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Franz Schubert - 'The Great' C Major Symphony, D. 944 - Orchestra Mozart, Claudio Abbado (2015) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Franz Schubert (1797 - 1828)
Artist: Orchestra Mozart, Claudio Abbado
Title: Schubert - 'The Great' C Major Symphony, D. 944
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:02:44
Recorded live at the Bologna Auditorium Manzoni on 19–23 September 2011 and at the Bozen Konzerthaus / Bolzano Auditorium on 24–25 September 2011



Announcing a rare new album conducted by Maestro Abbado – still much missed by many in the concert hall and the studio. Schubert remained one of Abbado’s favourite composers throughout his life and since his first performance in Den Haag in 1966 he returned again and again to the “Great“ C Major Symphony.
This very special album combines live performances with Abbado’s beloved Orchestra Mozart, recorded in September 2011. Twenty-five years after his first recording with the Chamber Orchestra of Europe, Abbado's new interpretation of this symphony reveals a wealth of new details, making it his definitive take on the work.
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Franz Schubert - Complete Works for Violin and Piano, Vol. 2 - Julia Fischer, Martin Helmchen (2010) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Franz Schubert (1797 – 1828)
Artist: Julia Fischer, Martin Helmchen
Title: Schubert - Complete Works for Violin and Piano, Vol. 2
Genre: Classical
Label: © PentaTone Classics
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: pentatonemusic.com
Duration: 67.04
Recorded: Concertboerderij Valthermond, The Netherlands, 3-5/1/2009 & 3-5/7/2009


This album together with volume 2 completes the collaboration between Julia Fischer and Pentatone. Since all works which Schubert wrote for Violin and Piano, Volume 2 will show Julia Fischer as pianist as well (in the 4-hands piece: Fantasie in F minor D 940/op. 103).

Schubert’s complete works for violin and piano consist of three “sonatinas” Op. 137 Nos. 1-3 (D. 384, 385 and 408), Rondo Brillant D. 895, the Duo D. 574, and the amazing late Fantasia in D major D. 934. Because these do not quite fill two CDs, Volume 2 includes the Fantasia in F minor for piano duet, with Julia Fischer taking the second piano part. She’s obviously a tremendously gifted artist as the performance is an excellent one in every respect, and you’d never guess that one of the players is not a professional pianist.
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Franz Schubert - Complete Works for Violin and Piano, Vol. 1 - Julia Fischer, Martin Helmchen (2009) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Franz Schubert (1797 – 1828)
Artist: Julia Fischer, Martin Helmchen
Title: Schubert - Complete Works for Violin and Piano, Vol. 1
Genre: Classical
Label: © PentaTone Classics
Release Date: 2009
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: pentatonemusic.com
Duration: 64.31
Recorded: Concertboerderij Valthermond, The Netherlands, 3-5/1/2009 & 3-5/7/2009


“It is particularly refreshing that Julia Fischer, one of the younger generation of world’s most promising string players, has not only taken these works to heart, providing a scintillating account of the Rondo Brilliant by way of an encore, but also given them the best possible new lease of life by making a persuasive and invigorating case for their continued promotion and enjoyment among violinists and audiences alike. She is aided in no small measure by the young pianist martin helmchen, who is enjoying a flourishing career as a soloist and also, on the evidence of this new PentaTone release, as an accompanist of stature…..If the second volume in this series is as good, it will be worth the wait." --Richard Evans, International Record Review
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Savina Yannatou, Primavera en Salonico - Songs Of Thessaloniki (2015) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Savina Yannatou, Primavera en Salonico
Title: Songs Of Thessaloniki
Genre: Jazz, Folk, World Music, Avant-Garde, Greek Folk, Israeli, Mediterranean Traditions, Middle Eastern Traditions, South/Eastern European Traditions
Label: © ECM Records GmbH | ECM Player
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 1:07:42
Recorded: February 2014 at Sierra Studios, Athens


