movements surround a slow movement. It's also a real reflection of Melnikov as a performer, schooled in the Russian tradition and mentored by Richter (the pianist of the first public performance of the Violin Sonata), who is as comfortable as a soloist as he is as a collaborative pianist playing chamber music. In that regard, Melnikov and Faust make their parts of the sonata equal partners in the music, bringing out the smallest details. It is generally held that the sonata is about death, and these two handle it with intensity and seriousness, but do not make it grim or frightful. In the concertos, Melnikov and conductor Teodor Currentzis are also well matched. In the slow movements, especially of the Concerto No. 2, Melnikov's touch is so soft and phrasing so lyrical as to give the music a sweetness normally associated with a Rachmaninov or Ravel concerto, and Currentzis follows his lead. The animation in the fast movements, where Shostakovich likes to use rapidly repeated notes, is not pointedly sharp, but is impressive and extremely engaging nonetheless. The finale of Concerto No. 1, when everyone -- including the very precise trumpeter Jeroen Berwaerts -- gets going together is almost precipitously exciting. Yet it is Melnikov's sensitivity of touch that distinguishes his performance of these works from others'.

Review by Patsy Morita
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	Dmitri Shostakovich - Piano Concertos 1 Op. 35, 2 Op. 102, 24 Preludes Op. 34 - Andrei Korobeinikov, Mikhail Gaiduk, Lahti Symphony Orchestra, Okko Kamu (2011) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Dmitri Shostakovich (1906-1975)
Artist: Andrei Korobeinikov, Mikhail Gaiduk, Lahti Symphony Orchestra, Okko Kamu
Title: Dmitri Shostakovich - Piano Concertos 1 Op. 35, 2 Op. 102, 24 Preludes Op. 34
Genre: Classical
Label: © Mirare | Harmonia Mundi Label Group
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 01:18:08
Recorded: du 26 au 28 mai 2011 au Sibelius Hall à Lahti en Finlande

The program of this album of music by Shostakovich (or, since you are dealing with a French release here, "Chostakovich") is heterogenous, consisting of the two piano concertos plus the 24 Preludes, Op. 34. So, too, are the performances. You may or may not like the album from start to finish, but Russian pianist Andrei Korobeinikov deserves credit for covering some well-trodden ground and blazing fresh paths. Herewith: one listener's ranking. Korobeinikov's recording of the Piano Concerto No. 2 in F major, Op. 102, is one of the very best available, and for this he shares the credit with conductor Okko Kamu and Finland's superbly agile Lahti Symphony Orchestra. Shostakovich himself disparaged this work, which was written for his son, Maxim. Due to that criticism (which really ought not to be trusted any more than other statements by composers subject to moods of the moment) and to its rather conservative language, this concerto has often gotten short shrift from performers, who take very fast tempos and tend to treat it as a kind of technical exercise. This is one of the few performances (Leonard Bernstein's classic reading with the New York Philharmonic is another, but this one is perhaps even more detailed) to slow down and let the music's considerable sprightly grace emerge. The Concerto No. 1 for piano, trumpet, and orchestra in C minor, Op. 35, is hardly less satisfying, with an expansive reading and some very fine trumpet tone from Mikhail Galduk. In both of these performances Korobeinikov and Kamu execute fine realizations of models that, while not exactly common, have been done before. The 24 Preludes, Op. 34, are another story entirely. Part of the genius of these pieces from the early 1930s, and of the later 24 Preludes and Fugues, Op. 87, is that they pay tribute to the past without being "neo-classic" works; they contain elements of Chopin's preludes and of Bach's without really resembling either one. Korobeinikov, however, pushes them into the Chopin mold, with massive tempo fluctuations, heavy use of the pedals, and in general a heavily Romantic approach. The reading somehow seems not of a piece with the rest of the album, which suggests the degree of the excellent Okko Kamu's influence, and it doesn't quite fit with the rest of the musical personality of the young Shostakovich. But it is fresh, and it merits consideration, especially where there is a very compelling reason, in the form of the Piano Concerto No. 2, to add this well-recorded album to one's Shostakovich shelf.

Review by James Manheim

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Nowell sing we: Contemporary Carols, Volume 2 - Choir of Worcester College, Stephen Farr (2014 ) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: The Choir of Worcester College, Oxford; Stephen Farr
Title: Nowell sing we: Contemporary Carols, Volume 2
Genre: Classical, Choral
Label: © Resonus Limited
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 1:12:34
Recorded: June 30-July 2, 2014 in Keble College Chapel in Oxford, England.

Choir of Worcester College, Oxford & Stephen Farr following on from the universal critical acclaim of their first album with Resonus (This Christmas Night), the Choir of Worcester College, Oxford - under the direction of Stephen Farr - return with a second album of contemporary Christmas Carols.

