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Michael Jackson - Invincible (2001) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Michael Jackson
Title: Invincible
Genre: Pop, Electronic, R&B
Label: © Epic ‎Records, MJJ Productions
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:16:44
Recorded: October 1997 – August 2001

Let's get the clichéd bad joke out of the way to begin with: at the time Michael Jackson released Invincible in the fall of 2001, he hardly seemed "invincible" -- it was more wishful thinking than anything else, since he hadn't really had a genuine hit in ten years, and even that paled in comparison to his total domination of the '80s. That lack of commercial success, combined with a fading reputation as a trailblazer, a truly ugly public scandal, and swirling rumors about his diminishing finances, along with a huge wait between albums (by teaming his Dangerous follow-up with a hits collection, it wound up being overlooked, despite a gaudy publicity push), resulted in Jackson being deep down in the hole, needing to surge back out with a record that not only proved his talents, but his staying power. So, faced with a make-or-break record, what did Jackson do to save his career? What he did since Dangerous, take a turn toward the street and craft a hard-driving, hard-polished urban soul album, heavy on the dance numbers and sweetened by lugubrious ballads. It's a proven formula for commercial success, but it not only didn't push his music forward, it made his reach seem rather timid when compared to the wildly rich, all-encompassing musical vision of Thriller and Bad. Here, he's reined in by a desire to prove himself, so he keeps his focus sharp and narrow, essentially creating a sparkly, post-hip-hop update of Off the Wall. It's not as good as that sounds, because the infectious joy and layered craft of that masterpiece have been replaced with a dogged, near-maniacal desire to craft something hip enough for the clubs and melodic enough for mainstream radio, thereby confirming his self-proclaimed status as the King of Pop (a really terrible title, btw). Since he was exceptionally talented and smart enough to surround himself with first-rate collaborators, this does pay off on occasion, even when it feels a little too calculated or when it feels a little padded. Ultimately, the record runs too long, losing steam halfway through, as it turns to a series of rants about "Privacy" or a deadly stretch of uncomfortably treacly, sub-"Man in the Mirror" songs about "The Lost Children," or when he says that he can't change the world by himself on "Cry." Fortunately, Jackson was clever enough to front-load this record, loading the first seven songs with really good, edgy dance numbers -- even the opening "Unbreakable" isn't sunk by the creepy resurrection of Biggie Smalls -- and lovely ballads, highlighted by "Break of Dawn" and "Butterflies" with its Bacharach-styled horns. Even if these are too self-conscious and a little mechanical (which they are), they still have a spark and sound better than anything Jackson had done since Dangerous. That's not enough to make Invincible the comeback Jackson needed -- he really would have had to have an album that sounded free instead of constrained for that to work -- but it does offer a reminder that he could really craft good pop. If only he had been fueled, not constrained, by his obsessions, this could have been really interesting. --Stephen Thomas Erlewine
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Martin, Honegger, Schoeck - Cello Concertos - Christian Poltera, Malmo Symphony Orchestra, Tuomas Ollila-Hannikainen (2012) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Frank Martin (1890–1974), Arthur Honegger (1892–1955), Othmar Schoeck (1886–1957)
Artist: Christian Poltéra, Malmö Symphony Orchestra, Tuomas Ollila-Hannikainen
Title: Martin, Honegger, Schoeck - Cello Concertos
Genre: Classical
Label: © BIS Records
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: eClassical
Duration: 72:39
Recorded: January 2006 (Schoeck) and June 2007 (Martin, Honegger) at the Malmö Concert Hall, Sweden

In 2007-08, the Swiss cellist Christian Poltéra made his debut on BIS with a series of discs dedicated to three compatriots of his: the composers Othmar Schoeck, Arthur Honegger and Frank Martin. The unconventional programmes mixed chamber music and orchestral works centred on the cello, and were received with acclaim by the international music press. ‘An ideal introduction to Martin’s music’ enthused the reviewer in Gramophone, where that release was an Editor’s Choice, while the Schoeck anthology was described as ‘a beautifully-played collection that fills an important gap’ in American Record Guide, and the French magazine Diapason gave the Honegger disc its Diapason d’or, calling it ‘une pure merveille’. In reviews of all three discs, the orchestral support from the Malmö Symphony Orchestra and Tuomas Hannikainen was especially remarked upon, as were the respective virtues of the three concertos: ‘a nostalgic, dark-hued lyrical quality that makes for absorbing listening’ (Schoeck, International Record Review); ‘a typically suave, sophisticated score, boasting a surprisingly astringent but compellingly rhythmic Finale’ (Martin, BBC Music Magazine); ‘wonderful, jazzy tunes …, plenty of fireworks for the soloist, and it packs a huge amount of contrast into its quarter-hour of playing time’ (Honegger, These three works, composed between 1929 and 1966 and all too rarely heard today, have now been combined; an occasion not to be missed by anyone interested in exploring some highly individual 20 th-century cello scores, or in getting to know one of today’s most impressive young cellists.
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Mark Knopfler - Tracker (2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Mark Knopfler
Title: Tracker
Genre: Rock, Blues Rock, Folk Rock
Label: © Will D. Side Limited
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 01:14:40
Recorded: British Grove Studios, London

