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Pink - The Truth About Love (2012/2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: P!nk
Title: The Truth About Love
Genre: Pop, Pop Rock, Dance Pop, Power Pop
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 2012/2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: mora.jp
Duration: 01:11:21

A lot has happened to P!nk since the release of her 2008 breakup album, Funhouse, most notably a reconciliation with her estranged husband, Carey Hart, and subsequent birth of their child in 2011. P!nk wrestles with these two life-changing events and many other thorny issues on her 2012 album, The Truth About Love, a vibrant mess of a record that finds the pop star embracing every one of her contradictions. Alone among the class of 2000 -- a group that roughly includes such other new millennium stars as Britney Spears, Christina Aguilera, Mandy Moore, and Jessica Simpson -- P!nk comes across as an actual adult, eager to dive into the muck of grown-up emotions, expanding and deepening her music without succumbing to stuffy pretension. She may be deeply invested in being a wife and mother but she's keenly aware of what's happening outside of her house, offering a clever spin on Ke$ha's freak empowerment on the opening "Are We All We Are," enlisting Fun.'s Nate Ruess as a duet partner on "Just Give Me a Reason," and fiendishly stealing some of the Black Keys' moves and retailoring them for the dancefloor on "How Come You're Not Here." P!nk deftly weaves these new threads into a tapestry that contains a few of her signature moves -- there is a handful of confessional power ballads and snotty, funny pure pop disguised as dance hits -- and some surprises, including cameos from Lily Allen ("True Love") and Eminem ("Here Comes the Weekend") and a title track that is as sunny and carnivalesque as a '60s surf-pop sensation. Sometimes the transitions are too sudden, causing some aural whiplash -- that clomping, heavy "Here Comes the Weekend" wouldn't fit neatly into any sequence -- but its ragged edges underscore the essential appeal of The Truth About Love: nothing about it is neat, it shifts courses and refutes itself, it's "nasty and salty," as P!nk herself sings about true love. It's weird and willfully, proudly human, a big pop album about real emotions and one of P!nk's wildest rides.
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Oscar Peterson - Motions & Emotions (1969/2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Oscar Peterson
Title: Motions & Emotions
Genre: Jazz, Piano Jazz, Pop Jazz, Easy Listening
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1969/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:36:26
Recorded by Hans Georg Brunner-Schwer at MPS-Studio, Villingen, March 1969; Orchestra recorded at A&R Studios, New York


Recorded in 1969, Motions & Emotions from Oscar Peterson is a bit of a departure from what the famed pianist was doing back in those days. Featuring lush orchestral arrangements by Claus Ogerman, known for his work with Frank Sinatra and more recently, Diana Krall, the album shows off Peterson and his trio members Bucky Pizzarelli on guitar and Bobby Durham on drums performing a wide range of cover songs, from the Beatles to Bacharach, Bobby Gentry to bossa nova.
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Wolfgang Amadeus Mozart - The 5 Violin Concertos - David Grimal, Les Dissonances (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: David Grimal, Les Dissonances
Title: Mozart - The 5 Violin Concertos
Genre: Classical
Label: © Les Dissonances
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: highresaudio.com
Duration: 01:43:19
Recorded: Cité de la musique Paris, 1 March 2014 (live)


David Grimal and les Dissonances sign a modern, lively and authentic interpretation of the Complete Violin concertos by Mozart.
« Researching sources, scores, instruments, historical, aesthetic and political contexts, and any other kind of clue, is fascinating. But in spite of everything I still find it insufficient and incomplete (...) How can we make this music which is already remote from us resonate, or rather ‘re-sound’, within us? » --David Grimal
Violinist David Grimal continues his fascinating musical trip with Les Dissonances, an unique musicians collective he founded in 2004.
They publish under their own label, a new version of Mozart complete violin concertos. They brightly enlight the modernity of these vivid masteworks by melting period and modern instruments, for a renewed approach of authenticity in this repertoire.
For this recording, David Grimal offered composer and harpsichordist Brice Pauset to compose orginial cadenzas for all the concertos. In the book joined to the CD-DVD box, they share their views about authenticity in musical interpretation.
The spirit of Les Dissonances is one of bringing together disparate worlds - there lies its specificity. The ensemble creates a link between those involved in the various different aspects of music (composition, solo performance, orchestral music, chamber works) and it includes not only musicians from the greatest French and international orchestras, but also talented young artists who are just embarking on their careers.
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Wolfgang Amadeus Mozart - Requiem - Arnold Schoenberg Chor, Concentus Musicus Wien, Nikolaus Harnoncourt (2004) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Arnold Schoenberg Chor, Concentus Musicus Wien, Nikolaus Harnoncourt
Title: Mozart - Requiem, K.626
Genre: Classical
Label: © Deutsche Harmonia Mundi/Sony Music Entertainment
Release Date: 2004/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: highresaudio.com
Duration: 50:15
Recorded: Großer Musikvereinssaal Wien, Austria, November 27-December 1, 2003


