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Igor Stravinsky - Pulcinella Suite; Apollon musagete; Concerto in D for strings - Tapiola Sinfonietta, Masaaki Suzuki (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Igor Stravinsky (1882–1971)
Artist: Tapiola Sinfonietta, Masaaki Suzuki
Title: Stravinsky - Pulcinella Suite; Apollon musagète; Concerto in D for strings
Genre: Classical
Label: © BIS Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical
Duration: 64:55
Recorded: April 2015 at the Tapiola Concert Hall, Finland

Masaaki Suzuki is firmly established as a leading authority on the works of Bach, both in his capacity as director of the Bach Collegium Japan and as an organist and harpsichordist. In recent years he has also been appearing in front of eminent orchestras worldwide, however, conducting repertoire as diverse as Britten, Fauré or Mahler. For his first recording of 20th century repertoire, Suzuki has chosen to collaborate with the acclaimed Tapiola Sinfonietta in an all-Stravinsky programme. The disc begins with the music for Pulcinella – here in the concert suite devised by the composer – which Stravinsky later described as ‘the epiphany through which the whole of my later work became possible’. Pulcinella was commissioned in 1919 by the Ballets Russes, for which Stravinsky had already written The Firebird, Petrushka and The Rite of Spring. For this adaptation of an early eighteenth-century commedia dell'arte libretto, he based his score on existing music, initially ascribed to Pergolesi although material by other baroque composers is also included. Stravinsky’s approach is never that of a faithful transcriber, however: in Pulcinella the material is slanted harmonically, rhythmically and texturally in a manner reminiscent of cubism – and it was indeed Picasso who provided the decor and costumes for the ballet's first performance. The neoclassical (or neobaroque) spirit remained a vital part of Stravinsky’s compositional armoury for a long time, and also informs the other two works presented here. The formal design of Concerto in D, composed some 25 years after Pulcinella, pays homage to the baroque concerti grossi of Vivaldi and Bach, while the score for the ballet Apollon musagète (also known as Apollo) contains references to French music from the 17th- and 18th-century – but there are also echoes of Tchaikovskian lushness in the work which is richly scored for a string orchestra which is often subdivided, and with many distinctions between solo and tutti lines.
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Steve Kuhn, Steve Swallow, Joey Baron - Wisteria (2012) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Steve Kuhn, Steve Swallow, Joey Baron
Title: Wisteria
Genre: Jazz, Straight-Ahead Jazz, Modern Creative, Piano Jazz
Label: © ECM Records GmbH | ECM Player | ECM Reviews
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 01:07:02
Recorded: September 2011 at Avatar Studios, New York


Wisdom and wistfulness are intertwined in “Wisteria”, whose title track, written by Art Farmer, takes us back to the early 60s, when both Steve Kuhn and Steve Swallow sang softly of the blues in the trumpeter-flugelhornist’s band. They’ve shared a lot of history since then. Swallow played on Kuhn’s classic “Trance”; Kuhn played on Swallow’s “Home” and “So There”. Drummer Joey Baron has been heard with Kuhn on ECM discs including “Remembering Tomorrow” and the dazzling tribute disc “Mostly Coltrane”. This new album takes a fresh look at several pieces heard in Kuhn’s orchestral “Promises Kept” collection, but alongside the aching balladry there is also some driving hard bop (on “A Likely Story”) , a brace of Swallow tunes (“Dark Glasses”), Carla Bley’s gospel-tinged “Permanent Wave” and the Brazilian “Romance” by Dori Caymmi…
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Sonic Youth - Washing Machine (1995/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Sonic Youth
Title: Washing Machine
Genre: Rock, Alternative/Indie Rock, Experimental Rock, Noise-Rock, Grunge
Label: © DGC/Geffen Records
Release Date: 1995/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:08:17
Recorded: January – May 1995 at Easley Studios in Memphis, Tennessee and Mott and Greene Street Studios in New York City


Sonic Youth's ninth album Washing Machine is the first record to almost exclusively feature Kim on guitar rather than bass, and contains some of their lengthiest material since "Goo" and "Daydream Nation", including the epic "The Diamond Sea" which drifts onward for an unprecedented 20 minutes, still the longest track on any SY album (excluding the SYR releases). Incidentally, "The Diamond Sea" would prove to be one of the band's most popular songs, and it along with SY's headlining spot on the summer Lollapalooza tour would introduce legions of new fans to their music.
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Smokey Robinson & The Miracles - A Pocket Full Of Miracles (1970/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Smokey Robinson & The Miracles
Title: A Pocket Full Of Miracles
Genre: R&B, Soul, Funk, Smooth Soul
Label: © Motown Records, a Division of UMG Recordings, Inc.
Release Date: 1970/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 00:44:05
Recorded: 1970

