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Black Violin - Stereotypes (2015) High-Fidelity FLAC Stereo 24bit/44.1kHz

Artist: Black Violin
Title: Stereotypes
Genre: R&B, Soul, Hip hop, Funk, Modern Classical, Fusion
Label: © Universal Music Classics, A Division of UMG Recordings Inc.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 47:48
Recorded: Atlantic Sound Studios, Brookliyn, NY

A duo who radically fuse hip-hop and pop with classical music to create a kaleidoscope of sounds uniquely their own. Classically trained musicians, they have opened for such diverse top names in music as Kanye West, 50 Cent, Aerosmith and Tom Petty, and also creatively collaborated with the likes of Wu-Tang Clan, Linkin Park, Wyclef Jean and Alicia Keys, the latter for the Billboard Music Awards.
Stereotypes, their major label debut was produced by Eli Wolf (The Roots & Elvis Costello, Norah Jones).
Composed of mostly original works, Stereotypes effortlessly shifts from classic hip-hop (Invisible featuring legendary MC Pharoahe Monch) to pulsing R&B and fiery instrumentals. Stay Clear, features rising star Kandace Springs alongside keyboard mastermind Robert Glasper. Runnin finds Wil and Kev flexing their virtuosic muscles - a flurry of notes both dexterous and emotive.
Black Violin is joined by the aforementioned guests, plus Black Thought (of The Roots), drummer Daru Jones (Jack White), guitarist Eric Krasno (Soulive) and string arranger Rob Moose (Bon Iver).
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Ben Monder - Amorphae (2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Ben Monder
Title: Amorphae
Genre: Jazz, Modern Jazz, Guitar Jazz
Label: © ECM Records GmbH
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 44:55
Recorded: October 2010 at Sear Sound; December 2013 at Brooklyn Recording

Guitarist Ben Monder first recorded for ECM as a member of the Paul Motian Band on Garden of Eden in 2004, and Amorphae was originally conceived as a series of duets for Ben and Paul. A first exploratory duo session was recorded in 2010. After Motians death the following year it was decided to expand and complete the project with another highly influential and innovative drummer, Andrew Cyrille, adding also Pete Rende on synthesizer on two pieces.
So here we hear Monder solo, in duo with Motian, in duo with Cyrille, and in trio with Cyrille and Rende. This range of expressive options casts light upon Monders musical concepts and their adaptability. A guitarists guitarist, Monder is also a master of texture and unusual voicings, creating what one reviewer has called detailed sonic landscapes of mystery and power.
All the music on Amorphae is his, apart from, "Oh, What a Beautiful Mornin'," the Rodgers & Hammerstein chestnut from the musical Oklahoma!, performed here by Monder and Motian.
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Beethoven - Symphony No.6; Schubert- Symphony No.5 - Wiener Philharmoniker, Karl Bohm (1971/79/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig Van Beethoven (1770-1827), Franz Schubert (1797–1828)
Artist: Wiener Philharmoniker, Karl Böhm
Title: Beethoven- Symphony No.6; Schubert- Symphony No.5
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 1971/79/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:14:05
Recorded: May 1971 (#1-5) & December 1979 (#6-9) Grosser Saal, Musikverein, Wien, Austria

„For many music lovers, this is the most purely beautiful performance of Beethoven's most purely beautiful symphony ever recorded. The playing of the Vienna Philharmonic is the last word in gorgeousness--the woodwind chords chime with such purity that they practically glow with an inner light. But it's not a self-indulgent interpretation at all: the storm rages as violently as anyone has a right to expect, and Karl Böhm keeps the music moving along impulsively, always highlighting the symphonic strength of Beethoven's musical argument. What makes the recording even more special is a Schubert Fifth with exactly the same qualities. Someone at DG clearly knows where the treasures are buried. A great disc.“ --David Hurwitz, ClassicsToday
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Beethoven: Piano Sonata No. 17 'Tempest' / Schumann: Fantasy - Sviatoslav Richter (1961/2012) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827), Robert Schumann (1810-1856)
Artist: Sviatoslav Richter
Title: Beethoven: Piano Sonata No. 17 'Tempest' / Schumann: Fantasy
Genre: Classical
Label: © EMI Classics
Release Date: 1961/2012 (2011 Remaster)
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 55:42
Recorded: 1961

Sviatoslav Richter is acknowledged as one of the great pianists of the twentieth century, known for his virtuoso technique and rich insight. This record features his reading of works by Beethoven and Schumann. His interpretations breathe a new vitality that attacks with power and precision. These inspired performances will leave listeners awestruck.

