Karajan Memorial Concert: Mozart - Requiem K. 626 – Claudio Abbado, Berliner Philharmoniker, Swedish Radio Choir (2015) Blu-ray 1080i AVC LPCM 2.0
Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Title: Karajan Memorial Concert: Mozart – Requiem K. 626
Release Date: 2015
Genre: Classical, Choral
Director: Bob Coles
Conductor: Claudio Abbado
Artist: Karita Mattila (soprano), Sara Mingardo (contralto), Michael Schade (tenor), Bryn Terfel (bass baritone), Rachel Harnisch (soprano), Berliner Philharmoniker, Swedish Radio Choir
Video codec: AVC
Audio codec: PCM
Video: MPEG-4 AVC 23950 kbps / 1920*1080i / 29,970 fps / 16:9 / High Profile 4.1
Audio: LPCM 2.0 / 48 kHz / 2304 kbps / 24-bit
Subtitles: English, German, French, Spanish, Latin
Size: 14.35 GB
On July 16, 1999, the tenth anniversary of the death of Herbert von Karajan, the Berliner Philharmoniker paid tribute to their late maestro in his home town of Salzburg. In a live shooting from the imposing Salzburg Cathedral, Claudio Abbado conducted an all- Mozart programme, honouring his predecessor both by the careful selection of the music and the singers. The Berliner Philharmoniker, conducted by Claudio Abbado, performed Mozart’s Requiem in D minor, KV 626, among other works. Soprano Rachel Harnisch appeared as the soloist on the two complementing arias Betrachte dies mein Herz und frage mich and Laudate Dominum Featuring soprano Karita Mattila, contralto Sara Mingardo, tenor Michael Schade and bass baritone Bryn Terfel as soloists of the Requiem. A performance that in every respect met Karajan’s own high artistic standards. Lovingly restored and carefully brought to HD, this unique performance of the Berliner Philharmoniker at Salzburg Cathedral is now finally available on Blu-ray Disc.
Name: Steve Hackett: Wolflight
Genre: Rock, Prog Rock, Folk Rock
Artist: Banjo – Steve Hackett (tracks: 8), Bass – Chris Squire (tracks: 3), Eiður Arnarsson (tracks: 12), Bass, Chapman Stick – Nick Beggs (tracks: 8), Design – Harry Pearce, Didgeridoo – Sára Kovács (tracks: 2), Drums – Benedikt Brynleifsson (tracks: 12), Gary O’Toole (tracks: 1,5,8), Hugo Degenhardt (tracks: 9,10), Ólafur Hólm Einarsson (tracks: 12), Duduk – Rob Townsend (3) (tracks: 5), Guitar – Steve Hackett (tracks: 1-12), Thorvaldur B. Thorvaldsson (tracks: 12), Harmonica – Steve Hackett (tracks: 4,8), Keyboards – Kjartan Valdemarsson (tracks: 12), Roger King (tracks: 1-10), Mastered By – Roger King, Oud – Steve Hackett (tracks: 5,9), Percussion – Steve Hackett (tracks: 1,4,7), Photography – Angéla Vincedomini, Maurizio Vincedomini, Producer – Roger King (tracks: 1-11), Steve Hackett (tracks: 1-11), Thorvaldur B. Thorvaldsson (tracks: 12), Recorded By – Roger King (tracks: 1-11), Thorvaldur B. Thorvaldsson (tracks: 12), Saxophone – Rob Townsend (3) (tracks: 4,8), Tar – Malik Mansurov (tracks: 2), Tipple – Steve Hackett (tracks: 7), Violin, Viola – Christine Townsend (tracks: 1-4,8), Vocals – Amanda Lehmann (tracks: 2-4,8), Eythor Ingi Gunnlaugsson (tracks: 12), Jo Hackett (tracks: 4), Steve Hackett (tracks: 2-5,7,8,10)
Issued: United States | Inside Out Music
Size: 21.5 GB
Wolflight is Steve’s first original solo studio album since Beyond The Shrouded Horizon in 2011. Primal and orchestral, it retains the Hackett trademark as electric guitar runs right the way through with a regular sprinkling of acoustic. The concept behind it is a new unexplored chapter in the guitarist’s career.
