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Terje Rypdal - Odyssey: In Studio & In Concert (2012) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Terje Rypdal
Title: Odyssey: In Studio & In Concert
Genre: Jazz, Avant-Garde Jazz, Jazz Rock, Third Stream, Guitar Jazz, Modern Creative
Label: © ECM Records GmbH | ECM Reviews
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 02:35:12
Recorded: Odyssey recorded August 1975 at Arne Bendiksen Studio, Oslo; Unfinished Highballs recorded June 1976, Swedish Radio Estrad, Södertälje

Terje Rypdal‘s Odyssey: In Studio & In Concert is a very special release. It includes not only the complete Odyssey album (recorded 1975) in high-resolution audio (Studio Master) for the first time (restoring the long track Rolling Stone to its rightful place), but also a full disc of previously unreleased material on which Terje Rypdal s Odyssey band is augmented by the Swedish Radio Jazz Group in a 1976 live performance of Rypdal s suite Unfinished Highballs.
In the liner notes, Rypdal tells John Kelman, Odyssey was my first major band, and the music was different too because, more and more, I was writing music in two layers one thing going on with the bass and drums, and rubato playing layered over the top. It was the first time I d to connect with a band, more about writing together with improvisation. It was a challenge; I was trying to bring together the composer and the player. Rypdal s ideas of form and freedom are beautifully sculpted and registered in Manfred Eicher s widescreen production.
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Thomas Tallis - Ave, rosa sine spinis & other sacred music - The Cardinall's Musick, Andrew Carwood (2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Thomas Tallis (c1505-1585)
Artist: The Cardinall's Musick, Andrew Carwood
Title: Tallis - Ave, rosa sine spinis & other sacred music
Genre: Classical, Choral
Label: © Hyperion Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: hyperion-records
Duration: 73 minutes 41 seconds
Recorded: November 2013, Fitzalan Chapel, Arundel Castle, United Kingdom

The Cardinall’s Musick and their inspirational director Andrew Carwood present a further volume of their Gramophone-Award-winning series of Tallis’s sacred music.
This new album contains some of the most sublime music of the entire period, performed with The Cardinall’s Musick’s familiar committed, full-blooded and beautiful singing. In including both Tallis’s English and Latin settings, it demonstrates the composer’s mastery of the changing edicts imposed on him from above in this turbulent time.
Informative and scholarly booklet notes by Andrew Carwood place the music in its historical and liturgical context.
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Robert Schumann - The Violin Sonatas - Ulf Wallin, Roland Pontinen (2011) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Robert Schumann (1810-1856)
Artist: Ulf Wallin, Roland Pontinen
Title: Schumann - The Violin Sonatas
Genre: Classical
Label: © BIS Records
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: eClassical
Duration: 74:06
Recorded: Juli 2009

Music Web International March 2012: "With highly impressive playing, sound and presentation it is hard to find fault with this excellent release".
Robert Schumann's three Sonatas for violin and piano were all composed between 1851 and 1853. They – especially No.3 – have to some extent suffered from the same neglect and incomprehension that has been the fate of other works from this period in the composer's life, only a few years before he died in a mental institution. During the same years a number of other works for the violin saw the light, including the Violin Concerto and the Fantasy for violin and orchestra. The concertante works were written for the violinist Joseph Joachim, but it may have been a letter from Ferdinand David, concert master of the Leipzig Gewandhaus Orchestra, that provided the initial impulse to compose chamber works for the violin: ‘I am uncommonly fond of your Fantasiestücke for piano and clarinet; why don’t you write something for violin and piano? … How splendid it would be if you could write something of that kind, that your wife and I could play for you.’ Here the performers are Ulf Wallin and Roland Pöntinen, a team who recorded their first disc for BIS in 1991, and whose partnership has been described as 'masterfully cultivated ensemble playing' on website ClassicsToday.com. Wallin's credentials in Schumann must also be regarded as firmly established, after his recently released recording of the violin concerto, the Fantasy and the arrangement for violin of the cello concerto. The reviewer in Daily Telegraph found it 'hard to imagine more sympathetic and insightful performances of these wonderful pieces’, and his colleague on the German website Klassik-Heute agreed, describing Wallin as 'violinistically brilliant and musically perceptive'
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Robert Schumann - Complete Symphonic Works, Vol. VI - WDR Sinfonieorchester Koln, Heinz Holliger (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Robert Schumann (1810-1856)
Artist: WDR Sinfonieorchester Köln, Heinz Holliger
Title: R. Schumann: Complete Symphonic Works, Vol. IV
Genre: Classical
Label: © Audite Musikproduktion
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: audite.de
Duration: 01:16:01
Recorded: Philharmonie Köln, April 12-16, 2010, March 2-5, 2015 (Overture ‘Manfred’ & Symphony ‘Zwickauer’)

Concluding audite's Schumann edition, this CD combines the first symphony with the late overtures, whose compactness displays the composer's symphonic mastery.

