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Bela Bartok - Duke Bluebeard's Castle - Philharmonia Orchestra, Esa-Pekka Salonen (2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Béla Bartók (1881-1945)
Artist: Michelle DeYoung, John Tomlinson, Philharmonia Voices, Philharmonia Orchestra, Esa-Pekka Salonen
Title: Bartók - Duke Bluebeard's Castle
Genre: Classical
Label: © Signum Classics
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: hyperion-records.co.uk
Duration: 66 minutes 38 seconds
Recorded: November 2011, Konzerthaus, Vienna, Austria

Sir John Tomlinson's world-weary enactment of the tortured Bluebeard is variously available under the batons of James Levine (Munich Philharmonic), Jukka-Pekka Saraste (BBC SO), Richard Fames (Orchestra of Opera North, in English) and Bernard Haitink with the Berlin Philharmonic (1996), Some little while ago I recommended the Haitink version as vocally superior, Levine as the most compelling interpretation and the BBC SO Prom as a valuable memento of an occasion that many will doubtless want to revisit. Salonen's memorable reading was recorded live at tile Vienna Konzerthaus on November 8, 2011, and for those who care about broken spells, I'm happy to report that there is no spell-breaking applause at the end of the performance. I wasn't sure about Juliet Stevenson's Listen with Mother-style delivery of the spoken Prologue - too polite by half - but as soon as Salonen cues the score's reptilian first bars, just after the one-minute mark, you can sense both a tightening of tension and Salonen's natural grasp of Bartok's richly suggestive tone-poetry. Tomlinson himself tends to favour a dry, 'lowing' delivery, at times suspending vibrato. Try 3'11" into track 1, where he invites Judith to answer his request to join him; and when he repeats his invitation, he seems almost desperate - needlessly, as it happens, because Michelle DeYoung sounds more than willing. Thereafter, Salonen pushes for some fierce accents while keeping the undulating Prologue restlessly on the move. Tomlinson suggests real menace when he asks Judith why she made the visit (track 1, 8'54"); and when she hammers on the first door three minutes later, the Philharmonia Voices do their bit with a ghostly sigh. As the subsequent doors open, Salonen and his players take centre stage, the instruments of torture sounding almost graphic in their impact, before the pace dips and the sunrise temporarily breaks through. DeYoung is at her best as she glides effortlessly among the flora and fauna of Bluebeard's garden, while her lacerating C as the fifth door flies open to reveal Bluebeard's vast and beautiful kingdom is breathtaking. There's a very audible organ, too. The final climax is overwhelming because Salonen understands so well how the music must simultaneously rise to greet her and express Judith's tragedy. Sound-wise, the score's vast dynamic curve is truthfully reproduced and while I would unhesitatingly recommend this recording for the sake of Michelle DeYoung, Salonen and the Philharmonia, Sir John's post-prime Bluebeard, although rich in drama and theatrical presence, can't compare with the best of his former selves, most notably under Bernard Haitink, with Anne Sofie von Otter and the Berlin Philharmonic on EMI. For opera-in-English fans, the Farnes recording is pretty impressive, too. --Gramophone, Rob Cowan, July 2014
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Baden Powell - Images on Guitar (1971/2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Baden Powell
Title: Images on Guitar
Genre: Jazz, Bossa Nova, Brazilian Traditions, Samba, Brazilian Jazz, Soul Jazz, Latin Jazz, Vocal Jazz, Guitar jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: DSD64
Duration: 41:35
Recorded: October 25 & 26, 1971, MPS-Studio, Villingen, Black Forrest, Germany