The ten tracks take the listener through a journey in space and time looking at the different faces of the endless fight for freedom. Wandering between parallel universes, Hackett explores contemporary and ancient cultures, from Greece (Corycian Fire) to the Far East (Wolflight), the USA and Martin Luther King (Black Thunder), but also his very own childhood memories (The Wheel’s Turning) and the unresolved drama of domestic violence (Love Song to a Vampire).
An excited Steve Hackett tells us more about the record: “My new rock album Wolflight is at the ready and lying in wait. It reflects everybody’s struggle for freedom on a journey travelling through both inner and outer space. It explores sounds from as far afield as Greece, Azerbaijan, the deep American South, Sahara desert and beyond, from all our yesterdays, evoking the ancient past”.
Steve Hackett’s electric guitar plays a powerful role, whilst we also hear him on acoustic guitar, Arabian lute and twelve string, along with his strong lead vocals. Guest Musicians include long time collaborators Roger King (Keyboards & programming), Gary O’Toole (drums), Rob Townsend (sax, duduk), Nick Beggs (bass & stick) and Amanda Lehmann (harmony vocals). Malik Mansurov on tar and Sara Kovaks on didgeridoo add an extra exotic element, plus YES bassist Chris Squire plays on Love Song to a Vampire and Hugo Dagenhardt plays drums on Dust and Dreams. The innovative song writing team includes Steve Hackett, his wife Jo Hackett and also Roger King.
Recorded: Tracks 1-11 recorded and mixed by Roger King at Map Studios; Track 12 recorded and mixed by Thorvaldur B. Thorvaldsson; Interviews filmed by Paul Green Productions.
Title: Nana Mizuki – Angel Blossom
Original title: 水 樹 奈 々 – Angel Blossom
Genre: Jpop, Jpock
Issued: Japan, King Records
Size: 6.22 GB
1. Angel Blossom (MUSIC VIDEO)
2. MAKING OF Angel Blossom
BD-25 Layer Disc
Japan LPCM 2.0 1536 Kbps
Title: Ludwig van Beethoven: Symphonies Nos. 1-9
Conductor: Iván Fischer
Artist: Bernarda Fink (mezzo-soprano), Gerald Finley (bass), Myrtò Papatanasiu (soprano), Burkhard Fritz (tenor), Netherlands Radio Choir, Royal Concertgebouw Orchestra (Koninklijk Concertgebouworkest)
Issued: United States | Naxos
Duration: 381: 55
Size: 101.51 GB
The Beethoven symphonies: all nine of them stunning masterworks, all nine performed countless times. Be that as it may, there are conductors who can recontextualise these symphonies in such a way that they sound completely new, as Iván Fischer proved in 2013 and 2014 in his Beethoven Series with the Royal Concertgebouw Orchestra, spread out over two seasons. A veritable journey of discovery through a familiar landscape.
Recorded Live at Concertgebouw Amsterdam on 11 May 2013 (1, 2 & 5), 31 May 2013 (3 & 4), 9-10 January 2014 (6 & 7), 20-21 February 2014 (8 & 9).
Green: Melodies francaises - Philippe Jaroussky, Jerome Ducros, Quatuor Ebene (2015) High-Fidelity FLAC Stereo 24bit/96kHz
Artist: Philippe Jaroussky, Jérôme Ducros, Quatuor Ebène
Title: Green: Mélodies françaises sur des poèmes de Verlaine
Label: © Warner Classics / Erato
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Recorded: Salle Colonne, Paris, 2–7. vi 2014, 13–17. x 2014
In his second album of French song from the 19th and 20th centuries – following the ground-breaking Opium, released in 2009 – countertenor Philippe Jaroussky explores settings of poems by Paul Verlaine (1844-96). One of France’s most revered fin-de-siècle poets and a pioneer of the decadent and symbolist movements, Verlaine famously declared his philosophy in the first line of Art poétique in 1874: ‘De la musique avant toute chose’ – ‘music before all else.’ In his poetry, the sound and the shape of each line carries meaning and expression, adding resonance to the words, which often evoke a twilit world of ambiguous emotions.