You won’t be seeing Mark Knopfler in melodramatic newspaper headlines or on talent show panels. The much-travelled craftsman prefers to reside wherever the song takes him, from writing room to rehearsal space, recording studio to concert hall. He is, as tirelessly and inquisitively as ever, on the trail of some musical truth, just as he has been since the 45s of Ricky Nelson and Lonnie Donegan, or the playing of Hank Marvin and Duane Eddy, sent him down a path that led to 125 million record sales.
That approach to his life’s work is how the title of his new, eighth solo album (not counting a myriad of collaborations, productions and film soundtracks) came into being. It’s the other half, if you like, of his typically acclaimed double set Privateering, which graced top tens throughout Europe and beyond in 2012.
“Privateering came about because, in a sense, that’s how I saw the whole thing, my operation,” he muses. “Tracker is a very similar sort of thing. You’re involved in tracking down subject matter, tracking down an idea, investigating the whole thing. Sometimes you’re not exactly sure what it is you’re tracking, and you find out as you’re circling it, and getting closer to it. That’s part of the thrill.”
Hence a delightful, deeply rewarding new batch of creations to captivate Knopfler’s millions of devotees, and to bewitch the next generation. Co-produced with his longtime confidant Guy Fletcher, it features an A-list of frequent collaborators, such as John McCusker on fiddle and cittern, Mike McGoldrick on whistle and flute, bassist Glenn Worf and drummer Ian ‘Ianto’ Thomas.
Tracker also contains a new cast of characters drawn from Mark’s endless fascination with people, both real and imagined, and places and times in his own life. “You’re also tracking back in time, and to me the question of time is much more important as I’ve got older,” he says. “Some of the songs will, I hope, reflect all that. Sometimes, as well, you’re tracking around the world playing to people.”
The prolific Knopfler set to work on this new endeavour after being asked by his old friend Bob Dylan to tour with him, not once, but twice, on a European jaunt in autumn 2011 and a North American equivalent a year later. There was also the little matter of Mark’s own Privateering tour, which as usual took him and his bespoke band all over Europe, with 70 shows over three months in 2013. The itinerary included another six nights at what has almost become his second home in London, the Royal Albert Hall.
“The tours with Bob, I hadn’t expected to turn up but they did, so that changed the recording schedule, and it’ll probably have changed the album, too, when I eventually got back into the studio. So I’m glad all of that happened, because I think that will have informed some of the stuff on Tracker too.”
The relationship with Dylan is an example of the way that Knopfler moves, with a marked absence of self-importance, in only the most distinguished musical circles. Their story goes back to the early days of Dire Straits, whom Dylan came to see in Los Angeles as they toured their first, self-titled album there in 1979, after which Mark co-produced Bob’s 1983 album Infidels.
Tracker also features the fruits of newer friendships, for example on two elegant saxophone cameos by Nigel Hitchcock on ‘River Towns’ and ‘Wherever I Go.’ The latter song is the graceful ballad that closes the album and features Mark duetting with singer-songwriter Ruth Moody.
“I came across Ruth through hearing her singing with the Wailin’ Jennys, her Canadian three-piece girl outfit,” he explains. “They always sounded great, and I saw Ruth singing on The Transatlantic Sessions. Then I realised that, of course, she was making her own records, and that they were beautiful. There’s just something celestial about her voice. It’s quite clear that she’s the right stuff. I guess it’s just something you recognise.”
The lead single is the sparky, uptempo ‘Beryl,’ inspired by one of his favourite authors. “Beryl Bainbridge was a marvellous writer, as many people know, but the fact that she was a self-deprecating, working class girl from Liverpool — and her publisher was a man who didn’t have a very high opinion of the novel — all of those things conspired for her never to be given the Booker Prize, although she was nominated five times.
“Beryl never went to university, and I really think the literary establishment back then tended to favour people who came from a different background, and had a different kind of education. There was an ‘Oxbridge’ prejudice against people like her, which existed only at that time, thankfully it doesn’t now.”
Of all the songs on Tracker, this one has the loudest echoes of the early days of Dire Straits, and it’s intentional. “I think there was a definite nod to the early Straits with ‘Beryl,’” he agrees. “That was a deliberate thing, going back to a period because it seemed to suit the song. I took a sort of ‘Sultans of Swing’ approach to it for that reason, because it’s something you’d associate with a time. So in your head, there’s an appropriateness to the style. You just hope you can bring it off.”
Also among the highlights is another vivid character song drawn from real life, ‘Basil,’ about the poet Basil Bunting. “When I was 15, I was a copy boy on the Evening Chronicle in Newcastle, it was a Saturday afternoon job that I had,” explains Mark. “I’d go in to the newspaper office, and you’d deal with all the sports copy coming in, and you’d be putting them in tubes, down to the printer’s, or going over to the sub’s desk.
“There was a chap working there who was very different from the others. He was grumpy and he was older, and differently dressed, and I learned that that was Basil Bunting. It was very clear that he’d rather be writing poetry than writing copy for the Evening Chronicle, and he didn’t really fit. So in a way it was the contrast between him and me, because at that age I had the whole world in front of me. I had a different way of looking at the world entirely, you’re thinking it’s all rosy promise. So he fascinated me.”
Another character acknowledged, if not by name, is one of Knopfler’s favourite musicians, the late and great JJ Cale, who did so much to inform the early Dire Straits sound. “‘Broken Bones’ is similar to a JJ production in the sense that I was just using a tiny little amp, without the band, more like a demo, and a lot of JJ’s things were done that way.
“It was an honour to play on the tribute to JJ [‘The Breeze’] that Eric Clapton just made. When Eric asked if I would play on a couple of those things, that was very nice to be able to do that. JJ was playing in our rented rooms a lot in those early days, as were a lot of other artists. So you look back on those records with a lot of affection. The sounds that you grow up with, they’re just there all the time. That music is very important.”
That feeling of observing his younger self is also present on Knopfler’s opening composition for the album, ‘Laughs and Jokes and Drinks and Smokes.’ “That was what it was all about when you were young,” he says. “You’re so resilient, you don’t even think about the wear and tear, at all. I certainly didn’t.
“Back in those days, I’d be listening to a lot of Van Morrison, and Dylan and all the rest of it. So when I hear it now, it just takes you back, it’s like food you used to eat as a kid. They’re wonderful signposts, in your life, some of these songs.”
Knopfler has been providing those signposts in a creative voyage of almost 40 years, which will put to sea again soon, as Mark and his band begin another huge international tour. They’ll introduce new songs from Tracker to old friends from a truly distinguished catalogue, and he can’t wait.
“As soon as there’s a soundcheck or a rehearsal, and the band’s there, you’re putting it all together, and I feel very at home. It’s something I can do. I like all the banter. Part of the joy of it is getting that little crew together and setting sail once more.”
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Marcus Miller - Afrodeezia (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Marcus Miller
Title: Afrodeezia
Genre: Jazz, Fusion, Jazz Funk
Label: © Blue Note Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:05:02
Recorded: Dockside Studio, Lafayette, Louisiana .. Riomar Studios, Rio de Janeiro, Brazil .. G Point Studio, Paris, France .. Festival Gnaoua et Musique du Monde, Essouira, Morocco .. Hannibal Studios, Santa Monica, CA .. The Village, Los Angeles, CA

