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Leif Ove Andsnes - The Beethoven Journey - The Complete Piano Concertos (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Leif Ove Andsnes, Mahler Chamber Orchestra
Title: The Beethoven Journey - The Complete Piano Concertos
Genre: Classical
Label: © Sony Music Entertainment
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 03:08:25
Recorded: 2012 - 2014; Dvorák Hall, Rudolfinum, Prague; Saint Jude-on-the-Hill, Hampstead Garden Suburb, London.

2014/15 is the crowning season of the Beethoven Journey. Leif Ove Andsnes and the Mahler Chamber Orchestra have now recorded all of the Beethoven piano concertos, they will be performing the works in 16 cities across North America, Europe, and Asia. Full-cycle residencies in 2014/15 will include (in chronological order): Bonn, Lucerne, Vienna, Paris, New York, London, Shanghai. The Beethoven Journey is a four-year collaborative project between celebrated pianist Leif Ove Andsnes and the Mahler Chamber Orchestra. Together they have recorded all of the Beethoven Piano Concertos, as well as the Choral Fantasy, with Andsnes not only playing but also directing the orchestra. The series began with the live recording of the Piano Concertos 1 & 3 at the Prague Spring Festival in the historic Rudolfinum building. The second CD, Piano Concertos 2 & 4, was recorded in London in 2013, and the final album was recorded again live at the Prague Spring Festival. Leif Ove Andsnes has devoted the majority of his performing and recording activities in the last 3 years to the music of Beethoven. The first recording for the project was named iTunes’ Best Instrumental Album of 2012. The second recording enjoyed an outstanding reception from critics, with many heralding the release as one of the finest recordings of the 2 & 4 Concertos. Although Andsnes has an extensive discography “The Beethoven Journey” is his first Beethoven recording ever.
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Joshua Redman - Trios Live (2014) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Joshua Redman
Title: Trios Live
Genre: Jazz, Post-Bop, Straight-Ahead, Saxophone Jazz, Jazz-Funk
Label: © Nonesuch Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 01:03:44
Recorded: Tracks 1, 5–7 recorded October 2009 live at Jazz Standard, New York, NY; Tracks 2–4 recorded February 2013 live at Blues Alley, Washington, DC.

Nonesuch Records releases saxophonist Joshua Redman’s Trios Live on June 17, 2014. The album was recorded at New York City’s Jazz Standard and Washington, DC’s Blues Alley during stands with two different trios—Redman and drummer Gregory Hutchinson with bassist Matt Penman (Jazz Standard) and Redman and Hutchinson with bassist Reuben Rogers (Blues Alley). Trios Live features four original tunes by Redman and interpretations of three additional songs.
“This album is dedicated to all those folks, all around the world, of all ages, identities, allegiances, and persuasions, who come out, day to day, night after night, to see and hear live jazz,” Redman says in the album’s liner notes. “You bear witness to this music; you testify to that moment. You are here. You were there. You made it possible. You make it real. You are the reason. You were the point.”
The New York Times has said, “Joshua Redman is one of the most visible jazz musicians of the last 15 years, which says something not just about his natural flow as an improviser and his command as a bandleader, but also about his willingness to use words…to represent jazz to the outside world.” Redman’s first self-titled studio album was released by Warner Bros. in 1993; eight additional records followed on Warner. His Nonesuch debut, Momentum, was released in 2005, along with the first of two SFJAZZ Collective albums on which he served as artistic director. Next Nonesuch released Back East, Redman’s first studio recording with an acoustic trio, followed by Compass, which featured double trios, and James Farm, a collaboration with pianist Aaron Parks, bassist Matt Penman, and drummer Eric Harland.
Last year, Nonesuch released Walking Shadows, comprising 12 ballads; it was Redman’s first recording to include an orchestral ensemble, and it was produced by Redman’s friend and frequent collaborator Brad Mehldau. Redman regularly tours the world with various ensembles. In fall 2014, Redman, with Reuben Rogers and Greg Hutchinson will be playing trio dates in the US.
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Johann Sebastian Bach - The Well-Tempered Clavier, Book I - Pierre-Laurent Aimard (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685 - 1750)
Artist: Pierre-Laurent Aimard
Title: J.S. Bach - The Well-Tempered Clavier, Book I
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:52:05
Recorded: Funkhaus Berlin Nalepastraße, 3/2014