Verlaine has duly inspired many French composers – from his contemporaries, such as Debussy (whose piano piece Clair de lune draws on the poem of the same name and features on this album), Fauré, Saint-Saëns, Massenet and Chabrier, through the following generation (Honegger and Varèse) to songwriters from the 1940s-1970s, including Georges Brassens, Charles Trenet and Léo Ferré.
The album takes its title from one of the poems in the collection Romances sans paroles (‘Songs without words’ – the musical connection again). Verlaine himself gave it an English name, ‘Green’, and there are no fewer than three settings in Jaroussky’s recital – by Debussy, Fauré and André Caplet, the latter best known for his orchestrations of Debussy piano music.
Jaroussky, speaking of a Verlaine setting by Reynaldo Hahn, has said that poet and composer “conveys a feeling of both moonlit abstraction and of the allusive, but very sensual caress of the beloved. There is always a sensual element in Verlaine’s writing.”
That languorous yet understated sensuality belongs to a different world from the Baroque repertoire most closely associated with Jaroussky. When he recorded Opium with pianist Jérôme Ducros (who returns for the follow-up), he said: “Many people will probably wonder why a countertenor should sing these songs, but if you think about it, the countertenor voice as such has no repertoire of its own, except the modern music written specifically for it. For the most part we sing music written for castratos who – as we know – had very different voices from ours. So why not venture into other musical worlds if we feel they are suited to our voices?
“I’ve always felt a special affinity for French song,” he continues. “Even if a singer has to master a number of languages, his own language always retains a special flavour – especially French, which has so many vowels and secret nuances ... In Debussy, Massenet or Reynaldo Hahn, it’s all a matter of shades of colour.” It is this sensitive, insightful approach that Jaroussky brings to Green.
If the essence of this kind of French song can be elusive, Forum Opéra praised Jaroussky for capturing it in Opium: “His attention to diction, bringing it close to spoken language, draws out all the meaning of the poems. Thanks to his musical intelligence and long-breathed phrasing, each of these songs is spun out to the fullest effect ... They haunt the memory ...”
For Green, Philippe Jaroussky and Jérôme Ducros are joined by some distinguished guest artists: the contralto Nathalie Stutzmann (on whose Handel album Heroes from the Shadows, Jaroussky sang in duet), and the Ebène Quartet, whose award-winning recordings of French chamber music form a pillar of the Erato catalogue.
Graun, Krebs, Telemann - Oboe Concertos - Heinz Holliger, Camerata Bern, Alexander van Wijnkoop, Thomas Furi (2004) High-Fidelity FLAC Stereo 24bit/96kHz
Сomposer: Johann Gottlieb Graun (1703-1771), Johann Ludwig Krebs (1713 - 1780), Georg Philipp Telemann (1681-1767)
Artist: Heinz Holliger, Camerata Bern, Alexander van Wijnkoop, Thomas Füri
Title: Oboe Concertos
Brand/Label: © Deutsche Grammophon
Series: ARCHIV Produktion
Quality: Studio Master FLAC Stereo 96kHz/24bit
Release Date: 2004
Recording: Bern, DRS-Radio-Studio, 5/1978, 6/1980 (Telemann)
In its time, the high Baroque oboe concerto was the ne plus ultra of the virtuoso, the sin qua non of the soulful, and the denier cri of the tuneful. But times change and for all but the most epicurean of the cognoscenti, the oboe concertos of Johann Gottlieb Graun, Johann Ludwig Krebs, and Georg Philipp Telemann are at best terra incognito and at worst nearly persona non grata. In his day, Heinz Holliger was the crème de la crème of oboe virtuosity, the apex, the acme, and the essence of the metaphysical quintessence of oboe virtuosity. So great was Holliger's celebrity that, after he had finished recording the oboe concertos of Mozart, Bach, and Strauss, he was allowed to record the oboe concertos of Graun, Krebs, and Telemann.
Of course, Holliger's performances are terrific. Beyond the fact that he is a supreme oboe virtuoso, Holliger is a supreme musician, and he makes the most convincing case possible for the music. And the music of Graun, Krebs, and Telemann is terrific, too, virtuosic, soulful, and wonderfully tuneful. The accompaniment by the Camerata Bern under both Alexander van Wijnkoop and Thomas Furi is attentive and supportive. In its time, Archiv's late stereo sound was superlative and this digital remastering improves the superlative.