Bassist/composer Marcus Miller has signed to Universal Jazz & Classics in France and will make his debut for Blue Note Records with the release of his new album Afrodeezia, which will be available March 16 in Europe and March 17 in the U.S.
Afrodeezia—which was inspired by Miller’s role as a UNESCO Artist For Peace and spokesperson for the organization’s Slave Route Project—was recorded in locations around the world including Morocco, Paris, Rio de Janeiro, New Orleans and Los Angeles, and features a wide range of guests including rapper Chuck D., vocalist Lalah Hathaway, keyboardist Robert Glasper, trumpeters Etienne Charles and Ambrose Akinmusire, guitarists Keb’ Mo’ and Wah Wah Watson, bassist/producer Mocean Worker, organist Cory Henry (Snarky Puppy), and cellist Ben Hong, as well as musicians from Africa, South America and the Caribbean. Miller’s core band includes saxophonist Alex Han, trumpeter Lee Hogans, pianist Brett Williams, guitarist Adam Agati, and drummer Louis Cato.
"It was after visiting the House of Slaves on Gorée Island that I composed “Gorée,” explains Miller, referring to the powerful track featured on his previous album Renaissance. “Onstage I felt the need to say what I had been feeling in Senegal. I wanted people to understand that this tune spoke not only of the slave tragedy but, through the music especially, that these people who suddenly found themselves at the bottom of a ship's hold had discovered a way to survive, and were able in time to transform their distress into joy. Shortly after my trip to Gorée, UNESCO named me an Artist for Peace, and made me the spokesperson for the Slave Route Project. That was when I started thinking about Afrodeezia."
"The power of music has no limits,” states Miller. “Through spirituals, jazz and soul we were able to preserve our history, because all the rest had been erased. What I wanted most was to go back to the source of the rhythms that make our musical heritage so rich, to follow them like footprints from their beginnings in Africa all the way to the United States. That journey took us from Mali to Paris, from New Orleans to Sao Paulo and across the Caribbean.”
“For this project, I collaborated with musicians from West Africa, South America, the Caribbean, the southern U.S. and the large northern cities of the U.S. This is my way of paying tribute to the long journey of my African ancestors who became African-Americans. The melodies and rhythms they carried with them from Africa have EXPLODED into a ‘dizzying’ array of musical styles and genres that have changed the world.”
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Gustav Mahler - Symphony No. 2 in C minor “Resurrection” - Weiner Kammerorchester, Gilbert Kaplan (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Gustav Mahler (1860-1911)
Artist: Weiner Kammerorchester, Gilbert Kaplan
Title: Mahler - Symphony No. 2 in C minor “Resurrection”
Genre: Classical
Label: © Avie Records
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 1:27:08
Recorded: Vienna, Wiener Konzerthaus, February 17, 2013

