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Ralph Vaughan Williams - Symphony No. 9 - London Philharmonic Orchestra, Sir Adrian Boult (1958/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Ralph Vaughan Williams (1872-1958)
Artist: London Philharmonic Orchestra, Sir Adrian Boult
Title: A Memorial Tribute to Ralph Vaughan Williams: Symphony No. 9
Genre: Classical
Label: © Everest Records | Countdown Media GmbH
Release Date: 1958/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 35:01
Recorded: August 1958, Walthamstow Assembly Hall, London, United Kingdom

Giuseppe Verdi was 79 when he finished his final opera the glorious comedie humaine – Falstaff, and he was 85 at the time his Four Sacred Pieces came to publication. In our own day we have seen England’s great symphonist, Ralph Vaughan Williams (b. 1872-d. 1958) complete between his 79th and 85th years such varied scores as the Eighth and Ninth Symphony, a Romance for Harmonica and Orchestra, a Tuba Concerto and choral pieces.
Fascinating is the venerable British master’s preoccupation with new instrumental sonorities. The Ninth Symphony, recorded here for the first time, finds the use of the neglected flugelhorn and of saxophones as a group (the composer had heretofore used the saxophone as a solo instrument in the „masque for dancing“ Job and in the Sixth Symphony).
Like the Eighth Symphony, the Ninth represents a synthesis of musical and expressive content dwelt on in previous works – afterthoughts of the Sixth and Antartica seem to be at work here, and the flugelhorn solo in the slow movement recalls the sound of the natural trumpet in the Pastoral Symphony. The scherzo of the Ninth has in it, too, something of the savagery of the celebrated F Minor.
Original Recording on 3-track ½ inch tape, released in December 1958 as SDBR 3006. Foreword from Sir Adrian Boult on the occasion of the composer’s death the day before the recording session, which he was supposed to attend.
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The Velvet Underground - Loaded - 45th Anniversary (1970/2015) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Velvet Underground
Title: Loaded
Genre: Rock, Proto-Punk, Rock & Roll
Label: © Atlantic Records
Release Date: 1970/2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 55:30
Recorded: April–August 1970, Atlantic Recording Studios, New York City, United States

After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970; label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result, and with appropriate irony it turned out to be the first VU album that made any noticeable impact on commercial radio -- and also their swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. But while Lou Reed always wrote great rock & roll songs with killer hooks, on Loaded his tunes were at last given a polished but intelligent production that made them sound like the hits they should have been, and there's no arguing that "Sweet Jane" and "Rock and Roll" are as joyously anthemic as anything he's ever recorded. And if this release generally maintains a tight focus on the sunny side of the VU's personality (or would that be Reed's personality?), "New Age" and "Oh! Sweet Nuthin'" prove he had hardly abandoned his contemplative side, and "Train Around the Bend" is a subtle but revealing metaphor for his weariness with the music business. Sterling Morrison once said of Loaded, "It showed that we could have, all along, made truly commercial sounding records," but just as importantly, it proved they could do so without entirely abandoning their musical personality in the process. It's a pity that notion hadn't occurred to anyone a few years earlier. --AllMusic Review by Mark Deming
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The Bottle Rockets - South Broadway Athletic Club (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Bottle Rockets
Title: South Broadway Athletic Club
Genre: Rock, Alternative Rock, Country Rock, Roots Rock
Label: © Bloodshot Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 36:48