This new recording of Mozart's Requiem (in the edition I prefer, by Franz Beyer), has everything going for it. The soloists are all excellent--really excellent. Soprano Christine Schäfer leads the group with lovely tone and a total commitment to expressing the text through her singing. She's seconded by the magnificent Bernarda Fink (whose Dvorák song recital for Harmonia Mundi became a Disc of the Month selection), while Kurt Streit's bright tenor has none of the insipid "church choir has-been" aura that leads so many performances to make do with second raters just because the actual part isn't very large. Gerald Finley delivers a truly dignified Tuba mirum, aided in no small measure by Nikolaus Harnoncourt's Concentus Musicus Wien, which sports a trombone player who actually makes his solo sound both lyrical and imposing rather than merely awkward.
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Wolfgang Amadeus Mozart - Sinfonia Concertante & Concertone - Camerata de Lausanne, Pierre Amoyal (2013) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Camerata de Lausanne, Pierre Amoyal
Title: Mozart - Sinfonia Concertante & Concertone
Genre: Classical
Label: © Warner Classics
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:56:01
Recorded: April 12-15, 2012

This little Swiss release is not a state-of-the-art recording of Mozart's Sinfonia Concertante in E flat major for violin and viola, K. 364, and that, perhaps, is its charm. There are big-name, big-orchestra performances of this work, and there are bristly historical-instrument readings. But there was a type prevalent a couple generations ago, with a very sensitive European chamber group and soloists who represented the best of the old European tradition, and these recordings made this awe-inspiring work breathe. In 1965 you might have bought this reading by violinist Pierre Amoyal, violist Yuko Shimizu, and the Camerata de Lausanne on the Nonesuch label, perhaps, or from the Musical Heritage Society. The musicians are confident enough in their ensemble work -- impressive indeed for a group without a conductor -- to apply just enough tempo flexibility to bring out the sentimental French sweetness that is at the heart of the sinfonia concertante genre, even the vast K. 364, and the work here receives a uniquely attractive, affecting reading. One bonus is the inclusion of the little-recorded Concertone in C major for two violins, cello, and oboe in C major, K. 190, another Mozart work in a sinfonia concertante-like genre; the musicians get the work's unique balances and slightly experimental quality. Another is the sound, recorded in the famed Salle de Musique in La Chaux de Fonds, Switzerland, in 2012. A highly satisfying outing from the revived Warner Classics label. --AllMusic Review by James Manheim
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Wolfgang Amadeus Mozart - Symphony No. 35 'Haffner'; Posthorn-Serenade - Concentus Musicus Wien, Nikolaus Harnoncourt (2013) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Concentus Musicus Wien, Nikolaus Harnoncourt
Title: Mozart - Symphony No. 35 'Haffner'; Posthorn-Serenade
Genre: Classical
Label: © Sony Music Entertainment
Release Date: 2013/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:11:18
Recorded: June 9,10 & december 1,2 2012, Goldener Saal, Musikverein, Wien


Recorded at the Golden Hall in the Musikverein Vienna in 2012, this is two of the most important works of Mozart’s ‘middle’ period that Harnoncourt has never recorded with a period-instrument orchestra before. Harnoncourt is well known for his unique interpretation of Mozart and this is reflected by the highly flexible playing and phrasing from the orchestra. This album marks the 60th anniversary of the collaboration between Nikolaus Harnoncourt and the Concentus Musicus Wien.
The Posthorn Serenade, written in 1779 for the student’s farewell at the end of term at Salzburg University, is one of Mozart’s longest and most varied instrumental works, a plethora of musical characters typical of Mozart’s serenades and a unique blend of elements of dance, solo concerto and symphonic writing. Its rendering here is preceded by a March (KV 335 /1) which, according to Nikolaus Harnoncourt’s musical research, was played in Salzburg in 1779 before the actual performance started.
Mozart’s symphony No. 35, the Haffner Symphony (named after the Salzburg family who commissioned the work in 1782), was originally conceived as a serenade as well. Written in a particularly festive and serene style making best use of the orchestra’s virtuosic possibilities, it’s the shortest of Mozart’s mature symphonies and one of the most popular and effective ones. The new recording marks the first time Nikolaus Harnoncourt revisits the piece after his epoch-making version of 1980 (with Concertgebouw Orkest).
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Wolfgang Amadeus Mozart - Piano Concertos Nos. 22 & 25 - David Fray, Philharmonia Orchestra, Jaap Van Zweden (2010) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: David Fray, Philharmonia Orchestra, Jaap Van Zweden
Title: Mozart - Piano Concertos Nos. 22 & 25
Genre: Classical
Label: © Erato/Warner Classics
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:05:31
Recorded: Abbey Road Studios, London, Great Britain, 25-27.VIII.2010