Savina Yannatou’s fourth ECM album is a dazzling evocation of her band’s hometown, plunging deep into its rich and complex history. Once known colloquially as the Jerusalem of the Balkans, Thessaloniki has been home to a host of cultures, religions and ethnic communities. Greeks, Jews, Turks, Bulgarians, Serbs, Armenians, Slav-Macedonians and Pontiac Greeks have shared the city’s diverse life. Yannatou gives all of them a voice, even casting an Irish song about Salonika into this multi-lingual programme, in which she shines as a unique interpreter and spokeswoman for the city’s ghosts. As ever, Primavera en Salonico are a delight, one of the most resourceful bands of any idiom, as they negotiate the inspired – and very varied - arrangements of Kostas Vomvolos.
Postcards of sound, snapshots from the past: such were Primavera’s starting points for this project.
Savina Yannatou: “Old songs, as if with the label Souvenir de salonique, were our original materials. They became canvases for our imagination to create contemporary narratives on old myths. Sometimes the original ‘pictures’ are merely coated with colour, sometimes only the outlines are saved, and sometimes the addition of the new material transforms them completely. There is however an element which remains – by choice – almost unaltered throughout this process: the timbre of the instruments. This is what mostly forms the ‘texture’ of the material and conveys the final sense of the whole endeavor.”
Behind the instrumental texture are the personalities of the players. This is a characterful group, whose core members have been collaborating as an ensemble for more than 20 years. Primavera en Salonico was formed in 1993 to play Vomvolos’s arrangements of Sephardic Jewish songs, with Savina as vocalist.
But musical connections between several of the players stretch back still further, to the beginning of the 1980s. Between them they have played traditional music and thoroughly experimental music, and the range of experience opens new perspectives on this programme of songs.
Listen for instance to the arrangement of the Sephardic traditional “La cantiga del fuego”, which speaks of the great fire which destroyed the centre of the city in 1917. Savina and band conjure the flickering flames in an eerie introduction and then deliver a lament which could only be phrased by traditionalists with present-day improvisational awareness. An Armenian folk song collected by Komitas is transformed into a poised chamber music miniature. A Bektashi Sufi song from Turkey praises Mohammad’s son-in-law as “the light filling up the world”, and draws for some deeply soulful ney and percussion-playing.
Meanwhile, the sardonic lyrics of the Irish song “Salonika” from the first world war period, inspire Savina to an almost Brechtian music hall treatment, “And when the war is over /What will the soldiers do?/They'll be walking around with a leg and a half/And the slackers, they'll have two...”
Different social, philosophical, and religious viewpoints swarm here. The liner notes, by Savina’s sister Sofia Giannatou, remind us of the ways in which music could unite across cultural divides in the old Thessaloniki, “Family gatherings and religious feasts provided opportunities for singing and dancing, and in the taverns several musical styles were performed by musicians of all ethnic groups; Judeo-Spanish songs, oriental melodies, Greek and Turkish lyrics, Balkan tunes, all coexisted and often lent elements to each other in improvisations that enriched and broadened the repertory.
A Christian cantor might meet there with a synagogue chanter, singing secular songs for their own enjoyment, amateur singers would interact with professional musicians, versions of lyrics in three languages might interchange in the same songs.” This tradition of tolerance and mutual encouragement is echoed in Songs of Thessaloniki.
Songs of Thessaloniki was produced by Manfred Eicher, and recorded at Sierra Studios, Athens, in February 2014.
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Ryan Adams - Heartbreaker (2000/2015) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Ryan Adams
Title: Heartbreaker
Genre: Pop Rock, Folk Rock, Country Rock, Indie Rock, Americana
Label: © Pax Americana Record Company
Release Date: 2000/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: paxamrecords.com
Duration: 51:57
Recorded: Woodland Studios, Room A, Nashville,Tennessee


As Whiskeytown finally ground to a halt in the wake of an astonishing number of personal changes following Faithless Street (coupled with record company problems that kept their final album, Pneumonia, from reaching stores until two years after it was recorded), Ryan Adams ducked into a Nashville studio for two weeks of sessions with Gillian Welch and David Rawlings. While arch traditionalists Welch and Rawlings would hardly seem like a likely match for alt-country's bad boy, the collaboration brought out the best in Adams; Heartbreaker is loose, open, and heartfelt in a way Whiskeytown's admittedly fine albums never were, and makes as strong a case for Adams' gifts as anything his band ever released. With the exception of the Stones-flavored "Shakedown on 9th Street" and the swaggering "To Be Young (Is to Be Sad, Is to Be High)," Heartbreaker leaves rock & roll on the shelf in favor of a sound that blends low-key folk-rock with a rootsy, bluegrass-accented undertow, and while the album's production and arrangements are subtle and spare, they make up in emotional impact whatever they lack in volume. As a songwriter, Adams concerns himself with the ups and downs of romance rather than the post-teenage angst that dominated Whiskeytown's work, and "My Winding Wheel" and "Damn, Sam (I Love a Woman That Rains)" are warmly optimistic in a way he's rarely been before, while "Come Pick Me Up" shows he's still eloquently in touch with heartbreak. Adams has always been a strong vocalist, but his duet with Emmylou Harris on "Oh My Sweet Carolina" may well be his finest hour as a singer, and the stripped-back sound of these sessions allows him to explore the nooks and crannies of his voice, and the results are pleasing. Whiskeytown fans who loved the "Replacements-go-twang" crunch of "Drank Like a River" and "Yesterday's News" might have a hard time warming up to Heartbreaker, but the strength of the material and the performances suggest Adams is finally gaining some much-needed maturity, and his music is all the better for it. --Mark Deming
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Ron Carter, Herbie Hancock, Tony Williams - Third Plane (1977/2015) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Ron Carter, Herbie Hancock, Tony Williams
Title: Third Plane
Genre: Jazz, Fusion, Hard Bop, Post-Bop, Piano Jazz
Label: © Milestone/Fantasy/Concord Music Group
Release Date: 1977/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:39:37
Recorded: July 13, 1977 at the Automatt, San Francisco