The Bottle Rockets’ brand of populist, Midwestern, brawny rock ‘n’ roll is a sound so effortless, it’s easy to take their craft for granted; a sound so universal, yet unmistakably THE BOTTLE ROCKETS. They’ve crushed rowdy Friday night crowds, convinced sitting audiences to get on their feet, and pulled weary festival onlookers across muddy fields to the front of the stage. With their 12th album, South Broadway Athletic Club, the quartet gives a master class in capturing the beauty of everyday life, and painting a portrait of ongoing hope.
South Broadway Athletic Club is an album full of new experiences for the band. Although they again worked with longtime producer Eric “Roscoe” Ambel (of Joan Jett & the Blackhearts, The Del-Lords, The Yayhoos) it was the first time the group recorded a full album in their hometown of St. Louis, Missouri. Working at Sawhorse Studios, it was also the first time they scheduled sessions in batches over several months, allowing the songs - and the whole album - to fully breathe and unfold. The extended songwriting process not only allowed a gestation period for the music, but also created the opportunity for a new musical collaboration with the Nashville hit-songwriting family The Henningsens, resulting in the song “Something Good.” These fresh directions helped focus the band’s creativity and energy throughout the recording sessions, adding further dimension to the album.
Singer/guitarist Brian Henneman meticulously crafts lyric-chapters straight from his well-worn journal. The album’s sharp-as-shit songwriting kicks off with “Monday (Everytime I Turn Around),” and the tough but tender “Big Lotsa Love.” The latter is built on engaging wordplay that takes the listener through the ups and downs of working through the world with someone you care about. In “Dog,” a jangly, Byrds-infused, unaffected but never cloying, tribute (with Henneman’s new weapon of choice: a chimey, 12-string Rickenbacker) to a favorite canine, he sings, “I love my dog, he’s my dog/ If you don’t love my dog, that’s OK/ I don’t want you to, he’s my dog.” The zen-like wisdom transcends merely a song about a pet and, rather, packs the message and life philosophy that, “Sometimes life is just this simple.”
Sonically, The Bottle Rockets still find the quickest two-lane highway into the bloodstream. There are pulses through the rhythm section of Mark Ortmann’s made for FM radio, wall-of-sound drumming and bassist Keith Voegele’s deep and shapely lines. They are Missouri’s answer to Muscle Shoals’ The Swampers – Swiss Army knife players, distinctive and in the pocket. It’s honed further with John Horton’s classic rock guitar snarl on “I Don’t Wanna Know,” a song that could otherwise be a Tom Jones classic about a relationship lie. On the speaker-rattling “Building Chryslers,” Horton and Henneman ignite a crunchy guitar duel that’d fit nicely on the LP shelf between Dinosaur Jr and Thin Lizzy. The song is a compelling character study told only as The Bottle Rockets can.
Shimmering, fresh coats of paint are applied in “Ship It On the Frisco,” a Southern soul-influenced song about childhood train hopping, and “XOYOU,” which showcases the band’s cosmopolitan touches through a Rockpile/Nick Lowe-inflected pop gem mixing in shuffling drums, handclaps and harmonies. Elsewhere, “Big Fat Nuthin’” is an earwormworthy “ode” to exhaustion with a Black Flag “TV Party” vibe.
Throughout their entire career, The Bottle Rockets have managed to stay true to the rabid music heads as well as casual dial-turning everybodies. After 20+ years, they’ve come out on the other side stronger and more energized than ever before, proactively writing their own creative arc. Against the odds, the Bottle Rockets are a true American success story. Consequently, South Broadway Athletic Club is an album as relevant as their formative early work; political by not being political, re-affirming our greatest aspirations by focusing on the tiniest of truths.
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The Association - Greatest Hits! (1968/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: The Association
Title: Greatest Hits!
Genre: Rock, Pop Rock, AM Pop, Baroque Pop, Sunshine Pop
Label: © Warner Bros. Records
Release Date: 1968/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 38:32
Recorded: 1966-1968

Beyond representing the best in '60s California pop, the Association blazed trails in album production and the folk-psychedelia genre. With the guidance of L.A. producers Bones Howe, Curt Boettcher, and Jerry Yester, the band deftly mixed airy harmonies, unobtrusive rhythm tracks, and subtle "Age of Aquarius" accents from harpsichords, Farfisa organs, fuzz-box guitars, trumpets, and bongos -- at times, the sophisticated blend was held together by L.A. session players. And while the group successfully expanded their harmonic horizons on "Requiem for the Masses," they also went a bit beyond their strengths with Jefferson Airplane-esque rockers like "Six Man Band." Luckily, the majority of this hits collection focuses on the band's dreamy combination of polished folk, limber vocal arrangements, and wide-screen instrumental backdrops. The summery program also includes chart-toppers like "Windy," "Cherish," "Along Comes Mary," and "Never My Love," along with progressive pop-and-harmony tracks like "No Fair at All," "Everything That Touches You," and "Time for Livin'." A great introduction to the band's prime work from the latter half of the '60s. --AllMusic Review by Stephen Cook
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Summer Night Concert 2015 - Wiener Philharmoniker, Zubin Mehta (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Various
Artist: Wiener Philharmoniker, Zubin Mehta
Title: Sommernachtskonzert 2015 / Summer Night Concert 2015
Genre: Classical
Label: © Sony Music Entertainment
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 01:09:57