Gilbert Kaplan is one of today’s most authoritative and acclaimed interpreters of Mahler’s Symphony No. 2, having conducted the work at the invitation of more than 65 orchestras. His 1987 recording with the London Symphony Orchestra is the best-selling Mahler recording in history, with sales approaching 200,000 copies. It was named one of The New York Times’ “Records of the Year.” A second recording, with the Vienna Philharmonic, based on the New Critical Edition of the score for which Kaplan served as co-editor, was released in 2003 on DG. With sales of almost 50,000 copies, it is the best-selling recording of Mahler’s Second since the date of its release. Now, with his third recording, based on a live performance at the Konzerthaus in Vienna, Kaplan is set to make history once again – not only capturing the imagination of his vast worldwide followers, but also providing an opportunity for chamber, community and regional opera orchestras to perform this work which normally requires more than 100 musicians (there are only 56 musicians performing on this recording). His recording with the Vienna Chamber Symphony sets the benchmark. While reducing the instrumentation, Kaplan and his co-arranger Rob Mathes remain faithful to Mahler’s musical intentions and orchestral colours. They take a page, of sorts, out of Mahler’s book – the composer made numerous arrangements himself, often adding (rather than subtracting) instruments to symphonic staples by Mozart, Beethoven, Schubert and Schumann. In another nod to history, the Kaplan/Mathes chamber arrangement recalls Schoenberg’s scaled down versions of Mahler’s Das Lied von der Erde and Symphony No. 4.
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In memoriam Haydee: Jatekok - Games And Transcriptions For Piano Solo And Four Hands (2012) Blu-ray 1080i AVC LPCM 2.0

Сomposer: Johann Sebastian Bach (1685-1750), György Kurtág (b.1926)
Artist: Márta and György Kurtág
Film Director: Isabelle Soulard
Title: In memoriam Haydée: Játékok – Games And Transcriptions For Piano Solo And Four Hands
Genre: Classical, Piano
Label: © ECM Records GmbH | ECM New Series 5508 | LGM Télévision
Release Date: 2015
Recorded: September 22, 2012 at Cité de la musique, Paris.
Quality: Blu-ray
Length: 1:22:34
Video: MPEG-4 AVC / 21997 kbps / 1920*1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio: German LPCM 2.0 / 48 kHz / 2304 kbps / 24-bit
Size: 15.24 GB

