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Johannes Brahms - The Hungarian Connection - Andreas Ottensamer (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833-1897), Leó Weiner (1885 - 1960)
Artist: Andreas Ottensamer
Title: Brahms - The Hungarian Connection
Genre: Classical
Label: © Deutsche Grammophon | Mercury Classics
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:01:49
Recorded: October 2014, Nikodemus-kirche, Berlin, Germany


The album includes Brahms’ Clarinet Quintet, one of the most seminal works for the instrument – combined with Hungarian dances and waltzes by Brahms, all newly arranged to include additional material from Brahms' original musical sources, with an authentic folk twist.
Brahms is seen as one of the most serious composers of the German school – this bold venture reveals how closely connected his music actually is to the vibrant folk music inspired Hungarian music world. Andreas Ottensamer, himself half-Hungarian, naturally recognizes Brahms’ Clarinet Quintet as “genuinely one of the monuments of the entire clarinet repertoire, a piece that every clarinettist dreams of playing”.
The stunning ensemble of musicians includes violinist Leonidas Kavakos, Antoine Tamestit (viola), Christoph and Stephan Koncz (violin, cello), Ödon Rácz (double bass), Predrag Tomic (accordion) and cimbalom virtuoso Oskar Ökrös.
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Johannes Brahms - Piano Concertos Nos. 1 & 2; 7 Fantasien op. 116 - Emil Gilels, Berliner Philharmoniker, Eugen Jochum (1972/76/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833 - 1897)
Artist: Emil Gilels, Berliner Philharmoniker, Eugen Jochum
Title: Brahms - Piano Concertos Nos. 1 & 2; 7 Fantasien op. 116
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 1972/76/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 02:05:05
Recorded: #1-7: June 1972, Jesus-Christus-Kirche, Berlin, Germany; #8-14: September 1975, Concert Hall, Turku, Finland


The concerto sessions took place at a time when we were experimenting with quadraphonic recording, although no Deutsche Grammophon discs were ever issued in that format. Emil Gilels had already made a highly successful recording of the Second Concerto for another company and knew the work backwards, so the sessions were easy, the slow movement in particular requiring very little subsequent editing.
Gilels took the business of recording very seriously and was determined that we should too. For him the sound had to be worked on during the sessions, just like his interpretation. Once we let him try out the piano in eight different positions before he was convinced that the one we had advocated from the beginning was correct!
When Eugen Jochum was asked in an interview a year before his death about the finest recordings of his long and distinguished career, he singled out the Brahms concertos with Gilels for special mention. Considering that Jochum was "only" accompanying a soloist, it is hard to imagine a more eloquent tribute to the discs' success. --Klaus Scheibe
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Georges Bizet - Carmen - Magdalena Kozena, Jonas Kaufmann, Berliner Philharmoniker, Sir Simon Rattle (2012) High-Fidelity FLAC Stereo 24bit/44.1kHz


Сomposer: Georges Bizet (1838-1875)
Artist: Magdalena Kožená, Jonas Kaufmann, Berliner Philharmoniker, Sir Simon Rattle
Title: Bizet - Carmen
Genre: Classical, Opera
Label: © Warner Classics
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 02:29:40
Recorded: 16–21.IV.2012, Philharmonie, Berlin


Carmen was premiered at the (second) Salle Favart, the home of Paris’ Opéra-Comique – then as now in the Place Boieldieu – on 3 March 1875. Georges Bizet, its composer, died of a heart attack exactly three months later, on 3 June, aged 36. In his short life he had written, in whole or in part, more than a dozen works for the lyric stage, ranging from one-act operettas to five-act grand operas: and had contemplated at least a dozen more. He was exceptionally well connected in the tight-knit and faintly incestuous musical world of mid-19th-century Paris, and almost universally well-liked. Over 4,000 mourners attended his funeral in the Église de la Sainte-Trinité – the location of Rossini’s in 1868 and Berlioz’s the year after – including his former mentor Charles Gounod, so emotionally overwrought that he was unable to finish the eulogy at the subsequent interment at Père Lachaise. That night – 5 June – Carmen was given its 33rd performance at the Salle Favart; and this time the press that had greeted the work’s premiere with almost unanimous hostility was suddenly to be found bemoaning the loss of one of French music’s greatest talents.
Opera was never going to be the same again. Single-handedly, Carmen redrew the boundaries both musically and especially dramatically, of what could be represented on an opera stage. When it finally returned to the Comique in 1883 in a bowdlerised version, there was public uproar, and the original had to be restored immediately. And in the selfsame year, the Comique was busy rehearsing Massenet’s Manon, which effectively abandons dialogue in favour of mélodrame (speech over music) and depicts – in the flagrant seduction of a priest, in church, by a trollop – a far more shockingly immoral event than anything in Bizet’s opera. Opera’s doors were now open to a fuller, franker depiction of real-life events and emotions on the operatic stage such as Émile Zola was bringing to the novel. He never lived long enough to see it happen, but Bizet’s objective had been fulfilled. The era of operatic verismo had dawned.
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Ludwig van Beethoven - Symphonies Nos. 1 & 8 - London Symphony Orchestra, Josef Krips (1960/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: London Symphony Orchestra, Josef Krips
Title: Beethoven - Symphonies Nos. 1 & 8
Genre: Classical
Label: © Everest Records | Countdown Media GmbH
Release Date: 1960/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 53:09
Recorded: Walthamstow Assembly Hall, London, January 1960


