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Mikhail Glinka - Ruslan and Lyudmila - Soloists, Chorus & Orchestra of the Bolshoi Theatre Moscow, Alexander Vedernikov (2004) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Mikhail Ivanovich Glinka (1804-1857)
Artist: Soloists, Chorus & Orchestra of the Bolshoi Theatre Moscow, Alexander Vedernikov
Title: Mikhail Glinka - Ruslan and Lyudmila, Op. 5
Genre: Classical, Opera
Label: © Pentatone Music B.V.
Release Date: 2004
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 03:23:10
Recorded live at the Bolshoi Theatre Moscow, April 23rd –27th , 2003

This is the Ruslan and Lyudmila we've been waiting for. The music flows. The singers are all excellent. The chorus is clear, the Bolshoi orchestra is fantastic. Performance-wise, there is little if anything that I would complain about. In multichannel, the orchestra, the chorus and soloists are in perfect balance. Virtually every detail of the orchestration is crystal clear, the different vocal timbres of the choir nicely separated, the soloists in good perspective, all the while harmony and balance between the assembled forces is maintained. The violins are bright, but always nice and warm. There is good separation between the various string voices. The brass instruments are the most spectacular: recorded with a true three-dimensional sonority. They are never two-dimensional, squeeky or congested. Percussion has just the right amount of bang and reverb. In other words, this thing sounds like a concert. I'll go even further and say that it actually sounds better than a concert. This new critical version goes back to the original Glinka scores and attempts to recreate the opera as it was meant to be heard, rather than the version which has been played in the past century. A very special Thank You to Pentatone for releasing this. I've waited a long time to hear Ruslan and Lyudmila given the proper treatment. The result is worth the wait.
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Enrique Granados - Chamber Music with Piano - Trio Rodin (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Enrique Granados (1867-1916)
Artist: Trio Rodin
Title: Granados - Chamber Music with Piano
Genre: Classical
Label: © Æolum Vibrare Eloquenter Audio / OnClassical
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 01:12:29
Recorded: 2-3 VI 2015 @ Kulturni Center Lojze Bratu , Gorica


Aevea is proud to introduce Trio Rodin's first CD with a Granados piano trio new version based on the manuscript found at the 'Museu de la Música de Barcelona' instead of the commonly played edition. The CD includes the world's first recording of Granados Trova, an arrangement by the composer himself of his most famous chamber orchestra piece 'Elisenda'. The sonata for violin and piano is another of the great surprises this CD offers the listener. We knew about the existence of the valued manuscripts of a second, third and fourth movements of the known one movement sonata; but no one has dusted them off and shown them to an audience till now. A complete second movement and two other unfinished movements are presented here as a premiere of what it is without any doubt one of his greatest chamber music works.
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Graham Nash - This Path Tonight (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Graham Nash & Shane Fontayne
Artist: Graham Nash
Title: This Path Tonight
Genre: Rock, Soft Rock, Folk Rock, Singer/Songwriter
Label: © Blue Castle Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 41:45
Recorded At The Village, Los Angeles, CA; Additional Recording At Mile End Studios, Sherman Oaks, CA; Mastered By Bernie Grundman, Bernie Grundman Mastering, Hollywood, CA

This Path Tonight is the new studio album and collection of 10 original songs from Graham Nash. Produced by Shane Fontayne, this is Nash's first solo record of new music in fourteen years. The album is one of reflection and transition of a singer-songwriter whose career (the Hollies, CSN, CSNY) has spanned more than five decades and counting.
“What a pleasure it was recording this album,” says Graham Nash. “Shane and I had written 20 songs in a month and recorded them in eight days. The music has a different feel to my earlier albums although I hear echoes of each one. This journey of mine was one of self-discovery, of intense creation, of absolute passion.”
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Goldmark: Violin Concerto No.1; Sarasate: Zigeunerweisen - Itzhak Perlman, Pittsburgh Symphony Orchestra, Andre Previn (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Karoly Goldmark (1830–1915), Pablo de Sarasate (1844–1908)
Artist: Itzhak Perlman, Pittsburgh Symphony Orchestra, André Previn
Title: Goldmark- Violin Concerto No.1; Sarasate- Zigeunerweisen
Genre: Classical
Label: © Parlophone Records/Warner Classics
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:43:08
Recorded: Heinz Hall, Pittsburgh, USA, 14 & 15 January 1977