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Ludwig van Beethoven - Symphonies Nos.1 & 3 - Wiener Philharmoniker, Wilhelm Furtwangler (1952/2012) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Wiener Philharmoniker, Wilhelm Furtwängler
Title: Beethoven - Symphonies Nos.1 & 3
Genre: Classical
Label: © EMI Classics
Release Date: 1952/2012 (2011 Remaster)
Quality: High-Fidelity FLAC 2.0 Mono 96kHz/24bit
Source: HDTracks
Duration: 01:17:57
Recorded: 24, 26-28.IX.1952, Musikvereinsaal, Vienna, Austria

Esteemed conductor Wilhelm Furtwangler and the Vienna Philharmonic Orchestra delivers a definitive reading of Beethoven’s Symphonies No. 1 & 3. Performing on authentic instruments, the musicians play with sensitivity and skill. Furtwangler, a Beethovenian, brings a sense of excitement and first-class direction. With its impeccable sound quality, this is a worthwhile listen!
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Ludwig van Beethoven - Fidelio, Op.72 - Berliner Philharmoniker, Sir Simon Rattle (2003/2014) High-Fidelity FLAC Stereo 24bit/44.1kHz

Сomposer: Ludwig van Beethoven (1770–1827)
Artist: Berliner Philharmoniker, Sir Simon Rattle
Title: Beethoven - Fidelio, Op.72
Genre: Classical, Opera
Label: © Warner Classics, Warner Music UK Ltd.
Release Date: 2003/2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:50:11
Recorded: 25–28.IV.2003, Philharmonie, Berlin

Fidelio may seem like an isolated phenomenon in a career overwhelmingly dominated by instrumental music. But Beethoven’s letters reveal that from his early years in Vienna he was anxious to try his hand at opera. In 1803 he got as far as composing several numbers for a grand opera, Vestas Feuer, to a libretto by Emanuel Schikaneder, Mozart’s collaborator on Die Zauberflöte. But the project foundered on the incongruity between the ancient Roman setting and what Beethoven called “language and verses that could only have come out of the mouths of our Viennese apple-women.” He continued to cast around for suitable librettos until near the end of his life, even making sketches for operas on Macbeth – a tantalising prospect – and Bacchus.
Fidelio finally saw the stage on 20 November 1805. It lasted only three performances, partly because most of Beethoven’s supporters had fled Vienna as Napoleon’s troops advanced (many in the audience were in fact French officers), partly because the opera was deemed too long and undramatic. Critics drew unflattering comparisons with the works of Mozart and of Cherubini – a favourite composer in Vienna since his rescue opera Lodoïska was performed there in 1802. One common complaint was that the music, while not without its beauties, was repetitious, especially in its treatment of words. Urged on by his friends, Beethoven almost immediately set about revising and tightening the score.
Beethoven had almost certainly given up hope of seeing Fidelio performed again when, early in 1814, he was asked permission by three singers – among them Anna Milder, by now famous for her portrayals of Gluck and Cherubini heroines – to revive it for a benefit concert at Vienna’s Kärntnertor Theatre. He agreed, and immediately made plans to “rebuild the desolate ruins of an old castle”, as he picturesquely put it. With the help of the poet Georg Friedrich Treitschke he made further cuts, alterations and reorderings (the opera now opened not with Marzelline’s aria but with the duet for her and Jaquino), simplified some of the vocal writing and totally recast both finales. The 1814 Fidelio is a fundamentally different opera from the 1805 original. With extensive cuts (including a trio and a duet) in the first act, there is now much less emphasis on Marzelline and her world of petit bourgeois domesticity.
From this point onwards Beethoven and Treitschke diluted the dramatic tension of the original opera. In the 1805/6 versions Florestan and Leonore had sung their ecstatic duet, No.15, while still uncertain of their fate. In 1814 the happy ending is already assured and an extra frisson lost. The human element is now subordinate to the opera’s moral message; and the prisoners, released from darkness into daylight, become archetypes of oppressed humanity, as they never were in 1805. Fidelio in its final form is above all a hymn to abstract, universal ideals: freedom, courage in the face of tyranny, heroic determination, perfect womanhood and the brotherhood of man.
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Ludwig van Beethoven - Complete Works for Cello & Piano - Francois-Frederic Guy, Xavier Phillips (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: François-Frédéric Guy, Xavier Phillips
Title: Beethoven - Complete Works for Cello & Piano
Genre: Classical
Label: © Evidence
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 02:11:45
Recorded: January 2015 at l’Arsenal, Metz

Here it is, act III of François-Frédéric Guy's Beethoven Project. On the programme: Beethoven's complete music for cello and piano with cellist Xavier Phillips, recorded by Nicolas Bartholomée at the Arsenal in Metz.
François-Frédéric Guy is regarded as one of the most fascinating pianists of his generation. He has performed worldwide with many important orchestras such as the Berlin Symphony, Hallé, Philharmonia, London Philharmonic, Munich Philharmonic, Orchestre de Paris, Orchestre Philharmonique de Radio France, Orchestre du Capitole de Toulouse and San Francisco Symphony, to name just a few. He collaborated with world renowned conductors including Esa-Pekka Salonen, Bernard Haitink, Kazushi Ono, Marc Albrecht, Philippe Jordan, Daniel Harding, Neeme Järvi and Michael Tilson Thomas.
Xavier Philipps won several international prizes (Second Prize and Special Prize of Jeunesses Musicales of Belgrade, Special Prize at the Moscow Tchaikovsky Competition, Third Prize and Special Prize at Rostropovich Competition in Paris and First Prize unanimously in the 1st Competition of Helsinki). His encounter with Mstislav Rostropovitch proved especially fruitful since it marked the beginning of a long collaboration during which Xavier Phillips received the guidance and encouragement of the master cellist.
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