A Pocket Full Of Miracles (TS306) is a 1970 album by Motown Records R&B group The Miracles,(AKA "Smokey Robinson & The Miracles") issued on its Tamla subsidiary label, one of three albums the group released that year. This album charted at #56 on the Billboard pop albums chart, and reached the top ten of the magazine's R&B albums chart, peaking at #10. It was released on September 30 of that year. Hit singles on the album included "Point It Out" and the topical Ashford & Simpson written-and-produced song "Who's Gonna Take The Blame", a sad, dark song about a girl that is turned out as a prostitute (unusually serious lyric content for The Miracles). Also included is the charting flip side "Darling Dear", B-side of "Point It Out", which reached # 100 on the Billboard pop chart, and spawned a cover version by The Jackson Five.
The album's name takes its title from the 1961 Frank Capra comedy film Pocketful of Miracles. However, that is where the similarities end. Its cover depicts four of The Miracles, Smokey Robinson, Bobby Rogers, Pete Moore,and Ronnie White, sitting inside a huge cartoon "pocket", (thus the name "Pocket Full Of Miracles"). Other original songs in the collection included "Flower Girl", the powerful potential hit "Backfire" (that was not released as a single), and the melancholy "The Reel Of Time". Miracles members Marv Tarplin and Claudette Robinson are featured on the songs "You've Got The Love I Need" (a ballad with rock overtones) and "Don't Take It So Hard", respectively. However, they are not featured on the album's cover (apparently because the "pocket" would then have too many Miracles). Covers include versions of Simon and Garfunkel's "Bridge over Troubled Water", Chuck Jackson and Maxine Brown's "Something You Got", included in a medley with The Beatles' "Something", and Smokey's composition for The Temptations, "Get Ready", which features an arrangement borrowed from the Cream hit "Sunshine of Your Love". Motown staff songwriters contributing to this project included Ashford & Simpson, William "Mickey" Stevenson, H. Gordy, R Gordy, R. Jones, and Miracles members Smokey Robinson, Pete Moore, and Marv Tarplin.
This album, like several of The Miracles' post-1969 albums, has never been released in the CD format. It was re-released in edited form a few years later, by the defunct independent label Pickwick International, under license from Motown, with a different cover, and the modified name Pocketful.
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Sibelius: Violin Concerto; Sinding: Suite - Itzhak Perlman, Pittsburgh Symphony Orchestra, Andre Previn (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Jean Sibelius (1865–1957), Christian Sinding (1856–1941)
Artist: Itzhak Perlman, Pittsburgh Symphony Orchestra, André Previn
Title: Sibelius: Violin Concerto; Sinding: Suite
Genre: Classical
Label: © Parlophone Records/Warner Classics
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:45:03
Recorded: Heinz Hall, Pittsburgh, USA, 23 & 24 February 1979

Jascha Heifetz (1901–1987), whose style and repertoire exerted a decisive influence on most twentieth-century violinists, had an insatiable curiosity for discovering and rehabilitating long-forgotten works. We have Heifetz to thank for having dusted off, and made the first recordings of, Bruch’s Scottish Fantasy and Second Violin Concerto (see volumes 14 and 40), the concertos by Korngold and Conus (volume 27), and the two works featured here. He was also a key source of inspiration to the young Itzhak Perlman, who had not even turned twenty when he made his first recording of Sibelius’s Concerto in D minor (1966, RCA). Thirteen years later, he returned to the work for EMI, this time coupling it to great effect with the Suite in A minor by Christian Sinding, thereby paying tribute to a little-known composer who, alongside Grieg and Sibelius, was in fact one of the most authentic Scandinavian composers of his day.
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Alexander Scriabin - Symphony 1 & 4 - Russian National Orchestra, Mikhail Pletnev (2015) High-Fidelity FLAC Stereo 24bit/176,4kHz

Сomposer: Alexander Scriabin (1872-1915)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Scriabin - Symphony No. 1 / The Poem of Ecstasy
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 176,4kHz/24bit
Source: DSD64
Duration: 01:16:40
Recorded: DZZ Studio 5 in Moscow, Russia in March 2014. Organ has been recorded at the St. Ludwig-Kirche in Berlin-Wilmersdorf, Germany


The Russian National Orchestra wishes to thank Ann and Gordon Getty and the Mikhail Prokhorov Foundation for their support of this recording.
In 1899, Scriabin began writing his most ambitious composition to date: the First Symphony. The work still reflects the influence of the traditional four-movement formal scheme. The first movement, in sonata form (Allegro dramatico), is followed by a slow movement (Lento), a scherzo (Vivace) and an Allegro, again in sonata form. But Scriabin also framed the symphony with an introductory movement in a slow tempo and a monumental choral finale with a text of his own composition, and it is this movement that can be said to occupy the work’s interpretational centre of gravity. The First Symphony documents a search for salvation and unification, both of which can only be found in art: “May your mighty and free spirit reign all-powerfully on earth; and humanity, lifted up by you, perform a noble deed. Come all nations of the world and let us sing praises to art!”
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Alexander Scriabin - Symphony 1 & 4 - Russian National Orchestra, Mikhail Pletnev (2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Alexander Scriabin (1872-1915)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Scriabin - Symphony No. 1 / The Poem of Ecstasy
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2015
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:16:40
Recorded: DZZ Studio 5 in Moscow, Russia in March 2014. Organ has been recorded at the St. Ludwig-Kirche in Berlin-Wilmersdorf, Germany


The Russian National Orchestra wishes to thank Ann and Gordon Getty and the Mikhail Prokhorov Foundation for their support of this recording.
In 1899, Scriabin began writing his most ambitious composition to date: the First Symphony. The work still reflects the influence of the traditional four-movement formal scheme. The first movement, in sonata form (Allegro dramatico), is followed by a slow movement (Lento), a scherzo (Vivace) and an Allegro, again in sonata form. But Scriabin also framed the symphony with an introductory movement in a slow tempo and a monumental choral finale with a text of his own composition, and it is this movement that can be said to occupy the work’s interpretational centre of gravity. The First Symphony documents a search for salvation and unification, both of which can only be found in art: “May your mighty and free spirit reign all-powerfully on earth; and humanity, lifted up by you, perform a noble deed. Come all nations of the world and let us sing praises to art!”
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