David Fray is a lyricist in a thousand. Yet for all his innate sense of finesse, he seldom misses an opportunity to stress the music’s symphonic breadth. Unobtrusively animating the left hand, he provides structural depth as well as courtly accompaniment, often underlining the rhythmic pillars with sonorously articulated basses, which are sometimes doubled at the octave.
At the other end of the expressive spectrum, some may well find him excessively delicate – almost to the point of mannerism. It seems churlish to complain of too much beauty, but there are occasional hints of costume jewellery that detract, for me, from Mozart’s uniquely subtle brand of virility – nowhere more evident than in these two great works (whose scale transcends their already impressive dimensions).
The pervasive operatic element in Mozart’s Concertos is often presented (here very well indeed) primarily in terms of dialogue – between the soloist and orchestra, and with its constituent families, most notably the wind.
To a certain extent, most of Mozart’s concertos can be seen, dramaturgically, as variations on a theme of Figaro. What these performances with Fray convey quite strongly is a sense that there’s an allegorical subtext in which the individual (the soloist) confronts, and is eventually reconciled with, society at large (the orchestra – presented here with splendid symphonic grandeur).
Fray’s ‘individual’ is of such supreme sophistication and refinement that he could hardly be mistaken for the common man, but then that can hardly have been his intention. All in all, this is sublime entertainment, whose undercurrents of pathos are neither neglected nor exaggerated. --Jeremy Siepmann, BBC Music Magazine
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Music from Kurt Vonnegut's 'Slaughterhouse-Five' feat. Glenn Gould (1972/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Glenn Gould
Title: Music from Kurt Vonnegut's 'Slaughterhouse-Five' feat. Glenn Gould
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1972/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:38:28
Recorded: 1955, 1958, 1964, 1967


Gould was an enthusiastic moviegoer. All the more regrettable, then, that his film work is so meagerly documented. To create the soundtrack for George Roy Hill’s film version of Kurt Vonnegut’s novel, Gould used his own Bach recordings as well as the Fourth Brandenburg with Pablo Casals conducting the Marlboro Festival Orchestra.
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Misc - Misc (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Misc
Title: Misc
Genre: Jazz, Post Bop, Modern Jazz, Piano Jazz
Label: © Bonsound Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:40:11

Modern jazz with a twist, based on a cohesive group effort rather than on personal virtuosity; that's what the members of Misc (formerly known as Trio Jérôme Beaulieu) are going for. Jérôme Beaulieu, Philippe Leduc and William Côté created the band in 2011 shortly after their studies at University of Montreal. Since then, they have been using audio sampling and a variety of percussions, effects and prepared instruments to broaden the usual jazz trio's set of textures and moods. The group lifted off quickly, winning both Montreal's « Jazz en Rafale » and Festi-Jazz de Rimouski's Grand Prize in their first year of existence. A first album entitled L'Homme Sur La Lune (Man on the Moon) hit the shelves in spring 2012 and got nominated for an Opus Prize (Jazz album of the Year). Radio-Canada's 2013-2014 Jazz Revelation now launch their second group effort, Chercher l'Équilibre (Searching for Balance) in the midst of a year filled with projects!
The new album is the result of a true collaboration between the three musicians. In a more elaborate way than the two previous albums, they each contributed to the rythmic, melodic and harmonic arrangements to create an unique sound that sets this trio apart from the rest.
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Marvin Gaye - I Want You (1976/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Marvin Gaye
Title: I Want You
Genre: Soul, R&B, Quiet Storm, Jazz Funk, Smooth Soul
Label: © Motown Records, a Division of UMG Recordings, Inc.
Release Date: 1976/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 37:58
Recorded: 1975–76, Marvin's Room and Hitsville West in Los Angeles


I Want You is the fourteenth studio album by American soul musician Marvin Gaye, released March 16, 1976, on Motown-subsidiary label Tamla Records. Recording sessions for the album took place throughout 1975 and 1976 at Motown Recording Studios, also known as Hitsville West, and Gaye's personal studio Marvin's Room in Los Angeles, California. The album has often been noted by critics for producer Leon Ware's exotic, low-key production and the erotic, sexual themes in his and Gaye's songwriting. The album's cover artwork adapts neo-mannerist artist Ernie Barnes's famous painting The Sugar Shack (1971).
I Want You consisted of Gaye's first recorded studio material since his highly successful and well-received album Let's Get It On (1973). While it marked a change in musical direction for Gaye, departing from his trademark Motown and doo-wop-influenced sound for funky, light-disco soul, the album maintained and expanded on his previous work's sexual themes. Following a mixed response from critics at the time of its release, I Want You has earned retrospective recognition from writers and music critics as one of Gaye's most controversial works and influential to such musical styles as disco, quiet storm, R&B, and neo soul.
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