Crowned with one of the most fanciful covers in the entire MPS catalogue, this October 1971 Baden Powell recording heralded in the second trilogy of the six LPs he recorded for the label between 1966 and 1975. Fueled by his artistic partnership with writer-producer Joachim Ernst Berendt (Berendt helped further Powell’s European career by inviting him to play at the Berlin Jazz Festival in 1967), Powell was without a doubt the most inventive Brazilian guitarist of the period. On this album Powell and his new quartet sketch the sound tableaus that color the background for French singer Janine Waleyne. The singer had partnered with the likes of Stan Getz and Michel Legrand. For Powell she was an ideal counterpart to his guitar playing. The journey begins with the sedate, almost somber samba “Até-Eu”. With its wandering nocturnal melancholy “Violão Vagabundo” follows a similar musical path. There’s a funky feel to the popular hit “Blues À Volonté”. It also harbors one of the most brilliant scat choruses to be heard between Rio, Paris, and Baden-Baden. The theatrical finesse of “Images” insures that virtuoso solo interludes shine between the vocal pieces. This is where we find the LP’s other famous pieces – the classy “Petit Waltz” with its capricious, careening rhythms in the second section, and “Conversação Comigo Mesmo” (conversation with myself), a fantastic hybrid of choro and baroque with a percussive foundation. The unpretentious serenade “Sentimentos” presents Powell as a profound lyricist; and “É De Lei” is a tongue-in-cheek celebration of chromatics. With its intensive dialogue between rock-oriented improvisation and a magical sensuousness, “Canto” closes out this richly colored album.
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Baden Powell - Images on Guitar (1971/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Baden Powell
Title: Images on Guitar
Genre: Jazz, Bossa Nova, Brazilian Traditions, Samba, Brazilian Jazz, Soul Jazz, Latin Jazz, Vocal Jazz, Guitar jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1971/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: highresaudio.com
Duration: 41:35
Recorded: October 25 & 26, 1971, MPS-Studio, Villingen, Black Forrest, Germany

Crowned with one of the most fanciful covers in the entire MPS catalogue, this October 1971 Baden Powell recording heralded in the second trilogy of the six LPs he recorded for the label between 1966 and 1975. Fueled by his artistic partnership with writer-producer Joachim Ernst Berendt (Berendt helped further Powell’s European career by inviting him to play at the Berlin Jazz Festival in 1967), Powell was without a doubt the most inventive Brazilian guitarist of the period. On this album Powell and his new quartet sketch the sound tableaus that color the background for French singer Janine Waleyne. The singer had partnered with the likes of Stan Getz and Michel Legrand. For Powell she was an ideal counterpart to his guitar playing. The journey begins with the sedate, almost somber samba “Até-Eu”. With its wandering nocturnal melancholy “Violão Vagabundo” follows a similar musical path. There’s a funky feel to the popular hit “Blues À Volonté”. It also harbors one of the most brilliant scat choruses to be heard between Rio, Paris, and Baden-Baden. The theatrical finesse of “Images” insures that virtuoso solo interludes shine between the vocal pieces. This is where we find the LP’s other famous pieces – the classy “Petit Waltz” with its capricious, careening rhythms in the second section, and “Conversação Comigo Mesmo” (conversation with myself), a fantastic hybrid of choro and baroque with a percussive foundation. The unpretentious serenade “Sentimentos” presents Powell as a profound lyricist; and “É De Lei” is a tongue-in-cheek celebration of chromatics. With its intensive dialogue between rock-oriented improvisation and a magical sensuousness, “Canto” closes out this richly colored album.
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Bad Company - Live 1977 & 1979 (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Bad Company
Title: Live 1977 & 1979
Genre: Rock, Hard Rock, Blues Rock
Label: © Rhino Entertainment
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 02:34:53

Despite its reputation as one of the most exciting live bands to ever rock an arena in the Seventies, Bad Company never released a live album during its meteoric rise to the top of the charts. That has changed as Rhino introduces the first-ever official live album to spotlight the original Bad Company line up: Paul Rodgers, Mick Ralphs, Simon Kirke and Boz Burrell.
The collection includes more than two-and-half hours of unreleased music taken from 24-track tapes in the band’s vault. The music heard on this live collection features absolutely no enhancements or overdubs, nothing but the band as they performed live on the night of the concert.
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Johann Sebastian Bach - Weihnachtsoratorium BWV 248 - La Petite Bande, Sigiswald Kuijken (2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: La Petite Bande, Sigiswald Kuijken
Title: Bach, J.S. - Christmas Oratorio BWV 248
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 2014
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 02:19:19
Recorded at Predikherenkerk, Leuven, Belgium, 11, 13-17 December 2013