The renowned orchestra presents the world's biggest annual classical open air concert live from their hometown Vienna, Austria. The Summer Night Concert with the Vienna Philharmonic is an annual open-air event that takes place in the magical setting of the Schönbrunn Palace Park in Vienna with the palace as a magnificent backdrop. Everyone is invited to come to this unique occasion with free admission. Each year up to 100,000 people can take up the invitation, or enjoy on radio and TV in over 80 countries.
In 2015 Zubin Mehta will conduct the Summer Night Concert and pianist Rudolf Buchbinder joins the orchestra as guest-soloist. The Vienna Philharmonic are widely considered to be one of the finest orchestras in the world. Founded in 1842, the orchestra are based in the Musikverein in Vienna. The orchestra have worked with some of the world’s greatest conductors, including Gustav Mahler, Felix Weingartner, Wilhelm Furtwängler, Richard Strauss, Herbert von Karajan, and many other eminent names.
About the Summer Night Concert: Since 2008 the Vienna Philharmonic has provided an outstanding experience for the people of Vienna and guests to their city with this free concert in the park of Schönbrunn Palace. The palace and its Baroque park, which have UNESCO World Heritage status, are an extraordinary setting for this special concert.
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Steve Martin & Edie Brickell - So Familiar (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Steve Martin & Edie Brickell
Title: So Familiar
Genre: Folk, Bluegrass, Country, Progressive Bluegrass
Label: © Rounder Records | Concord Music Group
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 33:50
Recorded: January 23, 2015 - June 7, 2015

Comedian, actor, author, playwright, and musician Steve Martin joins up with his fellow Texas native Edie Brickell (singer-songwriter who initially burst onto the national scene as New Bohemians front-woman) on this, their second studio album collaboration, entitled ‘So Familiar.’ The Grammy-winning duo showcase an organic, evolving relationship that continues to bring out new creative strengths. This new collection’s stirring, sublime set of jointly written compositions match Martin’s inventive, expressive five-string banjo work with Brickell’s distinctive vocals and detail-rich lyrics. The songs also benefit from multi award-winning artist and producer Peter Asher, who contributes expansive arrangements, making imaginative use of a wide array of acoustic and orchestral instrumentation, lending a cinematic quality to the songs’ intimate character studies. ‘So Familiar’ also features a variety of prominent players from the worlds of bluegrass, folk, pop and rock, including seminal banjo ace Béla Fleck along with session bass legend Leland Sklar, Cobra Starship’s Victoria Asher, Mike Einziger of Incubus, Emmy-award winning composer/arranger Geoff Zanelli, and Martin’s much-acclaimed longtime bluegrass cohorts the Steep Canyon Rangers. Rolling Stone professes the first single, “Won’t Go Back,” “retains the rootsy feel of Martin and Brickell’s earlier collaborations but adds a new full-band folk-rock feel – and even a thumping electronica bridge.”
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Son Volt - Trace (1995/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Son Volt
Title: Trace
Genre: Rock, Country Rock, Alternative Rock, Americana, Roots Rock
Label: © Warner Bros. Records
Release Date: 1995/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 2:18:30
Recorded: November–December 1994 at Salmagundi, Northfield, MN

Trace is the first album by Son Volt, released in 1995. The band was formed the previous year by Jay Farrar after the breakup of the influential alt-country band Uncle Tupelo. The album reached #166 on the Billboard 200 album chart and received extremely favorable reviews. According to Allmusic, "Throughout Son Volt's debut, Trace, the group reworks classic honky tonk and rock & roll, adding a desperate, determined edge to their performances. Even when they rock out, there is a palpable sense of melancholy to Farrar's voice, which lends a poignancy to the music." The album was in the top 10 of Rolling Stone's 1995 critics' list.
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Jean Sibelius - Violin Concerto & Tapiola - Tossy Spivakovsky, London Symphony Orchestra, Tauno Hannikainen (1959/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Jean Sibelius (1865-1957)
Artist: Tossy Spivakovsky, London Symphony Orchestra, Tauno Hannikainen
Title: Sibelius - Violin Concerto & Tapiola
Genre: Classical
Label: © Everest Records | Countdown Media GmbH
Release Date: 1959/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 46:21
Recorded: 1959, London