[a] brilliant pianist -- one of those daunting Frenchmen clearly born with three brains . . . the C major prelude starts us off, the notes light and limpid, the graceful pace ebbing when Bach's harmonies veer from the straight and narrow . . . Aimard has clearly thought deeply about the collections's kaleidoscopic structure . . . The F sharp minor fugue is a mysterious wonder, as if the music were feeling its way in the dark; the G major prelude sparkles with gaiety . . . --Geoff Brown, The Times
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George F. Handel - Belshazzar - Hanoverian Court Orchestra, Maulbronn Chamber Choir, Jurgen Budday (2011) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Georg Frideric Handel (1685-1759)
Artist: Hanoverian Court Orchestra, Maulbronn Chamber Choir, Jürgen Budday
Title: George F. Handel - Belshazzar
Genre: Classical, Oratorio
Label: © K&K Verlagsanstalt
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 2:27:39
Recorded: Concert recording from the church of the UNESCO World Heritage Site Maulbronn Monastery.

This recording is part of a cycle of old testament oratorios by G. F. Handel and is one of the many concerts performed at Maulbronn monastery over the past years. The series combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically authentic performance. The music is exclusively performed on reconstructed historical instruments, which are tuned to the pitch customary in the composers lifetime.
The oratorio, Belshazzar, devotes itself to the story of the Babylonian king, Belshazzar, as presented in the biblical story from the book of Daniel. Belshazzar commits sacrilege against the God of the Israelites, upon which a ghostly hand inscribes the mysterious text, the Menetekel, upon the wall of the court, predicting the downfall of the kingdom and the death of Belshazzar at the hands of the Persians. The prophecy is fulfilled that very same night.
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Christmas! Noel! Weinachten! - Rias Kammerchor, Hans-Christoph Rademann (2013) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Various
Artist: Rias Kammerchor, Hans-Christoph Rademann
Title: Christmas! Noël! Weinachten!
Genre: Classical
Label: © Harmonia Mundi
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 1:10:09
Recorded: January 2013 at Jesus-Christus Kirche in Dahlem, Berlin.

The great painters have always known how to combine the different perspectives of the Nativity into a single picture. Here the RIAS Kammerchor tells the Christmas Story in music: Mendelssohn frames the painting, to which the darkness and the promise of promise of heavenly light form the background. The Virgin Mary leads us to the heart of Christmas Night and to rejoicing at the Saviour’s birth. We come full circle with the Four Motets of Poulenc, which sum up all the facets of Christmas and its emotions.

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Christmas In Harvard Square - The Boys of St. Paul's Choir School (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: The Boys of St. Paul's Choir School
Title: Christmas In Harvard Square
Genre: Classical, Choral
Label: © Decca Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:01:00
Recorded: May 7-9, 2014, at the Church of St. Paul’s in Cambridge, MA.

The boys of the St. Paul’s Choir School are proud to announce the release of their debut international recording, Christmas in Harvard Square! Featured are 19 classic Christmas songs of both traditional and contemporary arrangements, including original arrangements by Director of Music John Robinson.
Produced by AimHigher Recordings/Decca, this inspiring collection of Christmas favorites is sure to draw hearts closer to the wonder of the Nativity of Christ and the warmth of the Christmas season, now and in Christmases to come.
Boys of St. Paul's Choir School have just celebrated their 50th anniversary in existence. This was marked by a journey to Rome in February 2014 where they performed for Pope Francis in St. Peter’s Square.
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William Byrd - Infelix ego - Collegium Vocale Gent, Philippe Herreweghe (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: William Byrd (c.1540-1623)
Artist: Collegium Vocale Gent, Philippe Herreweghe
Title: William Byrd - Infelix ego, Mass for 5 Voices, Motets
Genre: Classical
Label: © Phi | Outhere SA
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:49:41
Recorded: 3 - 5 August 2013, Chiesa di San Francesco, Asciano, Italy

Philippe Herreweghe and his Collegium Vocale Gent present their third project for Phi focussing on vocal music of the Renaissance. This time, it is the English composer William Byrd (c.1540-1623) who is being honoured. The title of the programme is that of Byrd’s motet Infelix ego, one of the greatest artistic statements of the 16th century. Its text is a meditation on Psalm 50, written by the Dominican Girolamo Savonarola, a remarkable man who waged a campaign against the corrupt Medici family in Florence. Taking the form of several rhetorical questions and assertions, the text describes all the emotions felt by a tormented soul: guilt, fear, embarrassment, anger but above all the gift of deliverance upon acceptance of Christ’s mercy. Byrd seems to have felt a powerful emotional connection with the words.
The Collegium Vocale Gent also presents the Mass for 5 Voices and a selection of motets by Byrd, along with Alfonso Ferrabosco’s Peccantem me quotidie a5 and Philippus de Monte’s Miserere mei a5.
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Johannes Brahms - Violin Sonatas Nos. 1-3 - Leonidas Kavakos, Yuja Wang (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833-1897)
Artist: Leonidas Kavakos, Yuja Wang
Title: Brahms - Violin Sonatas Nos. 1-3
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:16:41
Recorded: Friedrich-Ebert-Halle, Hamburg/Harburg, 27–30 December 2013

