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Wolfgang Amadeus Mozart - Piano Concertos Nos. 9 & 25 - Alfred Brendel, Scottish Chamber Orchestra, Sir Charles Mackerras (2002) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alfred Brendel, Scottish Chamber Orchestra, Sir Charles Mackerras
Title: Mozart - Piano Concertos Nos. 9 & 25
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2002
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:07:41
Recorded: Usher Hall, Edinburgh, July 2001


Although it is not one of Mozart's most famous piano concertos, K. 271 in E-Flat is one of his most extraordinary. It is in many ways the first great piano concerto, in the modern sense of the term, and Mozart was just 21 when he wrote it. Melodically rich and full of imaginative touches -- like the gorgeous, gentle minuet that lies in the middle of the rollicking finale -- the concerto is already vintage Mozart. Ironically, though, it takes musicians of real sagacity to realize its youthful charm. Alfred Brendel, now in his 70s, does not sparkle in this work as he did on his previous recordings, but there is a quiet beauty to his playing now that seems absolutely right. And while he has pared down his sound, there is even more color and subtlety of shading than before. This sensitivity is even more apparent in the C Major Concerto, K. 503, a work bursting with brilliant pageantry. Brendel seems uninterested in the orchestra's pomp, etching out his part with lyrical dignity -- a touching and dramatic effect. Sir Charles Mackerras is a superb partner, and the Scottish Chamber Orchestra plays with heart. Not your usual Mozart, then, and all the better for it.
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Wolfgang Amadeus Mozart - Opera Arias and Overtures - Elizabeth Watts, Scottish Chamber Orchestra, Christian Baldini (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Elizabeth Watts, Scottish Chamber Orchestra, Christian Baldini (2015) [96-24]
Title: Mozart - Opera Arias and Overtures
Genre: Classical
Label: © LINN Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: LINN
Duration: 61 minutes 48 seconds
Recorded: June 2013 at Usher Hall, Edinburgh, Scotland


The Scottish Chamber Orchestra has established impeccable Mozartian credentials and its previous forays into operatic repertoire have been highly critically acclaimed. Conductor Christian Baldini makes his recording debut with the orchestra in this repertoire that is so close to his heart. They are joined for the arias by award-winning soprano Elizabeth Watts who uses her considerable Mozart experience to create highly memorable performances.
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Wolfgang Amadeus Mozart - Fantasia K.396; Piano Sonatas K281, K282 & K576 - Alfred Brendel (2005/2012) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alfred Brendel
Title: Mozart - Fantasia K.396; Piano Sonatas K281, K282 & K576
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2005/2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 55:12
Recorded: Jugendstiltheater, Venna, 29 June-10 July 2004


The sonatas on this album are considered to be harder than most Mozart piano sonatas because they present a few more technical challenges, such as ornaments at the beginning of the melody or contrapuntal entrances of the theme, than his other sonatas. Alfred Brendel makes these challenges sound oh-so-easy and natural. His is a graceful Mozart with many detailed shadings, despite his occasionally playing with more forcefulness than is necessary and not as subtly as it could be. The opening of the Sonata in E flat, K. 282, and the Fantasia, K. 396, have similarities in their slow, meandering, but not random, temperaments. Brendel gives the minuets of the E flat sonata more idiosyncratic humor than one expects of a stately dance. The Sonata in D major, K. 576, is particularly elegant. He doesn't make too much of the hunting call at the very beginning of the first movement's main theme, but keeps it in proportion with the rest of the theme, and he handles all the contrapuntal entrances of that same theme as if they were part of a full-fledged fugue. Brendel recognizes the Classical refinements of Mozart's sonatas and combines those with a little coloring to give them more depth and character. --AllMusic Review by Patsy Morita
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Morton Feldman - Violin And Orchestra - Carolin Widmann, Frankfurt Radio Symphony Orchestra, Emilio Pomarico (2013) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Morton Feldman (1926–1987)
Artist: Carolin Widmann, Frankfurt Radio Symphony Orchestra, Emilio Pomàrico
Title: Morton Feldman - Violin And Orchestra
Genre: Classical, Avant-Garde, Modern Composition
Label: © ECM Records GmbH | ECM Reviews
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 50:39
Recorded: October 2009 at Sendesaal des Hessischen Rundfunks, Frankfurt