Ron Carter served as sideman on so many Herbie Hancock and Tony Williams sessions, and now he brings his stalwart colleagues out on his own date. The results are everything you would expect from this stellar trio. Hancock and Williams were coming off a period in their careers during which they had focused on building a crossover audience with fusion music. But here they are back in a mainstream attitude, and you can sense the sheer fun of their music-making. A great track, and the whole Third Plane album stands out as one of the best trio recordings from a decade marked by outstanding threesomes.
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Roisin Murphy - Hairless Toys (2015) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Róisín Murphy
Title: Hairless Toys
Genre: Electronic, Downtempo, Pop Rock, Alternative/Indie Rock, Indie Electronic, Club/Dance
Label: © Play It Again Sam
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:50:24
Recorded: 2014–15; Clams & Clogs, RMS Studios, London and Fish Factory Studio, London


Hairless Toys is the third solo studio album by Irish recording artist Róisín Murphy, released on 8 May 2015 by Play It Again Sam. It is Murphy's first album since Overpowered (2007).
The announcement of the album was accompanied by a stream of the first track, "Gone Fishing", which Murphy confirmed was inspired by the 1990 documentary film Paris Is Burning. A four-minute edit of "Exploitation" was later issued as the first single, with a music video directed by Murphy herself released on 13 April 2015. Murphy commented that the song is about "selling out, manipulation and exploitation within creative work and in a relationship." Murphy later explained that the song "came from being a bit wry, a bit ironic. It's got a bit of a twinkle in its eye. It's not to be taken too seriously."
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Robin Williamson - Trusting In The Rising Light (2014) High-Fidelity FLAC Stereo 24bit/96kHz


Artist: Robin Williamson
Title: Trusting In The Rising Light
Genre: Jazz, Avant-Garde, Folk, Celtic Folk, British Folk, Improvisation
Label: © ECM Records GmbH | ECM Player
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 51:01
Recorded: January 2014 at Rockfield Studios, Monmouth


Nine years on from the widely-acclaimed Iron Stone recording, Scottish singer-songwriter, harpist and guitarist Robin Williamson returns with a new album of self-penned pieces – thoughtful and touching meditations on love, destiny, the natural world, roads travelled, and the daily pleasures of being alive today.
The album finds Williamson in fine voice and in best creative form on his diverse instruments, drawing inspiration also from the ingenious improvisational input of violist Mat Maneri (further developing the association initiated on Skirting The River Road ) and percussionist Ches Smith (last heard on ECM with Tim Berne’s Snakeoil band). Trusting In The Rising Light was recorded in Rockfield Studios in Monmouth, Wales, in January 2014.
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Public Service Broadcasting - The Race For Space (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz


Artist: Public Service Broadcasting
Title: The Race For Space
Genre: Electronic, Ambient, Krautrock, Post Rock, Prog Rock, Alternative/Indie Rock
Label: © Test Card Recordings
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:43:14
Recorded: Jacamar Studios, The Pool Studios, Abbey Road Studios


The Race for Space is the second studio album by British alternative group Public Service Broadcasting. Once again working with the British Film Institute, the new album relives the story of the American and Soviet space race from 1957-1972. The opening track features a speech by John F. Kennedy which was made on September 12, 1962 at Rice University. To launch the album, the band played two concerts on 26 and 27 February 2015 at the National Space Centre in Leicester. The band will complete a full 13-date tour of the UK and Ireland to support the album. The band also announced that they will never play the whole album cover to cover live. This is because of the nature of track 4 ("Fire in the Cockpit") and the band said that they will probably never play that track at their performances.
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Carl Nielsen - The Three Concertos - New York Philharmonic, Alan Gilbert (2015) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Carl Nielsen (1865–1931)
Artist: New York Philharmonic, Alan Gilbert
Title: Nielsen: Violin Concerto, op.33; Flute Concerto, FS 119; Clarinet Concerto, op.129
Genre: Classical
Label: Dacapo Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: ProStudioMasters
Duration: 01:17:16
Recorded: Avery Fisher Hall, Lincoln Center, New York City, 10–13 October 2012 (Violin and Flute Concertos)
and 7–10 & 13 January 2015 (Clarinet Concerto)


CREEP INTO THE SOULS OF THE INSTRUMENTS :: Carl Nielsen’s three solo concertos, along with his six symphonies, constitute the core of his orchestral music. Like the symphonies, each of the three concertos relates to the classical tradition in its own way. At the same time they show how Carl Nielsen developed, and increasingly distanced himself from the conventions. “I began by composing with the piano, later rearranging for the orchestra. The next stage was that I wrote my score directly for the instruments. Now I think in terms of the instruments themselves – I sort of creep into their souls,” said Carl Nielsen at the age of 60. It is this personification of the instruments that makes the three solo concertos so individual. In the Violin Concerto there is moreover a quite personal empathy with the solo instrument, because Nielsen was originally a violinist himself.
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