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Capuana & Rubino - Requiem - Choeur de Chambre de Namur, Leonardo Garcia Alarcon (2015) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Mario Capuana (?-1646/47), Bonaventura Rubino (1600-1668)
Artist: Chœur de Chambre de Namur, Leonardo García Alarcón
Title: Capuana & Rubino - Requiem
Genre: Classical, Choral
Label: © Ricercar
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:02:57
Recorded: June 2014, Stavelot, church Saint-Sébastien


This album of world premiere recordings of 17th century masses showcases the Namur Chamber Choir and its artistic director, Argentinian conductor Leonardo García Alarcón. The choir champions the musical heritage of its native region while at the same time tackling great works of the choral repertoire. These Requiem Masses by Capuana and Rubino are apparently the only two settings of the Requiem composed in Sicily during the Baroque period. Capuana’s work is imbued with the intense emotion of the madrigal school while the Rubino is a true glorification of Renaissance polyphony.
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Bud Shank - Michelle (1966/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Bud Shank
Title: Michelle
Genre: Jazz, Cool Jazz, Hard Bop, Easy Listening, Smooth Jazz
Label: © World Pacific Records | Blue Note Records
Release Date: 1966/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 24:38
Recorded: Los Angeles, CA, October, 1966

Acclaimed jazz saxophonist and flutist Bud Shank is joined by trumpet legend Chet Baker on this 1966 album featuring instrumental takes on pop songs, including tunes by the Beatles, the Rolling Stones, Simon & Garfunkel, the Byrds and more.
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Bud Shank - Magical Mystery (1968/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Bud Shank
Title: Magical Mystery
Genre: Jazz, Cool Jazz, Hard Bop, Easy Listening, Smooth Jazz
Label: © World Pacific Records | Blue Note Records
Release Date: 1968/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 34:53
Recorded: Los Angeles, CA, November 1967

By late 1966, Chet’s playing was in such poor shape he asked Dick Bock to pay for him to have dentures fitted. He struggled to play for several months, and eventually emerged one year later, appearing on a handful of songs on Bud Shank’s ‘Magical Mystery’ album. Chet’s playing still sounds extremely tentative at times – the first few bars of his playing on ‘Hello Goodbye’ find him struggling to hold a note – and it is probably for this reason that a second recording session was arranged with a new band, this time featuring Gary Barone on flugelhorn. The arrangements, still by Bob Florence, are slightly more interesting than on Bud Shank’s previous ‘pop’ albums, suggesting a move away from the ‘easy listening’ market to a more current, ‘psychedelic’ sound.
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Bud Shank - California Dreamin' (1966/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Bud Shank
Title: California Dreamin'
Genre: Jazz, Cool Jazz, Hard Bop, Easy Listening, Smooth Jazz
Label: © World Pacific Records | Blue Note Records
Release Date: 1966/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 31:39
Recorded: Los Angeles, CA, March, 1966

American saxophonist and flutist Bud Shank, while best known for his work in jazz, also worked in the pop world and is famous for contributing the improvised flute solo to the 1965 smash hit California Dreamin' by The Mamas & the Papas. This album capitalizes on that successful collaboration and also includes instrumental interpretations of 1960s songs by the Beatles, Burt Bacharach, Roger Miller and more.
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Britney Spears - In The Zone (2003) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Britney Spears
Title: In The Zone
Genre: Pop, Electronic, Hip Hop, R&B
Label: © Jive Records
Release Date: 2007
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: DVD Audio
Duration: 00:49:58

In the Zone is the fourth studio album by American recording artist Britney Spears. It was released on November 12, 2003, by JIVE Records. Its music incorporates dance, house, trip hop and hip hop styles with instrumentation from guitars, drums, synthesizers, strings, and Middle Eastern musical instruments. Its themes range from love, dancing, empowerment, and in the case of songs such as "Touch of My Hand", sex and masturbation. Contributions to the album's production came from a wide range of producers, including Bloodshy & Avant, R. Kelly, Trixster, Moby, Guy Sigsworth and The Matrix.
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Ludwig van Beethoven - Symphonies Nos. 4 & 7 - Academy of St Martin in the Fields, Joshua Bell (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Academy of St Martin in the Fields, Joshua Bell
Title: Beethoven - Symphonies Nos. 4 & 7
Genre: Classical
Label: © Sony Music Entertainment
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:12:14
Recorded: May 15-17, 2012


Beethoven: Symphonies 4 & 7 is Joshua Bell’s debut recording as Music Director of the Academy of St. Martin in the Fields. Bell is a GRAMMY® Award-winning artist and this monumental release marks the first American and first person to hold the title of Music Director since Sir Neville Marriner formed the ensemble back in 1958. Bell is found both conducting and performing from the concertmaster chair. It is truly a display of virtuosity and has already garnered praise from The Washington Post.
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Ludwig van Beethoven - Complete Symphonies - Gewandhausorchester Leipzig, Kurt Masur (2015) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Gewandhausorchester Leipzig, Kurt Masur
Title: Beethoven - Complete Symphonies
Genre: Classical
Label: © Victor Entertainment, Inc.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: hd-music
Duration: 05:53:45
Recorded: 1972-1974, Gewandhaus, Leipzig

These symphonies were originally recorded for Philips in 1972 (Nos. 4, 5 & 7), 1973 (Nos. 3 & 6) and 1974 (Nos. 1, 2, 8 & 9). In general the readings are solid, middle-of-the-road affairs, with good sound for their day, but not up-close and as vivid as the state-of-recordings today. Probably the greatest strength of the set is its consistency of approach: Masur does not impose his personality on the music, preferring instead to present rather straightforward performances and let the music speak for itself. And, as we all know, this music can speak for itself quite boldly – listening after listening.
Among the strongest performances here are #4, where tempos seem perfect and the orchestra plays with such vitality and spirit. #6, too, is quite fine, even if tempos are bit more relaxed than I generally prefer. The Ninth is interesting, the one performance here in which Masur pulls tempos about somewhat (try the finale), but to generally good effect. His soloists aren't the biggest names, but they do just fine and so does the chorus.
The Eroica is good, again a bit relaxed in approach, but Masur eschews the first movement repeat, a fatal flaw for some listeners. To me, this once-common abridgement does not ruin a performance, but the structure of the whole first movement shifts out of balance, the weight tilting toward the development and reprise, leaving the single exposition unable to uphold its end. The Fifth is solidly conceived and well played, but could have more tension and drive. --Robert Cummings, Classical Net
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