Subtitled Játékok – Games and Transcriptions for piano solo and four hands, this is a film, directed by Isabelle Soulard, of a Kurtág concert at Paris’s Cité de la Musique. The duo performances of Márta and György Kurtág are distinguished by tough new music precision, underpinned by a quality of affection (“What playing!” raved the New Yorker of a Játékok concert. “Notes were placed with surgical care; inner voices gleamed in crystalline patterns; elusive emotional states were painted with quick, light strokes.”) Játékok has become a compendium of tiny homages, jewelled miniatures dedicated to composers from Scarlatti to Stravinsky and tributes to colleagues and influences. In this special case the whole programme is dedicated to the memory of the Kurtágs’ good friend, musicologist Haydée Charbagi (1979-2008). Interspersed amongst the Játékok pieces are György Kurtág’s Bach transcriptions. The whole programme closes with a beautiful version of Gottes Zeit ist die allerbeste Zeit.

Untertitelt Játékok – Games and Transcriptions for piano solo and four hands, zeigt diese DVD/Blu-ray disc einen Film, den die Regisseurin Isabelle Soulard von einem Kurtág-Konzert in der Cité de la Musique in Paris drehte. Die Duo-Auftritte von Márta und György Kurtág zeichnen sich durch straffe Neue-Musik-Präzision aus, die durch aufmerksame Zuwendung grundiert wird („Was für ein Spiel!“ jubelte der ‚New Yorker‘ über ein Játékok-Konzert. „Die Töne wurden mit chirurgischer Sorgfalt gesetzt, innere Stimmen funkelten in kristallinen Mustern, schwer fassbare Seelenzustände wurden mit schnellen, leichten Strichen skizziert“). Játékok ist ein Kompendium kleiner Hommagen, brilliant schillernder Miniaturen, gewidmet Komponisten von Scarlatti bis Stravinsky, und Tribute an Kollegen und Einflüsse geworden. In diesem besonderen Fall ist das gesamte Programm der Erinnerung an einen guten Freund der Kurtágs, der Musikwissenschaftlerin Haydée Charbagi (1979-2008) gewidmet. Zwischen die Játékok-Stücke sind György Kurtágs Bach-Transkriptionen eingestreut. Das Programm endet mit einer herrlichen Fassung von Gottes Zeit ist die allerbeste Zeit.

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The Best British Rock Concert Of All Time: Live At Knebworth (1990) SD Blu-ray 1080i AVC DTS-HD 5.1

Title: The Best British Rock Concert Of All Time – Live At Knebworth 1990
Release Date: 2015
Genre: Rock
Director: Jerry Behrens
Artist: Cliff Richard & The Shadows, Dire Straits, Elton John, Eric Clapton, Phil Collins w/ Genesis, Paul McCartney, Pink Floyd, Robert Plant & Jimmy Page, Status Quo, Tears for Fears

Production/Label: Eagle Rock Entertainment
Duration: 03:06:52
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio codec: DTS, AC-3, PCM
Video: MPEG-4 AVC 30031 kbps / 1920*1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio#1: English DTS-HD MA 5.1 / 48 kHz / 2554 kbps / 16-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 16-bit)
Audio#2: English Dolby Digital 5.1 / 48 kHz / 640 kbps
Audio#3: English LPCM 2.0 / 48 kHz / 1536 kbps / 16-bit
Size: 43.22 GB

Eagle Vision s SD Blu-ray range presents upscaled standard definition original material with uncompressed stereo and DTS-HD Master Audio surround sound for the best possible quality. On June 30TH, 1990 in the grounds of Knebworth House a concert was staged to raise funds for Nordoff-Robbins Music Therapy and the Brit School For Performing Arts. It has since been heralded as the best British rock concert of all time. The breathtaking performing line-up was drawn entirely from acts who had been recipients of the prestigious Sliver Clef Award presented annually by Nordoff-Robbins Music Therapy for outstanding services to the British Music Industry. All the artists gave their time and performances for free in order to support the charity and this SD Blu-ray edition will continue to raise funds so that they can continue their invaluable work. Features an extraordinary line-up including Eric Clapton, Pink Floyd, Elton John, Paul McCartney, Status Quo, Genesis & Phil Collins, Robert Plant & Jimmy Page, Cliff Richard & The Shadows, Dire Straits and Tears For Fears.
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Lee Ritenour & Mike Stern with The Freeway Band - Live at The Blue Note Tokyo (2012) Blu-ray 1080i AVC PCM 2.0

Title: Lee Ritenour & Mike Stern with The Freeway Band – Live at The Blue Note Tokyo
Release Date: 2012
Genre: Jazz, Fusion, Crossover Jazz, Guitar Virtuoso, Neo-Bop
Artist: Lee Ritenour – Guitar; Mike Stern – Guitar; Simon Phillips – Drums; John Beasley – Keyboard, Synthesizer; Melvin Davis – Bass.