Leonidas Kavakos, the “exceptional violinist” (Daily Mail) follows his spectacular Brahms Violin Concerto recording by teaming up with star pianist Yuja Wang – “a prodigious talent, with an astonishing technique” (The Guardian) for the great Brahms Violin Sonatas
Leonidas Kavakos’s third release for Decca makes a perfect supplement to his acclaimed Brahms Violin Concerto disc with Chailly.
‘It’s a long time since there was a new version of this concerto as good as this.’ Andrew Clements, The Guardian (October 2013).
‘There is a rapier-like cut-and-thrust about this performance that recalls the surging adrenaline-charge of Isaac Stern in full flight, with Kavakos emerging as the swashbuckling hero of the hour, taking all technical obstacles in his stride with soaring abandonment.‘ Julian Haylock, Sinfini (October 2013).
For the three sonatas Kavakos – an exclusive Decca artist – teams up with Wang, a former Gramophone Young Artist of the Year.
Their partnership at the 2013 Verbier Festival was much talked about (and broadcast on Medici) and they will be touring these works in April to major European cities.
The F-A-E Scherzo which Brahms contributed to a composite sonata (along with his friends Schumann and Dietrich) will be added as a bonus.
The three violin sonatas were written for Brahms’s muse in all matters violin, Joseph Joachim, who also gave the premiere of the Violin Concerto and contributed its cadenzas.
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Ludwig van Beethoven - Piano Sonatas Nos. 16-20 - Maurizio Pollini (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Maurizio Pollini
Title: Beethoven - Piano Sonatas Nos. 16-20
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:15:20
Recorded: Munich, Herkulessaal, 6/2013 & 6/2014

