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Berlioz, Ravel - Works for Soprano & Orchectra - Veronique Gens, Orchestre National des Pays de la Loire, John Axelrod (2012) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Hector Berlioz (1803–1869), Maurice Ravel (1875–1937)
Artist: Véronique Gens, Orchestre National des Pays de la Loire, John Axelrod
Title: Berlioz, Ravel - Works for Soprano & Orchectra
Genre: Classical
Label: © Ondine Oy, Helsinki
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:05:28
Recorded: La Cité, Salle 2000, Nantes; 25.9.2009, 26–28.10.2010

On this release famous soprano Véronique Gens performs Herminie and Les Nuits d’été by Hector Berlioz and Shéhérazade by Maurice Ravel with the Orchestre National des Pays de la Loire under the baton of its music director John Axelrod.
Véronique Gens is internationally recognised as one of the greatest sopranos. She has made a big career with baroque repertoire and Mozart, but French repertoire, especially Berlioz and Ravel, are "as natural to her as the air that she breathes". Her French remains a model of immaculate diction, fluid and luminous.
Having a very special relationship to Berlioz’s Les Nuits d’été and Herminie, Véronique Gens combines them on this release with Shéhérazade by Ravel, which conjures up a totally different world. On this CD Herminie is released the first time with Véronique Gens.
The charismatic conductor John Axelrod is music director of the Orchestre National des Pays de la Loire since 2009, following the philosophy of being "open to the world" by extraordinarily diverse repertoire choices and innovative programming. Also internationally he is a sought after conductor both for concerts and opera productions.
Founded in 1971, the Orchestre National des Pays de la Loire, a "national" orchestra since 1996, is based in two cities, in Angers and Nantes. Today about 200 concerts attract yearly about 200,000 listeners, among them more than 10,000 subscribers.
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Hector Berlioz - Harold en Italie - London Symphony Orchestra, Valery Gergiev (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Hector Berlioz (1803-1869)
Artist: London Symphony Orchestra, Valery Gergiev
Title: Berlioz - Harold en Italie
Genre: Classical
Label: © LSO Live
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 63 minutes 9 seconds
Recording Location: November 2013, Barbican, London, United Kingdom

Violist Antoine Tamestit and mezzo-soprano Karen Cargill join forces with the London Symphony Orchestra and Valery Gergiev in the latest instalment of their Berlioz exploration.
Harold en Italie was composed in 1834 at the suggestion of Paganini (he wanted a showcase for his new viola). Inspired by Lord Byron's poetic oddessy Childe Harold’s Pilgrimage Berlioz wrote of it that he 'wanted to make the viola a kind of melancholy dreamer'. The cantata Cléopâtre was written for the 1829 Prix de Rome, and remains among Berlioz' most neglected works.
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Ben E. King - Don't Play That Song (1962/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Ben E. King
Title: Don't Play That Song
Genre: Rhythm & Blues, Brill Building Pop, Soul
Label: © Atlantic Records
Release Date: 1969/2014
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 30:11
Recorded: 1960 - 1961

Don't Play That Song! is the third studio album by Ben E. King. The album was released by Atlantic Records as an LP in 1962 and was home to five notable singles: "Stand by Me", "Ecstasy", "First Taste of Love", "Here Comes the Night", and the title track, "Don't Play That Song (You Lied)".
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Bela Bartok - Works for Violin and Piano Vol. 2 - Andrew Armstrong, James Ehnes (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Bela Bartok (1881-1945)
Artist: Andrew Armstrong, James Ehnes
Title: Bartok - Works for Violin and Piano Vol. 2
Genre: Classical
Label: © Chandos Records
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: theCLASSICAL|shop
Duration: 01:18:05
Recorded: Potton Hall, Dunwich, Suffolk; 2 – 4 June 2012

James Ehnes has previously explored Béla Bartók’s concertos for violin and for viola, to great acclaim. This album is the second in his equally successful survey of Bartók’s chamber music for the violin. His accompanist, once more, is Andrew Armstrong, a pianist praised by critics for his passionate expression and dazzling technique.
The folk-inspired Sonata for Solo Violin was the last work that Bartók wrote for the instrument, not to mention the most challenging. In a departure from his usual practice, this work was written not for a fellow Hungarian, but rather for an artist born in New York where Bartók was now living: Yehudi Menuhin. Suitably impressed by a recital performance by Menuhin of his first Violin Sonata as well as Bach’s Sonata in C, he had no hesitation in accepting the violinist’s commission for a sonata that, like Bach’s, would be unaccompanied.
Almost half a century earlier, Bartók had written his Sonata for Violin and Piano in E minor. It was included in a concert given by graduating students of the Liszt Academy in June 1903, when a critic, most likely not realising just how right he would prove, hailed Bartók as ‘a phenomenal young genius, whose name today is known only to a few, but who is destined to play a great and brilliant role in the history of Hungarian music’.
Additionally on this album we have three groups of Bartók’s Romanian and Hungarian folk dances, folksongs, and folk tunes, arranged for violin variously by Zoltán Székely, Tivadar Országh, and Joseph Szigeti, often with direct involvement by the composer himself who helped fine-tune the new arrangements. James Ehnes also highlights the Romanian influences in Bartók’s Sonatina for piano, transcribed for violin by André Gertler, a student of Bartók’s.
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Bela Bartok - Chamber Works for Violin Vol. 3 - James Ehnes, Michael Collins, Amy Schwartz Moretti, Andrew Armstrong (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Bela Bartok (1881-1945)
Artist: James Ehnes, Michael Collins, Amy Schwartz Moretti, Andrew Armstrong
Title: Bartok - Chamber Works for Violin Vol. 3
Genre: Classical
Label: © Chandos Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: theCLASSICAL|shop
Duration: 01:08:31
Recorded: Potton Hall, Dunwich, Suffolk; 3 June 2012 (Sonatina) & 18 and 19 June 2013 (other works)