Production/Label: Ward Records, Inc.
Duration: 01:29:17
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio codec: PCM
Video: MPEG-4 AVC 23998 kbps / 1920*1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio: English LPCM 2.0 / 48 kHz / 1536 kbps / 16-bit
Subtitles: Japanese
Size: 21.04 GB

Lee Ritenour and Mike Stern incredible performances was recorded at the Blue Note Tokyo in February 2011. These two great fusion guitarists are augmented by the Freeway Jam Band consisting of keyboardist John Beasley, bassist Melvin Davis & drummer Simon Phillips. Who is the greatest guitar player? Watch it and be the Judge.
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Louane - Chambre 12 (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Louane
Title: Chambre 12
Genre: Pop, Chanson française
Label: © Mercury Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:02:20
Recorded: 2014

A 18 ans à peine, Louane débarque de façon fracassante sur la scène pop !
Louane représente la jeunesse actuelle avec ses doutes, ses colères, ses joies, ses envies et son énergie qu'elle retransmet avec sa sensibilité, sa voix touchante et juste. Une jeune fille sans artifice, un joyau brut tout en émotions.
Dan Black ne s’est pas trompé en tombant sous le charme de la jeune chanteuse. Producteur et musicien anglais, leader du groupe The Servant, il assure la réalisation du premier album de Louane qui, après les succès des singles “Jour 1” et “Avenir”, est promis à un très bel… avenir !
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Franz Liszt - Piano Works - Nikolai Lugansky (2011) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Franz Liszt (1811 - 1886)
Artist: Nikolai Lugansky
Title: Franz Liszt: Œuvres pour piano
Genre: Classical
Label: © Ambroisie/naïve
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:05:34
Recorded: June 2011 at Potton Hall, UK

The great Russian virtuoso Nikolai Lugansky presents his recording to mark the 200th anniversary of the birth of Franz Liszt (1811-1886) – an album of popular piano pieces including La Campanella, Valse oubliée, his version of Isolde’s Liebestod by Wagner, some of the Douze études d’exécution transcendante, and several gems from Années de pèlerinage, among them Vallée d’Obermann, Sposalizio, Les jeux d’eau de la Villa d’Este and Sonnet de Pétrarque 123.
An acclaimed recording artist, Nikolai Lugansky has recently signed an exclusive contract with the Naïve-Ambroisie label. The Moscow-born pianist put together this disc, his first devoted entirely to Liszt’s music, with a seriousness, freedom and concern for overall unity worthy of the composer himself. His last release - an all-Chopin recital for Onyx - was described by The Guardian as “unquestionably thrilling”, and his recording with violinist Repin of Sonatas by Franck, Grieg and Janáček (Deutsche Grammophon, October 2010) was hailed by Gramophone as “a quite magnificent performance”. It also won the Prize for best Chamber Music recording at the BBC Music Magazine Awards 2011. Nikolai Lugansky won the Diapason d’Or for his recordings of the complete Chopin Études and Preludes, and the Rachmaninov Preludes and Moments musicaux, as well as an Echo Klassik Deutscher Musikpreis for his 2005 recording of Rachmaninov’s Piano Concertos Nos 1 & 3. Capable of great refinement and sensitivity in Mozart and Schumann, and breathtaking virtuosity in Rachmaninov and Prokofiev, Lugansky is a pianist of extraordinary depth and versatility. Recent and upcoming engagements include concerto projects with the Leipzig Gewandhaus and Andris Nelsons, Royal Liverpool Philharmonic Orchestra and Vasily Petrenko, Philharmonia Orchestra and Esa-Pekka Salonen, and Chicago Symphony Orchestra, Tonhalle-Orchester Zürich and NHK Symphony Orchestra all with Charles Dutoit; recitals at the Amsterdam Concertgebouw, Moscow State Conservatory, London’s Wigmore Hall, Prague’s Rudolfinum and the Wiener Konzerthaus; and chamber music collaborations with Vadim Repin and Leonidas Kavakos.
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