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Blue Oyster Cult - Blue Oyster Cult (1972/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Blue Öyster Cult
Title: Blue Öyster Cult
Genre: Rock, Hard Rock, Heavy Metal
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1972/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:36:42
Recorded: The Warehouse, New York, October 1971

Blue Öyster Cult is the eponymous debut studio album by the American hard rock band Blue Öyster Cult, released on January 16, 1972 by Columbia Records. The album featured songs such as "Cities on Flame with Rock and Roll", "Stairway to the Stars", and "Then Came the Last Days of May", all of which the band still plays regularly during its concerts. Despite positive reviews, the album failed to chart for some time before finally cracking the Billboard 200 on May 20, 1972, peaking at No. 172. Blue Öyster Cult toured with artists such as The Byrds, Alice Cooper and the Mahavishnu Orchestra to support the album.
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Blue Oyster Cult - Agents Of Fortune (1976/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Blue Öyster Cult
Title: Agents Of Fortune
Genre: Rock, Hard Rock, Heavy Metal
Label: © Columbia Records, a Division of Sony Music Entertainment
Release Date: 1976/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:36:30
Recorded: 1975–1976 at The Record Plant, New York City

Feted by heavy metal fans, this was a much broader album that put them in touch with AOR radio, and consequently took them out of their heavy rock ghetto. The ace in their tarot pack was the entrancing and enchanting 'Don't Fear The Reaper' - the greatest song that the original Byrds never wrote. Flowing and chiming it put the band in the pop charts with a song of rare quality and consequently pushed this album's sales. The other tracks struggle to compete with the Reaper, but there are moments, especially with 'The Revenge Of Vera Gemini,' on which Patti Smith narrates.
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Georg Anton Benda - Sinfonias - Prague Sinfonia Orchestra, Christian Benda (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Georg Anton Benda (1722-1795)
Artist: Prague Sinfonia Orchestra, Christian Benda
Title: Georg Anton Benda - Sinfonias
Genre: Classical
Label: © Sony Music Entertainment Switzerland GmbH
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:47:36
Recorded: November 18, 2014

Music in the family: Conductor Christian Benda interprets the music of his Bohemian ancestor Georg Anton Benda (1722-1795). This appealing cross section of the symphonies of Georg Anton Benda, who was highly respected by Mozart, which includes six rarely performed symphonies in three movements. All pieces performed by the Prague Sinfonia Orchestra and conducted by Christian Benda.
Christian Benda has performed worldwide to critical acclaim. He boasts numerous CD and TV recordings of the standard repertoire and an eclectic repertoire ranging from J S Bach's Musical Offering to twentieth century symphonic works. His recordings with soloists include works by Wagner and R Strauss with Cheryl Studer, Verdi with Simon Estes, Mozart with Barbara Hendricks, and Dvorak, Puccini and Previn with Renée Fleming. Christian Benda conducts melodramas with actors and directors of the Wiener Schauspielhaus, the Volkstheater, the Burgtheater (Vienna) and the Comédie Française (Paris). As a composer, he has created the concept of micro-opera, and his works have been premiered at the Vienna Konzerthaus and the Prague Smetana Hall. Invited to many of the European festivals, he works with a host of national orchestras; in particular he serves as the Chief Conductor and Artistic Director of the Prague Sinfonia Orchestra.
As part of the Czech National Day celebrations, Václav Havel – former president of the Czech Republic – became Honorary President of the Prague Sinfonia Orchestra during a gala concert at the Czech National House in New York City with Christian Benda as Chief Conductor and Artistic Di rec tor. The Prague Sinfonia embodies the Velvet Revolution's spiritual, cultural and social renewal through symphonic performance and owes its existence to Václav Havel's ideas. Its discography includes the complete Schubert overtures in two CDs and all of Rossini's overtures in four volumes. A recording of the solo repertoire with the violinist Fabrizio von Arx has recently been released on RCA Red
Seal, including works by Saraste and Bruch. This recording of Benda's Sinfonias, as well as an earlier CD of Philidor's overtures, showcases the Prague Sinfonia Orchestra's inter pretative approach with the focus on the music of the classical period.
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Antonin Dvorak - Symphony No. 2; 3 Slavonic Dances - Bournemouth Symphony Orchestra, Jose Serebrier (2013) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Antonín Dvořák (1841–1904)
Artist: Bournemouth Symphony Orchestra, José Serebrier
Title: Dvořák - Symphony No. 2; 3 Slavonic Dances
Genre: Classical
Label: © Warner Classics
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:05:21
Recorded: Lighthouse, Poole, 3 & 4 June 2013

This recording of Dvorák: Symphony No.2 plus Slavonic Dances from José Serebrier and the Bournemouth Symphony Orchestra is the fourth volume in a projected series of Dvorák’s complete symphonies.
Written in a period spanning three decades, Dvorák nine symphonies had their numbering changed some fifty years after his death. The first four symphonies remained unpublished for many years, while the last five had been published during Dvorák‘s lifetime as Nos.1–5. Thus the famous No.9, “From the New World”, first appeared as No.5, and the D major, No.6, was introduced as No.1. These numbers remained in place until the middle of the last century, when the nine symphonies were at last renumbered according to their true chronology.
The Symphony No.2 in B flat major, op.4 was composed by Antonín Dvorák between August and October 1865. Dvorák sent the score to be bound, and the legend goes that he was unable to pay the binder, who thus decided not to return the score. The symphony finally had its world premiere in 1888 — its sole performance during the composer’s lifetime. It was conducted by Adolf Cech, who had previously conducted the premieres of Dvorák’s Symphonies 5 and 6.
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Beethoven: Symphony No. 3; Schubert: Symphony No. 8 - Les Dissonances, David Grimal (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Ludwig van Beethoven (1770-1827), Franz Schubert (1797-1828)
Artist: David Grimal, Les Dissonances
Title: Beethoven - Symphony No. 3; Schubert - Symphony No. 8
Genre: Classical
Label: © Dissonances Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 01:09:28
Recorded: Beethoven - Opéra de Dijon, 20 December 2012; Schubert - Cité de la musique, Philharmonie de Paris, 19 December 2013