James Ehnes presents his third album of chamber works by Bartók. The previous volumes have, along with his outstanding concerto disc, established his formidable reputation as a Bartók interpreter. Here Ehnes is joined by the pianist Andrew Armstrong, violinist Amy Schwartz Moretti, and Michael Collins, one of the world’s leading clarinettists.
The Sonatina, originally composed in 1915 for piano, was based on melodies which Bartók had collected during expeditions in Transylvania. The transcription for violin and piano heard here was produced ten years later by a young student of Bartók’s, Endre Gertler.
Bartók composed Contrasts in 1938 for the jazz clarinettist Benny Goodman and violinist Joseph Szigeti, who originally had requested a work in two movements, each with a cadenza for one of the featured instruments. Fulfilling this request, Bartók added a central slow movement, entitled ‘PihenÅ‘’ (Relaxation). The opening movement, ‘Verbunkos’, alludes to a march-like Hungarian military recruiting dance. The finale, entitled ‘Sebes’ (Quick), is a lively romp at the heart of which lies an unexpected episode of haunting calmness.
Besides writing for such outstanding musicians as Szigeti and Goodman, Bartók composed a lot of music for students, including the Forty-four Duos for two violins recorded here. These short pieces take material from a remarkably wide array of folk traditions and interlink the styles and culture of diverse peoples.
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Johann Sebastian Bach - Goldberg Variations, arr. D Sitkovetsky - Britten Sinfonia, Thomas Gould (2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Britten Sinfonia, Thomas Gould
Title: Bach: Goldberg Variations, BWV 988 (Transcription for Strings) arr. D Sitkovetsky
Genre: Classical
Label: © 2015 harmonia mundi usa
Release Date: 2015
Quality: Studio Master FLAC Stereo 88.2kHz/24bit
Source: Qobuz
Duration: 01:12:34
Recorded: in April, 2014 at All Hallows’ Church, Gospel Oak, London Recorded, edited and mastered in DSD

Johann Sebastian Bach (1685-1750) supposedly wrote his Goldberg Variations at the request of Hermann Carl von Keyserlingk who wanted some clavier pieces for his harpsichordist, Johann Gottlieb Goldberg. However, there is no evidence that this was the case, particularly given that Goldberg would only have been fourteen years of age when the variations were written. The indications are that the Goldberg Variations were intended to be an integral part of Bach’s Clavier-Übung series to which they bring an impressive finale.
The debate over whether these variations should be performed only on a harpsichord or whether a modern piano is suitable pall into insignificance when confronted with a modern arrangement for small string orchestra.
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Bach & Reger - Works for solo violin - Sayaka Shoji (2011) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Johann Sebastian Bach (1685-1750), Max Reger (1873-1916)
Artist: Sayaka Shoji
Title: Bach & Reger - Works for solo violin
Genre: Classical
Label: © Mirare | Harmonia Mundi Label Group
Release Date: 2011
Quality: Studio Master FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:46:15
Recorded: 28 au 31 août 2010 à la Chapelle de l’Enfant Jésus par Hugues Deschaux

Sayaka Shoji has paired solo violin sonatas and partitas by Johann Sebastian Bach with counterparts of a sort among the eight preludes and fugues for solo violin by Max Reger. The first pairing begins with Reger’s Prelude and Fugue in G Minor, op. 117/2, which bears a resemblance to Bach’s First Solo Sonata. Shoji reveals a great deal of the intelligence and wit that illuminates Reger’s conception: occasional chromatic lines in the prelude and a fugue that sounds related to Bach’s but with enhancements that lend the work the suggestion of pastiche. Shoji makes these allusions almost playfully, though with a formidable technical command and tonal opulence on the 1729 Récamier Stradivari (can this be the 1727 Récamier Stradivari played by Mischa Elman?). Her personality changes for a heavier and darker reading of Bach’s First Solo Sonata, also in G Minor; the first movement appears in her version more a rhapsody, which may be the way it’s intended, but her reading of the Fuga, though nuanced and allusive, hardly suggests the subtlety and high spirits she demonstrated in Reger’s work. The Siciliano similarly may sound fussy (at least at first) to many listeners weaned on more straightforward readings by older violinists, although she gives the impression of sustaining the pedal-like notes. In the finale she strikes a balance between playing the rhythm straightforwardly and constantly shifting the meters with kaleidoscopic unpredictability.
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