The overtures, all written after 1847, represent an essential complement to the symphonies: seen in relation to the symphonies, they take a similar position as do the Konzertstücke relative to the concertos. Schumann conceived them partly as preludes to operas, oratorios or incidental works, partly as independent pieces. On the one hand, they were intended to provide "an image of the whole"; on the other, their purpose was to introduce, leading into the drama. Beside larger- and smaller-scale vocal works, and alongside the poetic renewal of the symphony, they bear testimony to the great significance of literature in Schumann's musical thought and style.

The overtures are supplemented with Schumann's first symphony, the so-called "Zwickau". It was the composer's first attempt in the symphonic form to be performed publicly, even though the work remained incomplete.
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Robert Schumann - Complete Symphonic Works, Vol. III - Oren Shevlin, WDR Sinfonieorchester Koln, Heinz Holliger (2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Robert Schumann (1810-1856)
Artist: Oren Shevlin, WDR Sinfonieorchester Köln, Heinz Holliger
Title: R. Schumann: Complete Symphonic Works, Vol. III
Genre: Classical
Label: © Audite Musikproduktion
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44.1kHz/24bit
Source: audite.de
Duration: 00:52:58
Recorded: Köln, Philharmonie, April 8-11, 2013

eaturing the Cello Concerto and the second version of the D minor Symphony, this CD presents two major works that Schumann composed and revised during his time as music director in Düsseldorf. In both works, the movements of the classical model merge into one another without interruption. By transforming themes and musical codes he creates a stream of thought and coherence akin to the course of a narration or abstract theatre. His original version of the D minor Symphony of 1841 was pioneering in its literarisation of musical form. When he began revising it in 1851, the first Symphonic Poems of Franz Liszt had been performed: they aspired to a greater fusion of music and literature. In his revision of the D minor Symphony, Schumann discreetly reinforced the traditional symphonic elements of the work. The obvious references to Mendelssohn in his Cello Concerto suggest that he regarded multi-part forms as "narrations without words", or as "bigger siblings" of the "songs without words". According to Schumann, neither genre required explanation via a literary programme.

The original version of the D minor Symphony is included in the first volume of this series. Both versions, whose relationship remains an object of divisive discussion to the present day, can therefore be compared to one another.

Holliger's interpretations draw on a life-long study of Schumann's oeuvre, thought, personality and fate. Holliger's approach imparts lightness and lucidity to these opulent scores thanks to a hierarchical balance of parts, delicately graded dynamics and invigorating tempi. The widespread image of this romantic composer as a weak orchestrator is thus refreshingly rectified.
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Robert Schumann - Complete Symphonic Works, Vol. II - WDR Sinfonieorchester Koln, Heinz Holliger (2014) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Robert Schumann (1810-1856)
Artist: WDR Sinfonieorchester Köln, Heinz Holliger
Title: R. Schumann: Complete Symphonic Works, Vol. II
Genre: Classical
Label: © Audite Musikproduktion
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: audite.de
Duration: 01:06:50
Recorded: Köln, Philharmonie January 23-27, 2012 (Symphony No.2), March 19-23, 2012 (Symphony No.3)

With this CD, audite is presenting the second volume of the complete recording of Robert Schumann's orchestral works. The series includes all the symphonies (with both versions of the Fourth) as well as all the overtures and concertos.

The Second and Third Symphonies, according to the usual numbering, passed through contrasting histories of reception. Whereas the 'Rhenish' remained relatively popular, the C major Symphony was received by contemporaries as trend-setting, but receded into the background from the late nineteenth century onwards. At this time, criticism was primarily levelled at its instrumentation, which had still been praised after its premiere. Heinz Holliger and the WDR Symphony Orchestra have recorded the works with an orchestra of the same size that was available to Schumann. In so doing, they not only uncover the sonic ideal of the composer, but also its consistent and convincing realisation.