Itzhak Perlman’s monumental discography is punctuated by rare works such as this concerto by Goldmark. Before Perlman, the only well-known champion of this neglected Romantic work was Nathan Milstein, whose recording with the Philharmonia under Harry Blech (Capitol, 1957), established itself as an unchallenged benchmark. Other illustrious violinists, artists such as Jascha Heifetz, Erica Morini and Zino Francescatti, though susceptible to its charms, had only recorded its superb central Andante, and with piano rather than orchestral accompaniment.
Károly Goldmark (1830–1915) is perhaps the only composer to have been led out to face a firing squad, charged as a dissident in the midst of a revolution. He was, at the time, conductor of the orchestra at the Gyo˝r theatre— an inoffensive role — when the town became caught up in the revolutionary fervour that swept Europe in 1848. Tragedy was averted at the eleventh hour and the eighteen-year-old’s life was spared. The son of a cantor at the synagogue in Keszthely, Goldmark showed exceptional musical talent and was sent to Vienna to study violin and harmony. He composed six operas, several symphonies and many chamber works as well as two violin concertos. Only the first of these was ever published, its Romantic idiom revealing the influences of both Dvorˇák and Mendelssohn. Continuing his collaboration with André Previn, which had begun with the concertos of Mendelssohn and Bruch (see volume 5), and then Bartók (volume 6), Perlman revived Goldmark’s Concerto in A minor, Op.28 exactly a century after its composition (1877). He breathed new life into this work, with its wonderful writing for the soloist, opening the way to later versions committed to disc by Sarah Chang (EMI, 1999) and Joshua Bell (Sony, 1999).
The Carmen Fantasy and Zigeunerweisen (Gypsy Airs) are Sarasate’s two best-known works for violin and orchestra. Five years on from his flamboyant recording of the former (see volume 1), Perlman laid down an equally thrilling account of the latter, a work he would record again in 1995 (volume 53). In this genuine Hungarian rhapsody, which follows the conventional lassú–friss pattern — a slow introduction followed by a more rapid section — Sarasate jettisoned the folk traditions of his native Spain in favour of those of Hungary, and in the process presented the virtuosos of his own generation and those to come with one of the most thrilling works in the repertoire. --Jean-Michel Molkhou
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Philip Glass - In the summer house - Angela & Jennifer Chun, Nico Muhly (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Philip Glass (b.1937), Nico Muhly (b.1981)
Artist: Angela Chun, Jennifer Chun, Nico Muhly
Title: Glass - In the summer house
Genre: Classical
Label: © Harmonia Mundi
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 56:57
Recorded: July, 2014 at The Concert Hall, Drew University, Madison, New Jersey



This recital of music, especially written or arranged for violinists Angela and Jennifer Chun, highlights the personal and professional connections between Philip Glass and Nico Muhly, a longtime colleague and admirer of Glass s work. Nico Muhly first listened to Philip Glass 'Music in Twelve Parts' in his freshman year of college, while riding the subway in New York. Within a year of that subway encounter, Muhly found himself working at Glass studio as a copyist, editor, and sequencer for film scores. Here Glass is presented not as the author of mammoth pieces like 'Music in Twelve Parts', but as a miniaturist; a role shared with Muhly, who rarely composes in epic mode. The making of this recording has been an inspiring journey for the Chung Duo: a 2009 meeting with the Dalai Lama affected the sisters deeply and led them to the music of Philip Glass, whose 'Mad Rush' (here transcribed by Alexandra du Bois for two violins) had been composed for His Holiness first visit to North America in 1981.
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Gerald Finzi - Introit - Nicholas Collon, Aurora Orchestra (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Gerald Finzi (1901-1956)
Artist: Nicholas Collon, Aurora Orchestra
Title: Introit: The Music of Gerald Finzi
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:21:39
Recorded: Fairfield Halls, Croydon, 14 July & 20–21 August 2015

To commemorate the 60th Anniversary of British composer Gerald Finzi’s passing, Decca Classics and the Finzi Trust collaborate on a special album to bring some of Finzi's finest works to a whole new audience.
These pieces are some of the best kept secrets of pastoral England – it’s time Finzi's lush, lyrical music found a wider audience. Re-imagined popular vocal works are performed by Classic Brit winner and Grammy nominee Amy Dickson (saxophones). Other soloists include Thomas Gould (violin), Tom Poster (piano) and Nicolas Fleury (French horn).
This release invigorates Finzi’s music with the dynamic Aurora Orchestra and Nicholas Collon, playing arrangements specially commissioned from some of the country’s best arrangers by the Finzi Trust – the ‘guardians’ of this wonderful repertoire.
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George Duke - The Inner Source (1973/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: George Duke
Title: The Inner Source
Genre: Jazz, Soul Jazz, Jazz Rock, Jazz Funk, Fusion
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1973/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:27:47
Recorded: 1971