Deutsche Grammophon is proud to release a stunning new recording of Beethoven piano sonatas by Maurizio Pollini. This final recording from 2014 brings a 40-year project to completion: he now presents studio recordings of all 32 Beethoven piano sonatas. The piano sonatas are central to Beethoven’s oeuvre. As a composer and virtuoso pianist himself, he wrote works for the instrument from the beginning to the end of his career, so a cycle of the piano sonatas gives an almost unparalleled insight into his development as a composer and as a master of the instrument.
Almost forty years have passed since Maurizio Pollini made his first studio recording of piano sonatas by Beethoven. His visionary interpretations of the composer’s Piano Sonata opp. 109 & 110 on the Deutsche Grammophon label marked the beginning of an extraordinary artistic journey. The great Italian artist crowns his complete Beethoven cycle with the release on 17 November of the Piano Sonatas opp. 31 & 49, a title certain to take its place in the pantheon of essential piano recordings. The new album, recorded in the Herkulessaal Munich in 2013–14, will also be released as part of an eight­disc box comprising Pollini’s survey of Beethoven’s 32 piano sonatas.
Pollini’s complete cycle of the Beethoven sonatas, the first to appear on the Yellow Label since Daniel Barenboim’s in the 1980s, takes its rightful place in Deutsche Grammophon’s discography alongside Wilhelm Kempff’s legendary mono recordings from the 1950s and their stereo successors from the 1960s.
Pollini’s achievement also ranks with the incomplete Beethoven cycle made for Deutsche Grammophon by Emil Gilels, a legendary project curtailed by the Soviet pianist’s sudden death in 1985.
Time has played an important role in the development of Pollini’s Beethoven. “The interpretation of all the works I play develops with time,” he has observed. “Otherwise, there would be no renewal. So every time we see a piece of music, there is a little difference. Life makes that difference.”
Maurizio Pollini, widely regarded as the piano world’s archaristocrat, rose to international prominence as winner of the 1960 Warsaw Chopin Competition. Following early successes, the pianist famously withdrew from giving concerts for a year and a half to concentrate on refining his technique and broadening his repertoire. After that he gradually returned to the concert stage and in 1971 signed an exclusive contract to record for Deutsche Grammophon. Pollini’s pursuit of perfection, the intellectual clarity and heartfelt beauty of his interpretations, and quest to connect with the spiritual domain of music have contributed to the development of the complete artist.
Beethoven has been at the heart of Pollini’s musical life for more than five decades. His interpretations of the composer’s music have been informed by profound study. They have also gained from his close contact with the creative energy of such contemporary composers as Pierre Boulez and from his determination to reach far beneath the surface of serious music in search of deeper meaning. In the forty years since he began his piano sonata cycle, Pollini’s Beethoven interpretations have grown in maturity, power and clarity. The complete set of recordings bears witness to his extraordinary artistic evolution and the inexhaustible nature of Beethoven’s imagination.
Maurizio Pollini has given Beethoven sonata cycles in concert many times, including in Berlin, Munich, Paris, London and Vienna. Although several of these were recorded live for possible future release, the pianist opted to preserve most of his interpretations for Deutsche Grammophon under studio conditions. His complete cycle was recorded in the Herkulessaal in Munich and the Musikverein in Vienna, with the exception of one excursion to Lucerne’s Culture and Congress Centre.
Christopher Alder, producer of many of Pollini’s Beethoven albums for the Yellow Label, recalls how the pianist follows a meticulous and consistent pattern of preparation, recording and listening. “Like all great artists, his knowledge of the works is so immense. I believe he never really stops reflecting on the music he performs and understands precisely how each of the piano sonatas relates to the other works Beethoven was writing at the time. His routine of recording usually involves a preparatory day. The next day he begins by playing the complete programme once through. He repeats the process twice more and, after listening to various short passages the following day, will play through the programme three times again. Everything arises in the moment of performance, even though he knows exactly what he’s aiming to do and intuitively feels when he has strayed from that by the smallest margin.”
Pollini’s recordings of Beethoven’s last five piano sonatas, issued on three LPs, attracted critical praise and were chosen as “Instrumental Album of the Year” at the inaugural Gramophone Awards in 1977.
Gramophone’s reviewer wrote of the “noble purity” of Pollini’s interpretations, an observation inspired by the intellectual rigour and spiritual intensity of his musicmaking. The pianist’s account of the Late Piano Sonatas proved both a commercial and critical success. Today it remains among the bestselling titles in the Yellow Label’s Originals series. Pollini returned to the Beethoven piano sonatas for DG in 1988, recording opp. 31 no. 2, 53, 79 and 81a. The project continued to unfold in 1991 when he set down revelatory readings of the Piano Sonatas opp. 27 and 28, and gathered momentum again six years later with the live recording of opp. 22, 26 and 53.
Piano Sonatas opp. 54, 57, 78 and 90 were recorded in 2002, while opp. 10 and 13 were added to the pianist’s evolving cycle some months later in the same year. He turned to the early Piano Sonatas Op. 2 in 2006 and waited another six years before recording Piano Sonatas opp. 7, 14 and 22. Each work was recorded at the precise moment when Pollini felt ready to commit his interpretations to disc.
The completion of Pollini’s Beethoven cycle offers musiclovers the chance to explore the nature of his relationship with the piano sonatas. It also charts the longterm development of his understanding of some of the greatest keyboard works ever written, inexhaustible expressions of the human condition conceived over the course of their composer’s creative lifetime.
In 2011 Pollini told the Guardian (London) of the critical importance of the works at his repertoire’s heart, Beethoven’s piano sonatas among them. He explained that “it doesn’t matter if you play these pieces all the time, or go for years without playing them at all, which often happens to me. They are always there in your mind. You think about them and refer to them. You also entertain the hope, although it is sometimes an illusion, that you will understand them a little better over time. These are relationships that go on forever, and so long as you keep playing the piano they will never be concluded.”
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Ludwig van Beethoven - Piano Sonatas Nos. 4 & 9-11 - Maurizio Pollini (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Maurizio Pollini
Title: Beethoven - Piano Sonatas Nos. 4 & 9-11
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 01:12:42
Recorded: KKL Luzern, 1/2012; Herkulessaal, Residenz, Munich, 5&6/2012

Beethoven’s Op. 7 and Op. 22, both standard four-movement works, frame the two lyrical Op. 14 sonatas, cast in three movements. These smaller-scale sonatas make fewer virtuosic demands on the soloist, yet are by no means lacking in poetic intensity and clarity. One of the greatest pianists of the 20th century, Maurizio Pollini embarked on a project to record the entire cycle of Beethoven's piano sonatas in 1975. This 2013 installment, showcasing Pollini's typical masterful artistry and technical bravado, is the second-to-last volume in the series.
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