Holliger's performances draw on a lifetime study of Schumann's music, thought, personality and fate. His approach imparts lightness and lucidity to these opulent scores through a hierarchical balance of parts, delicately gradated dynamics and invigorating tempos. The widespread image of this romantic composer as a weak orchestrator receives a refreshing and well-grounded correction.
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Robert Schumann - Complete Symphonic Works, Vol. I - WDR Sinfonieorchester Koln, Heinz Holliger (2013) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Robert Schumann (1810-1856)
Artist: WDR Sinfonieorchester Köln, Heinz Holliger
Title: R. Schumann: Complete Symphonic Works, Vol. I
Genre: Classical
Label: © Audite Musikproduktion
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: audite.de
Duration: 01:12:09

This CD launches a complete series of recordings of Robert Schumann's orchestral works, performed by the WDR Symphony Orchestra under the baton of Heinz Holliger. The series will contain all the symphonies (including both versions of the Fourth) as well as all the overtures and concertos. Holliger's performances draw on a lifetime study of Schumann's music, thought, personality and fate. His approach imparts lightness and lucidity to these opulent scores through a hierarchical balance of parts, delicately gradated dynamics and invigorating tempos. The widespread image of this romantic composer as a weak orchestrator receives a refreshing and well-grounded correction.
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Stan Getz, Charlie Byrd - Jazz Samba (1962/2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Stan Getz, Charlie Byrd
Title: Jazz Samba
Genre: Jazz, Bossa Nova, Brazilian Jazz, Brazilian Traditions, Samba, World Fusion
Label: © Verve Records/Analogue Productions XVRJ8432D64
Release Date: 1962/2011
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:33:32
Recorded: Pierce Hall, All Souls Unitarian Church, Washington D.C., February 13, 1962


Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The words "bossa nova" are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer Joao Gilberto and songwriter Antonio Carlos Jobim - an adaptation of infectious Brazilian samba rhythms with the harmonic structures and "cool" surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was Jazz Samba - the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America.
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Stan Getz, Joao Gilberto feat. Antonio Carlos Jobim - Getz/Gilberto (1964/2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Stan Getz, João Gilberto feat. Antônio Carlos Jobim
Title: Getz/Gilberto
Genre: Jazz, Bossa Nova, Brazilian Jazz, Mainstream Jazz, World Fusion
Label: © Verve Records/Analogue Productions XVRJ8545D64
Release Date: 1964/2011
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:33:50
Recorded: March 18–19, 1963 at A&R Recording Studios, New York City


Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The original master tapes for this title had not been used since 1980 previous to this reissue. Also, for this Analogue Productions reissue the decision was made to master and present this album as it was originally mixed to master tape. With very few exceptions all versions of this title to date, including the original, have had the channels incorrectly reversed. With this version, you'll hear this title as it was intended to be heard, without the channels reversed. And again, those reissues you've heard up until now - definitely still breathy, warm and rich - were made from something less than the master. Prepare to hear the veil removed
Astrud Gilberto says that her husband, Joao, informed Stan Getz that she "could sing at the recording." Creed Taylor recalls that it took Getz's wife, Monica, to get both Astrud and Joao into the recording studio; Mrs. Getz had a sense that Astrud could make a hit. And Getz himself is on record saying that he insisted on Astrud's presence over the others' objections. So who's right? What does it matter? The Gilbertos, Getz and the legendary Antonio Carlos Jobim followed up the bossa nova success of Jazz Samba with this, the defining LP of the genre. With one of the greatest hit singles jazz has ever known - each one who hears it goes "Ahhh!"
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Sviatoslav Richter at Carnegie Hall, New York City, December 23, 1960 - A Beethoven Recital (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Sviatoslav Richter
Title: Sviatoslav Richter at Carnegie Hall, New York City, December 23, 1960 - A Beethoven Recital
Genre: Classical
Label: © Sony Music Entertainment
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:46:13
Recorded: Carnegie Hall, New York City, December 23, 1960

GREAT MOMENTS AT CARNEGIE HALL :: Ever since its opening night in May 1891 Carnegie Hall has held sway as the undisputed shrine of classical music in America. It was and remains the essential venue for all great artists. To celebrate Carnegie Hall's 125th anniversary Sony Classical in cooperation with Carnegie Hall is proud to present an extraordinary new 43-CD box set of treasures from the RCA and Columbia archives featuring live recordings from many of the world's greatest musicians. This unique deluxe edition contains a complete previously unreleased piano recital by Sviatoslav Richter and is accompanied by a 104-pages coffee table book which contains notes by Carnegie Hall archivist Gino Francesconi as well as many facsimile documents and photographs.
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