It is not known exactly when Beethoven completed his First Symphony, as the autograph score was lost. It is known, however, when the symphony was first performed and what the critics thought of it. It premiered in Vienna in 1800, also on the program was a Mozart symphony, an aria and duet from Haydn's Creation, an unspecified piano concerto by Beethoven, his Septet, and some improvisations at the piano by the composer. The critics were rather complimentary about all the works but the Beethoven symphony. The Eighth is the shortest of Beethoven's symphonies, also probably the jolliest, with much of that "unbuttoned" humor so frequently ascribed to the composer.
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Ludwig van Beethoven - Symphony No. 3 - London Symphony Orchestra, Josef Krips (1960/2013) High-Fidelity FLAC Stereo 24bit/192kHz


Сomposer: Ludwig van Beethoven (1770-1827)
Artist: London Symphony Orchestra, Josef Krips
Title: Beethoven - Symphony No. 3 „Eroica“
Genre: Classical
Label: © Everest Records | Countdown Media GmbH
Release Date: 1960/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 44:57
Recorded: Walthamstow Assembly Hall, London, January 1960


Beethoven's Eroica represents his symphonic declaration of independence from the domination of Haydn and Mozart. He spent two years composing it, polishing and refining each phrase until he had exactly what he wanted. The results must have proved startling to the symphony's first hearers. Not only was it probably by far the longest symphony written up to that time but it had more daring innovations.
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Ludwig van Beethoven - Symphony No.3 'Eroica'; Overtures - Simon Bolivar Symphony Orchestra of Venezuela, Gustavo Dudamel (2012) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770 - 1827)
Artist: Simón Bolívar Symphony Orchestra of Venezuela, Gustavo Dudamel
Title: Beethoven: Symphony No.3 'Eroica'; Overtures
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:07:11
Recorded: March 2012, Centro de Acción Social por la Música, Sala Simón Bolivar, Caracas, Venezuela


Gustavo Dudamel and the Simón Bolívar Orchestra bring their unique energy to one of the summits of the orchestral repertoire - Beethoven’s mighty Symphony No.3, the “Eroica”
Beethoven’s third symphony is not only one of his most personal works – powerful in both grandeur and pathos – but also the source of some of classical music’s most instantly recognizable melodies
The album also includes two of Beethoven’s best-loved overtures, Egmont, inspired by Goethe’s play, and the ballet, The Creatures of Prometheus
No longer a ‘youth orchestra’, the Simón Bolívar Symphony Orchestra of Venezuela is a world-class ensemble in its own right, touring the world’s great concert halls as ambassadors for their country’s unique system of musical education, ‘El Sistema’
The combination of powerful, accessible repertoire, Dudamel’s irrepressible charisma and the remarkable story of the Simón Bolívar Orchestra make this recording not only desirable for Dudamel fans and those of Beethoven’s music, but a must for anyone wishing to discover the power of classical music at its very best
Feted like a rockstar in his homeland, Gustavo Dudamel was recently awarded a Grammy® for Best Orchestral Recording of 2011. His epic cycle of Mahler symphonies in Los Angeles and Caracas made him front page news in The New York Times and his record-setting Mahler 8 was shown live in hundreds of cinemas around the world. Gustavo made a stellar debut in the Wiener Philharmoniker’s prestigious subscription concerts in December and takes the Berliner Philharmoniker on tour this Spring
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Hector Berlioz - Symphonie fantastique - Los Angeles Philharmonic, Gustavo Dudamel (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Hector Berlioz (1803-1869)
Artist: Los Angeles Philharmonic, Gustavo Dudamel
Title: Berlioz - Symphonie fantastique, Op.14
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:00:58
Recorded: Walt Disney Concert Hall, Los Angeles, United States, May 2008

In his “Fantastic Symphony in Five Parts,” a literal translation of the composer’s final title, Berlioz tells a musical tale with himself as the central character – creating not only a mood (as in Liszt’s symphonic poems), but states of mind and precise, physical situations. Nothing like it had been attempted on this scale before.

Berlioz’s new concept of how far one could go in dramatic music without resorting to a vocal text once caused considerable polemicizing over whether such music was viable without reference to the “story.” Wagner’s great friend and champion, Eduard Dannreuther, took the negative tack: “The Symphonie fantastique, particularly its finale, is sheer nonsense when the hearer has no knowledge of the program.”
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