Entitled Nowell sing we, this new selection contains works from a wide variety of celebrated composers including Gabriel Jackson, Peter Maxwell Davies, Lennox Berkeley, Colin Matthews, Francis Pott, Edmund Rubbra, Richard Rodney Bennett & Herbert Howells among many others, with no fewer than nine world premieres. Also featured throughout the programme are the seven O Antiphon Preludes for solo organ by Nico Muhly, performed here by Stephen Farr on the organ of Keble College, Oxford.
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Neil Young - Time Fades Away (1973/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Neil Young
Title: Time Fades Away
Genre: Rock, Folk Rock, Hard Rock, Country Rock
Label: © Reprise Records
Release Date: 1973/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: PonoMusic
Duration: 34:16
Recorded: February 11 - April 1, 1973 (except "Love In Mind": January 30, 1971)

Time Fades Away is a 1973 live album by Neil Young, consisting of previously unreleased material. It was Young's first live album, and was recorded with The Stray Gators on the tour following 1972's highly successful Harvest and has not been reissued on CD due to Young's dissatisfaction with that particular series of concerts. Although Time Fades Away received much critical praise, has been widely pirated, and is highly sought after by fans, there are no current plans to reissue the album except as part of the Official Release Series Discs 5-8 Vinyl Box Set for Record Store Day 2014 and the proposed second volume of the Archives box set.
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Neil Young & Crazy Horse - Rust Never Sleeps (1979/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Neil Young & Crazy Horse
Title: Rust Never Sleeps
Genre: Rock, Folk Rock, Hard Rock, Acoustic, Classic Rock
Label: © Reprise Records
Release Date: 1979/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: PonoMusic
Duration: 38:24
Recorded: 1975 - 1978

#350 on Rolling Stone magazine's list of the 500 greatest albums of all time


Rust Never Sleeps is an album by Canadian singer-songwriter Neil Young and American band Crazy Horse. It was released on July 2, 1979, by Reprise Records. Most of the album was recorded live, then overdubbed in the studio. Young used the title "rust never sleeps" as a concept for his tour with Crazy Horse to avoid artistic complacency and try more progressive, theatrical approaches to performing live.
The bulk of the album was recorded live at San Francisco's Boarding House and during the Neil Young/Crazy Horse tour in late 1978, with overdubs added later. Audience noise is removed as much as possible, although it is clearly audible at certain points, most noticeably on the opening and closing songs. The album is half acoustic and half electric, opening and closing with different versions of the same song: "Hey Hey, My My".
"My My, Hey Hey (Out of the Blue)", "Thrasher" and "Ride My Llama" were recorded live at the Boarding House in early 1978 and all of side two was recorded during the late 1978 tour. Two songs from the album were not recorded live: "Sail Away" was recorded without Crazy Horse during or after the Comes a Time recording sessions, and "Pocahontas" had been recorded solo around 1975.
Young also released a film version of the album under the same title. Later on in 1979, Young and Crazy Horse released the album Live Rust, a compilation of older classics interweaving within the Rust Never Sleeps track list. The title is borrowed from the slogan for Rust-Oleum paint, and was suggested by Mark Mothersbaugh of the new wave band Devo. It is also an aphorism describing Young's musical self-renewal to avert the threat of irrelevance.
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Neil Young - Everybody Knows This Is Nowhere (1969/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Neil Young & Crazy Horse
Title: Everybody Knows This Is Nowhere
Genre: Rock, Folk Rock, Hard Rock, Blues Rock
Label: © Reprise Records
Release Date: 1969/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: PonoMusic
Duration: 40:46
Recorded: January & March 1969 at Wally Heider Recording, Hollywood, California


#208 on Rolling Stone magazine's list of the 500 greatest albums of all time

Everybody Knows This Is Nowhere is the second studio album by the Canadian musician Neil Young, released on Reprise Records catalogue RS 6349. His first with backing band Crazy Horse, it peaked at number 34 on the US Billboard 200 and has been certified a platinum album by the RIAA.
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VA - Miles Espanol - New Sketches Of Spain (2011) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Various
Title: Miles Español: New Sketches Of Spain
Genre: Jazz, Latin, Modern Creative
Label: © eOne Music
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 01:54:04
Recorded: Richard King at Sear Sound, NYC, Apr 10-16 2010.

A double album tribute to Miles Davis' seminal Sketches of Spain featuring Chick Corea, Jack DeJohnette, John Scofield, Ron Carter, Gonzalo Rubalcaba, and many more!
A Journey Into the Spanish Soul of Miles Davis, conceived and produced by Grammy-nominated saxophonist Bob Belden.
In May of 2010, a group of Miles Davis alumni, New York’s finest Latin Jazz players, and a contingent of exceptional Spanish musicians, gathered at Sear Sound Studios in Manhattan for an unprecedented recording event.
MILES ESPANOL travels more deeply than ever before into the connective tissue between the jazz innovations of Miles Davis and the modern masters who performed in his bands; and the dramatic, romantic soul of Spanish, Latin and Moorish traditional and contemporary music. The double album is split into two parts.
The first, new interpretations and arrangements of Miles classics from Sketches Of Spain (“Concierto de Aranjuez”, “Saeta/Pan Piper, “Solea”) Kind Of Blue (“Flamenco Sketches”), and Someday My Price Will Come (“Teo” aka “Teo/Neo”.)
The second, new compositions by principals in the sessions—Chick Corea, Jack DeJohnette, John Scofield, Ron Carter, Gonzalo Rubalcaba, etc.—that enhance and extend the musical concepts into the multicultural language of 21st Century Jazz.
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