Of few twentieth century composers can it be said with any degree of certainty, “His music will last.” We are still too close to many of these men to judge objectively the quality of their work. But Jean Sibelius seems to be a creative artist whose compositions will survive. His Violin Concerto is one of the most difficult works of its kind ever written, but, it is also one of the most exciting. Performed here by one of the most exciting violinists of our day, assisted by a Finnish conductor who really knows the music of Sibelius, it has been reproduced with equally exciting fidelity for all to enjoy.
This, Sibelius’ only concerto, was written at Lojo, Finland: in 1903, and completely revised during the summer of 1905. Thus it falls between the composer’s Second and Third Symphonies, during a period when he was becoming increasingly aware of the importance of both form and nature in his music. Since the violin was Sibelius’ own instrument, the concerto was written with a full knowledge and understanding of what the soloist could and could not do. Still, there have been few virtuosi who have been able to do full justice to its technical and interpretive intricacies.
“The form is simple and concise throughout, besides being distinctly original,” writes Cecil Gray in his well-known biography of the composer. “The exposition in the first movement, for example, is tripartite instead of dual as usual, and the cadenza precedes the development section, which is at the same time a recapitulation; the slow second movement consists chiefly in the gradual unfolding, like a flower, of a long, sweet, cantabile melody first presented by the solo instrument and then by the orchestra; and the last movement is almost entirely made up of the alternation of two main themes. This variety, combined with simplicity and concision of formal structure, constitutes one of the chief attractions of the work.”
As in the case of so much of Sibelius’ music, there have been those who would attach some sort of a program to the Violin Concerto, linking it to everything from “cosmopolitan Swedish traditionalism” to an ancient rite of “bardic songs heard against a background of torches or pagan fires in some wild Northern night.” The composer himself gave the work no extra-musical connotations, though he once referred to the last movement as a “Danse Macabre.” It would make a rather strange dance of death, though, for it is in the stately rhythm of a polonaise.
The concerto was first played by the violinist Karl Halir at a concert in the Berlin Singakademie, with Richard Strauss conducting, on October 19, 1905. The score, published that same year, calls for an accompanying orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums and strings.
Tapiola-Tone Poem, Op.112 :: Tapiola, Sibelius’ last tone poem, was composed in the spring of 1926 at the request of Walter Damrosch, to whom it is dedicated. Damrosch and the New York Symphony Orchestra gave the work its initial performance at Mecca Temple on December 26, 1926. On the same program was another Damrosch-inspired composition - Gershwin’s Concerto in F - with the composer as piano soloist; this popular work had received its premiere just a year earlier.

Tapiola takes its name from Tapio, the forest god of Finnish mythology. Prefacing the score are these lines, written by Sibelius himself:
“Widespread they stand, the Northland’s dusky forests,
Ancient, mysterious, brooding savage dreams,
Within them dwells the forest’s mighty god
And wood sprites in the gloom weave magic secrets,”

In his Sibelius biography, Cecil Gray calls Tapiola “in many respects the culminating point of (Sibelius’) entire creative activity, and a consummate masterpiece which could only be the outcome of a long process of spiritual growth and development. It is music of the most extraordinary simplicity and directness, yet there is not one bar in it, from first to last, that could possibly have been written by any other composer. ...” --Original Liner Notes
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Arnold Schoenberg - Complete Songs, Vol. 2 - Glenn Gould (1972/2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Arnold Schoenberg (1874-1951)
Artist: Glenn Gould
Title: Schoenberg, A. - Complete Songs, Vol. 2
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1972/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:01:00
Recorded: 1964-71

Another release in Columbia’s grand and courageous attempt to record the complete works of Schoenberg. This release anticipated the onehundredth birthday celebrations of a composer to whom Gould also devoted a book (Arnold Schoenberg—A Perspective) and a ten-part CBC radio series (Music of Today: Arnold Schoenberg).
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Maurice Ravel - Piano Concertos - Yuja Wang, Tonhalle-Orchester Zurich, Lionel Bringuier (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Maurice Ravel (1875-1937), Gabriel Fauré (1845-1924)
Artist: Yuja Wang, Tonhalle-Orchester Zürich, Lionel Bringuier
Title: Ravel - Piano Concertos
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Duration: 50:13
Recorded: April 2015, Tonhalle Zürich, Switzerland

Yuja Wang has established herself as an international sensation. She plays with the world’s leading orchestras—including those of New York, London, Amsterdam, and Berlin—regularly joining them on tours of the Americas, Europe, and Asia.
On her eagerly expected new orchestral album she wows with two perennial hits: Ravel’s Piano Concerto in G major and The Piano Concerto for the Left Hand in D major. Both are heavily influenced by jazz, which Ravel had encountered on a concert tour of the United States in 1928. He composed both concertos between 1929 and 1930. The latter was commissioned by the Austrian pianist Paul Wittgenstein, who lost his right arm during World War I.
Yuja, young stellar conductor Lionel Bringuier and celebrated Tonhalle-Orchester Zürich are the perfect match to inflame Ravel’s vibrant sound. The melding of Yuja’s legendary technical skills with her interpretative intelligence transforms this album into a profound musical experience with a haunting and jazzy sound.
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