The Christmas Oratorio is a series of 6 separate cantatas, collectively relating the story from Christmas through to Twelfth Night. Bach wrote the work in Leipzig in 1734 and 1735 for Christmas Day (I), Boxing day (II), the third day of Christmas (III), New Year (IV), the Sunday after New Year (V) and Twelfth Night (VI). As with the Passions, the texts here are drawn from three sources: (1) the evangelical texts (primarily Luke and Matthew) intoned by the Evangelist (tenor) as recitatives, (2) chorales from the Lutheran tradition and (3) free texts for arias and some choral passages, written by the poet Picander.
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Johann Sebastian Bach - The Brandenburg Concertos and Orchestral Suites - Bach Collegium Japan, Masaaki Suzuki (2009) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Johann Sebastian Bach (1685–1750)
Artist: Bach Collegium Japan, Masaaki Suzuki
Title: Bach, J.S. - The Brandenburg Concertos and Orchestral Suites
Genre: Classical
Label: © BIS Records
Release Date: 2009
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit (#20-43 - 88,2kHz/24bit)
Source: eClassical
Duration: 201:02
Recorded: June 2008 at the MUZA Kawasaki Symphony Hall, Japan (Brandenburg Concertos) and October 2003 at Kobe Shoin Women’s University, Japan (Orchestral Suites)


Bach Collegium Japan was first noticed internationally for undertaking the huge project of recording the complete church cantatas of J. S. Bach. Although the ensemble’s discography consists of predominately vocal works, the participating instrumentalists have attracted acclaim ever since the outset. On the present offering, it is Bach’s two great sets of orchestral works that form the programme and the choir of the BCJ is silent. Bach Collegium Japan and Masaaki Suzuki first recorded the Brandenburg Concertos in 2000, but now return to these great works. The new recording took place in the recently completed MUZA Kawasaki Hall, a venue that is highly suitable to an approach focussing on the chamber music qualities of this music. In four of the concertos Masaaki Suzuki has chosen to replace the traditional cello with the violoncello da spalla – a smaller instrument played horizontally on the shoulder or held against the breast. The instrument has already featured in the BCJ Cantata series, and opens for new possibilities in timbre, for instance in Concerto No. 6, where the violoncello da spalla blends particularly well with the two solo violas and the viola da gambas.
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Carl Philipp Emanuel Bach - Volume 2 - Ophelie Gaillard, Pulcinella Orchestra (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Carl Philipp Emanuel Bach (1714-1788)
Artist: Ophélie Gaillard, Pulcinella Orchestra
Title: Bach C.P.E. - Volume 2
Genre: Classical
Label: © Aparté/Little Tribeca
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:20:59
Recorded: 7, 8, 9 et 10 septembre 2015 à Paris église luthérienne de Bon Secours

After the success of their first volume Ophélie Gaillard and Pulcinella propose a second disc devoted to Johann Sebastian Bach's most talented and surprising son, Carl Philipp Emanuel (1714-1788). The Sinfonia in C major expresses multiple emotions, ranging from irrepressible suffering in the Adagio to joyous release and insouciance in the concluding Allegretto, tinged with near-Mozartian grace. The Cello Concerto in B flat reveals the influence of the waning Baroque era and Vivaldi in particular. The Sinfonia in E minor, nicknamed 'Fandango' and dating from his Berlin years, is commonly regarded as one of his finest symphonies. The particularly virtuosic Sonata for cello piccolo and keyboard shows to advantage the two soloists of this recording: Ophélie Gaillard and Francesco Corti, whose fieriness is further revealed in the Harpsichord Concerto in D minor.
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Johann Sebastian Bach - Testament (Complete Sonatas and Partitas for Solo Violin) - Rachel Barton Pine (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Rachel Barton Pine
Title: Testament - Bach, J.S.: Complete Sonatas and Partitas for Solo Violin
Genre: Classical
Label: © Avie Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 02:05:33
Recorded: 16–18 April, 28–30 May, 29 & 31 August 2015, St. Pauls United Church of Christ, Chicago


'Testament' is Rachel Barton Pine's very personal homage to the music of J. S. Bach, on which she performs the composer's complete Sonatas and Partitas for Solo Violin in the acoustic of her hometown St. Pauls Church in Chicago, where she first heard and fell in love with Bach's music.
Best-selling violinist Rachel Barton Pine's relationship with the music of Bach runs deep. She first heard and fell in love with Bach's music in her hometown St. Pauls Church in Chicago, which had a stained glass window of the composer in the sanctuary. That church is where Rachel first played Bach's music, at the age of four, and where she returned to record Bach's Six Sonatas and Partitas in its beautiful yet clear acoustic. Rachel says, "I'm so pleased to have recorded the Six Sonatas and Partitas in my favourite sound space for these works, the place that I consider to truly be my emotional home for playing them."
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