In 1971 George Duke, having just recently done his time with the Mothers of Invention, was engaged by the Cannonball Adderley Quintet. Beginning in April of that year, Duke made two recordings over a short timespan that on their release in 1973 as a double LP (against the desire of the artists, by the way), would be a major statement. On Chapter One of his fusion autobiography, “Solus”, Duke, along with the skeleton crew of bassist John Heard and drummer Dick Berk, tries out the new compositional philosophy he had absorbed from his work with Adderley. The album was obliged to maintain a jazzy environment, illustrated by the harmonically flowing piano improvisation on “Love Reborn” and the bop-influenced busyness of “The Followers”. But the record also signifies the importance of the keyboards in all their diverse contexts – the funky rock of “Au-right”, and the smoldering, dreamy feel of “Peace”, for instance. And on “Manya” Duke lives it up as he shows off his exuberant experimental synth side.
“The Inner Source” continues in the same vein. “So There You Go” is a downright delightful waltz featuring e-piano, whereas “Some Time Ago” is pure tonal color and atmosphere. We find an exotic gem in “Nigerian Numberumba” in which an African Lamellophone is craftily simulated with an echoplex and ring modulator. Duke also begins to vary the lineup here. “Feels So Good” und “My Soul” are reinforced with Latin percussion, and incisive horn and reed instruments (luminaries from the Thad Jones and Santana entourages). The same with the title track, a masterstroke of quintet dramaturgy, with Duke on his first instrument, the trombone. As a curiosity, two basses compete with each other on “Twenty Five”. The last piece, “Always Constant”, is a more open piece that spontaneously unfolded in the studio.
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George Duke - Faces in Reflection (1974/2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: George Duke
Title: Faces in Reflection
Genre: Jazz, Soul Jazz, Jazz Rock, Jazz Funk, Fusion, Future Jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1974/2015
Quality: DSF Stereo DSD64/2.82MHz
Source: highresaudio.com
Duration: 00:39:42
Recorded: Hollywood, January, 1974 by Fred Borkgren


In many ways, this trio recording is a milestone in the career of this young Californian. Duke unveils more of his early experiments with the ARP synthesizer, as well as a new creativity on such more conventional keyboards, as the Wurlitzer, Fender Rhodes, and the clavinet. As a result, “Faces in Reflection” is characterized by a wide variety of tonal hues. The journey moves from the explosive “The Opening” on to the tender-tinged “Capricorn”, which Duke had snatched from the Cannonball Adderley repertoire. Adderley had been the second major player he had worked with during that early period; Frank Zappa was the first. Two impressionistic solo intermezzi segue into the funky fusion escapade “Psychosomatic Dung”, with superb interplay between drummer “Ndugu” and bassist John Heard. The title piece’s secretive synth lines are the moments of calm before Duke’s passionate love affair with Brazil on the B side. The most surprising excursion on this side is the vibrant and rhythmically intricate adaptation of Milton Nascimentos’ “Maria Três Filhos”, counterbalanced by the synth laboratory of “North Beach”. Duke himself cherished the recordings; he stated that, “This was the first LP that really said what I wanted to say.”
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George Duke - Faces in Reflection (1974/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: George Duke
Title: Faces in Reflection
Genre: Jazz, Soul Jazz, Jazz Rock, Jazz Funk, Fusion, Future Jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1974/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: DSD64
Duration: 00:39:42
Recorded: Hollywood, January, 1974 by Fred Borkgren

In many ways, this trio recording is a milestone in the career of this young Californian. Duke unveils more of his early experiments with the ARP synthesizer, as well as a new creativity on such more conventional keyboards, as the Wurlitzer, Fender Rhodes, and the clavinet. As a result, “Faces in Reflection” is characterized by a wide variety of tonal hues. The journey moves from the explosive “The Opening” on to the tender-tinged “Capricorn”, which Duke had snatched from the Cannonball Adderley repertoire. Adderley had been the second major player he had worked with during that early period; Frank Zappa was the first. Two impressionistic solo intermezzi segue into the funky fusion escapade “Psychosomatic Dung”, with superb interplay between drummer “Ndugu” and bassist John Heard. The title piece’s secretive synth lines are the moments of calm before Duke’s passionate love affair with Brazil on the B side. The most surprising excursion on this side is the vibrant and rhythmically intricate adaptation of Milton Nascimentos’ “Maria Três Filhos”, counterbalanced by the synth laboratory of “North Beach”. Duke himself cherished the recordings; he stated that, “This was the first LP that really said what I wanted to say.”
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Gary Peacock, Marilyn Crispell - Azure (2013) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Gary Peacock, Marilyn Crispell
Title: Azure
Genre: Jazz, Modern Creative, Modern Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 59:06
Recorded: January and February 2011 at Nevessa Production, Saugerties, NY


Azure features beautiful duets by two great improvisers whose compatibility was proven long ago. Gary Peacock and Marilyn Crispell made outstanding music together in Marilyn’s trio with the late Paul Motian, on ECM albums including “Nothing ever was, anyway” and “Amaryllis”, but their duo project also has an extensive history, until now undocumented on disc. With their shared sense of lyricism, their individual compositional styles and their profound background in free playing, Peacock and Crispell are exceptional musical partners. The album, recorded in upstate New York, home territory for both musicians, contains pieces written by Peacock (“Lullaby”, “The Lea”, “Puppets”) and by Crispell (“Patterns”, “Goodbye”, “Waltz after David M”), duo improvisations (“Azure”, “Blue”, “Leapfrog”) and highly inventive piano and bass solos.
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