"the elegance and intelligence of his playing remain peerless, and the qualities that made him the greatest oboist of the 20th century are obvious as ever." (The Guardian)
Gov't Mule feat. John Scofield - 2015-03-03 Durham Performing Arts Center, Durham, NC (2015) High-Fidelity FLAC Stereo 24bit/48kHz
Artist: Gov't Mule feat. John Scofield
Title: 2015-03-03 Durham Performing Arts Center, Durham, NC
Genre: Blues-Rock, Jam Rock, Hard Rock, Southern Rock, Rock & Roll
Label: © Gov't Mule
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Recorded: March 3, 2015 Durham Performing Arts Center, Durham, NC
The original leaders of Gov't Mule, Warren Haynes and Allen Woody, were well known to Allman Brothers fans for their stint in Southern rock's most famous native sons. In 1989, Haynes became the second replacement for Duane Allman, providing a good foil for Gregg Allman and Dickey Betts on guitar and vocals; Woody filled out the Allman sound on bass. Five years after their debut, the duo joined drummer Matt Abts in the side project Gov't Mule, a band in which the Allman Brothers' influence was apparent but complicated with the psychedelic, bluesy power trio feel of Cream.
Gov't Mule debuted in 1995 with a self-titled album on Capricorn Records, followed by the stellar concert date Live at Roseland Ballroom. The studio follow-up, Dose, appeared in early 1998; another concert set, Live...with a Little Help from Our Friends, followed a year later, with the complete show appearing as a four-disc limited-edition set. A new studio effort, Life Before Insanity, appeared in early 2000. A vital member of the band was lost, however, on August 26, 2000, when Woody was found dead in a hotel room in New York City. The band had been preparing to record its next album, and after a time, Gov't Mule finally decided to carry on with the project, this time with guest bassists ranging from Flea to Bootsy Collins. The two-volume Deep End series for ATO Records resulted. Phish bassist Mike Gordon also got involved in the project, filming the recording of the albums for a planned documentary. In mid-September 2001, the group hit the road for a six-week tour in support of Deep End, Vol. 1; Oteil Burbridge filled in as bassist for most of the dates.
The second volume of Live...with a Little Help from Our Friends appeared in 2002 and the Deepest End: Live in Concert CD and DVD in 2003. One year later saw the release of Déjà Voodoo, Gov't Mule's first studio effort since Woody's death. It featured his official replacement, bassist Andy Hess, as well as new keyboardist Danny Louis. The same lineup released High & Mighty in 2006. The two-volume Benefit Concert series followed in 2007. In 2009, Gov't Mule issued By a Thread, their first studio album in three years. Hess was replaced by bassist Jorgen Carlsson, and the album featured a guest appearance by ZZ Top guitarist Billy Gibbons. In 2010, the Evil Teen imprint issued Mulennium, a three-disc package that commemorated Gov't Mule's complete 1999 New Year's Eve concert at Atlanta's historic Roxy Theatre with the band's original lineup. The concert also included guest appearances by the Black Crowes, Little Milton, and Audley Freed.
After an extended recording break in which Haynes recorded his first solo album, Gov't Mule returned to the studio. Shout was issued in September of 2013. It contained 11 new songs, and was accompanied by a bonus disc that featured a host of guest vocalists (including Toots Hibbert, Jim James, Dr. John, Steve Winwood, and Elvis Costello) fronting the band on different versions of the same tracks. In 2014, Haynes and Abts began to commemorate the band's 20th anniversary with a series of archival recordings. The first, Dark Side of the Mule, featured 90 minutes of Pink Floyd covers and three hours of music and video recorded on Halloween 2008 at the Orpheum Theatre in Boston, Massachusetts. It appeared late in 2014 and was followed by Sco-Mule, a set compiled from two in-the-vault recordings of a 1999 live date with guest jazz guitarist John Scofield. --Biography by John Bush
Artist: Gavin Harrison
Title: Cheating the Polygraph
Genre: Jazz, Modern Jazz, Contemporary Jazz, Big Band, Jazz Rock, Prog Rock
Label: © Kscope
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Gavin Harrison, drummer with British Prog innovators Porcupine Tree, currently working with King Crimson, and a musician whose playing and performing résumé includes stints with artists as varied as Iggy Pop, Lewis Taylor, Manfred Mann and Kevin Ayers, is to release a brand new solo album, entitled Cheating The Polygraph on Kscope on Monday, April, 13th 2015 / 14th April – USA & Canada / 17th April – Germany /22nd April – Japan .