For all practical purposes, Morton Feldman's Violin and Orchestra resembles an anti-concerto, insofar as the soloist's role is minimized and frequently buried within the heavy textures of the orchestra, rather than featured prominently before it. The violin part consists almost entirely of static, minimal gestures, and short groups of pitches, offering neither displays of technical virtuosity nor soaring melodies in the manner of traditional concertos. Yet despite its apparent lack of any themes and severely restricted activity, it is nonetheless the focus of this piece, and Feldman's thick and often dark orchestral textures are given a rarefied quality through the violin's fluctuating presence. Violinist Carolin Widmann demonstrates great stamina and patience in this 50-minute work, and it seems to hang together largely through the strength of her playing. The Frankfurt Radio Symphony Orchestra, led by Emilio Pomàrico, produces a full, rich sound and seems well-rehearsed, though Feldman's writing is desultory and disconnected from the violin part, so there is a kind of built-in looseness that will frustrate the goal-oriented listener. However, this piece is like many other compositions by Feldman, requiring suspension of expectations to let it flow by and create its fleeting impressions. ECM's reproduction is clear and palpably close, so everything can be heard clearly at a high enough volume, though because this is a Feldman work, a low setting might contribute to its effectiveness. --AllMusic Review by Blair Sanderson
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Minoritenkonvent - Manuscript XIV 726 - Stephanie Paulet, Elisabeth Geiger (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Heinrich Ignaz Franz Biber (1644-1704), Giovanni Buonaventura Viviani (1638-1693), Jan Ignác František Vojta (ca.1660-ca.1725), Nikolaus Faber (†1673), Johann Caspar Teibner (b.1661-1697)
Artist: Stéphanie Paulet, Elisabeth Geiger
Title: Minoritenkonvent - Manuscript XIV 726 (Vienna, Praha, Kroměříž, 1700)
Genre: Classical
Label: © Muso
Item Number: MU-008
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 1:12:32
Recorded: at the Eglise Sainte-Madeleine in Strasbourg (France) from 31 July to 3 August 2014



Stéphanie Paulet once more scores a hit with this project that reveals the flourishing violin activity in the late 17th century to the North of the Alps. Accompanied by a ‘positive’ organ of exceptional sound quality, her violin sings, leaps and makes us vibrate through the aural beauty of this disc, enhanced as it is by quite simply magnificent sound engineering.
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Gustav Mahler - Symphony No.9 - Royal Concertgebouw Orchestra, Riccardo Chailly (2004) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Gustav Mahler (1860 - 1911)
Artist: Royal Concertgebouw Orchestra, Riccardo Chailly
Title: Mahler - Symphony No.9
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2004
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:29:57
Recorded: June 2004, Concertgebouw, Grote Zaal, Amsterdam, Netherlands


Mahler’s final completed symphony provides both a fitting conclusion to Chailly’s highly acclaimed cycle and a valediction after his decade and a half at the helm of the magnificent Concertgebouw Orchestra. It was the last work Chailly conducted as the orchestra’s music director, and he made this disc directly after that final concert. The work’s four movements are an epic 90 minutes of tumultuous emotions dominated by the motif of Death (by the time Mahler began composing the work in 1909 he knew that he had only a short time to live). The two outer movements, each lasting roughly half an hour, are concerned with calm resignation and the agony of farewell; the two central movements, a gruesome Scherzo and a dissonant ‘Rondo-Burleske’, are ruled by the demonic element of Death.

The Ninth is generally reckoned to be the most difficult of all Mahler’s symphonies to bring off, equally demanding for the performers and for the listener, and Chailly’s realization is as gripping as it is disturbing. The balance and clarity of orchestral detail, from the frenzy of the Rondo to the almost imperceptible closing bars of the final Adagio, is brilliantly captured.
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