Fly: Mark Turner, Larry Grenadier, Jeff Ballard - Year of the Snake (2012) High-Fidelity FLAC Stereo 24bit/88.2kHz
Artist: Fly: Mark Turner, Larry Grenadier, Jeff Ballard
Title: Year of the Snake
Genre: Jazz, Modern, Avant-Garde, Post-Bop
Label: © ECM Records GmbH | ECM Player
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Recorded: January 2011, Avatar Studios, New York
Year of the Snake is the second pianoless saxophone trio set issued by ECM in 2012. The first, Andy Sheppard's excellent Trio Libero, was released in January. While Sheppard's album was deeply focused on lyricism and melodic improvisation, Fly take a varied approach to the ideas and preconceptions of the saxophone trio itself. All three members -- tenor saxophonist Mark Turner, drummer Jeff Ballard, and bassist Larry Grenadier -- contribute pieces that concentrate on what's possible for the group rather than individual showcases for composition. Fly's members' resumés have compelling intersection points from Brad Mehldau to Kurt Rosenwinkel, from Enrico Rava to Paul Motian to Pat Metheny, and all of that experience -- as well as that gained from the many other leaders these players have worked with -- is brought into the group consciousness. The hourlong, 12-track set kicks off with Turner's brief tone poem "The Western Lands I." Clocking in at two and a half minutes, it's a rather darkly sketched modern classical piece with shimmering percussion and lovely arco work by Grenadier. It is used as a catalyst for improvisation on four more parts woven throughout the disc. Together they create a guidepost that balances the group's freer concerns and more formal rhythmic and harmonic endeavors. Turner's "Festival Tune," which immediately follows, reveals the fullness of their approach, with Fly sounding bigger, fuller, as they invest in and articulate a fluid but recognizable groove. Grenadier's "Kingston" commences with a sparse, abstract sketch for three of its ten minutes. It's all shimmering call and response, soft angles and spaces, until Ballard kicks it up with breaks and snare, establishing something approaching funk at the four-minute mark. Then the rhythm section fully engages with Turner, who uses the skeletal melody to explore around the propulsive logic. "Benj," by Ballard, shifts time-signature gears numerous times in just over five minutes, with illustrative solo work by Grenadier and wonderful altissimo by Turner without a fixed harmonic construction. The title cut, by Turner, offers a gorgeous earful of how fluid and expansive Fly's "everything is context" sonic universe is, with labyrinthine corners and hidden spaces for harmony and rhythm to assert themselves but never compete for dominance. Of Fly's three recordings to date, Year of the Snake is the most unusual and beguiling; it unhinges preconceived notions about the saxophone trio with complete freedom minus the chaos of disorder. --Thom Jurek, AllMusic
Сomposer: Fiona Joy Hawkins (b.1964)
Artist: Fiona Joy
Genre: Jazz, Modern Classical, New Age
Label: © Blue Coast Records
Release Date: 2014
Quality: DSF Stereo DSD128/5.64MHz / FLAC Stereo 192kHz/24bit (Source: DSD128)
Recorded and Mixed by Cookie Marenco and Jean Claude Reynaud at OTR Studios, Belmont, CA
The album, Signature - Solo, is Fiona Joy's first solo piano album recorded live to analog tape and Blue Coast Records’ first native double DSD release.
Though her native country is Australia, Fiona Joy is known throughout the world for her melodic songs and lush arrangements. Some say she picks up where the acclaimed Windham Hill pianist, George Winston, left off.
One of her latest songs – “Grace” – was chosen to be remixed for Winds of Samsara, a collaborative album by renowned flautist Wouter Kellerman and artist/producer Ricky Kej, which recently achieved #1 on the Billboard charts in New Age and has been nominated for a Grammy.
Fiona Joy is no stranger to acoustic instrumental music. She has several award-winning albums produced by Will Ackerman, founder of Windham Hill. Ackerman says, “One of the brightest lights in the Contemporary Instrumental genre, Fiona Joy is poised to move into stardom.”