Symphony no.3 in E flat major op.55, ’Eroica’: During the summer of 1802 in Heiligenstadt, Beethoven sketched, among other works, his Third Symphony, the composition of which took him a year. On 26 August 1804, he wrote to his publisher Härtel to announce the dispatch of ‘a new grand symphony’: ‘The title of the symphony is really Bonaparte . . . – I think that it will interest the musical public.’ Beethoven had long passionately admired the Consul Bonaparte, but he was to hate the Emperor Napoleon I equally passionately when he learnt of his coronation on 2 December 1804. His pupil Ferdinand Ries portrays the scene: ‘He ew into a rage and cried out: “He too is nothing but an ordinary man!” . . . He went to the table, seized the title page from the top, tore it up completely and threw [the score] on the floor.’ And so the work became a ‘Heroic Symphony to celebrate the memory of a great man’, acquiring the subtitle ‘Eroica’ for posterity.
At the first performance on 7 April 1805, the work impressed the audience with its extraordinary dimensions for the time in terms of duration and breadth, especially the opening Allegro con brio in sonata form, the recapitulation of which is announced by a dramatic dissonance between the strings and the horns. The Marcia funebre widens the palette for the expression of feeling, from the affliction of the theme in the minor mode to the brighter mood generated by the modulations into the major. The Finale is no longer content to play the role of a brief, lively conclusion, but leads us through a rich itinerary of variations on a theme that Beethoven took from his ballet Die Geschöpfe des Prometheus (The Creatures of Prometheus). Yet the first listeners rejected the work, which they deemed too long and muddled, reproaching it for the very thing that has subsequently gained it its renown: for disturbing the ambient Classicism and throwing the gates of the Romantic era wide open.
Symphony no.8 in B minor D759, ’Unfinished’: In 1823, Franz Schubert (1797 - 1828) received the Diploma of Honour from the Styrian Music Society of Graz. In return, he sent his friend Josef Hüttenbrenner, a member of the society, a new work dedicated to it and dated 30 October 1822. Passing from Josef’s hands to those of his brother Anselm, the manuscript lay forgotten in a bottom drawer until it resurfaced in March 1860. Josef Hüttenbrenner mentioned in a letter to the musician Johann Herbeck that his brother ‘possessed a treasure in Schubert’s in B minor symphony, which we consider the equal of the great C major Symphony, his instrumental swansong, and of any of Beethoven’s symphonies – only it is unfinished’. It is to Herbeck that we owe the resurrection of the work and its first performance in 1865.
Only two movements of this symphony have come down to us completely orchestrated. The scherzo is known in its entirety thanks to a piano sketch of the symphony. All that has survived of its orchestration are the nine bars found in the Graz manuscript, between the end of the Andante and four blank pages, and the eleven additional bars rediscovered in 1960 by the musicologist Christa Landon. These twenty bars break o abruptly; they are performed in the present recording by Les Dissonances. The piano sketch reveals that Schubert had planned to write at least the complete scherzo and the start of a trio. But we have no idea of the reasons that prompted him to complete the orchestration of the two first movements only.
It is very likely that the intimidating shadow of Beethoven bulked large in his preoccupations. Aged twenty- five when he wrote the symphony, Schubert was then a fast-rising composer who fully intended to blaze new trails. Though he set out to experiment with large-scale form, the only significant achievement of this kind he completed in the symphonic genre was the ‘Great C major’ Symphony (no.9). But, thanks to this approach, he pushed back the frontiers of Classical forms in his quartets and piano sonatas. And that same quest is the driving force behind the ‘Unfinished’ Symphony, which also offers us the magical privilege of glancing through the sketchbook of a genius. The ambition and maturity of the works of this period left behind by a composer who died aged just thirty-one allow us to imagine what his creative trajectory and his legacy might have been had he lived ten, twenty, thirty years longer, opening the way for Johannes Brahms and Anton Bruckner.
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Beethoven, Schumann, Francaix - Equal - Sebastian Bohren, Chaarts Chamber Artists (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827), Robert Schumann (1810-1856), Jean Françaix (1912-1997), Wolfgang Amadeus Mozart (1756-1791)
Artist: Sebastian Bohren, Chaarts Chamber Artists
Title: Equal - Beethoven: Violin Concerto, Op. 61; Schumann: Fantasia, Op. 131; Françaix: Nonetto
Genre: Classical
Label: © RCA Red Seal / Sony Music Entertainment Switzerland GmbH
Release Date: 2010
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:17:37

A singular combination of Beethoven's only violin concerto (most recently recorded for SONY by Lisa Batiashvili in 2007) with Schumann's "Fantasy For Violin & Orchestra" Op. 131. The Fantasy was lauded at its premiere but today it is rarely seen on concert programs. In a letter dated June 2nd, 1853 and accompanied by a score of Beethoven's Violin Concerto - the link to our recording -, Joachim requested Schumann to write a Fantasy for the violin. A few months later in September, within a few short days, Schumann had sketched the Fantasy and sent it to Joachim for review. Joachim performed the Fantasy at the Schumann's home on September 28th and premiered it in Düsseldorf on October 27th with the orchestra under the baton of Schumann himself. The following year, on January 21st, Joachim performed the Fantasy again. On the same program, Schumann's wife Clara also performed Beethoven's Piano Concerto in E-flat major. It would be the last time Schumann heard both of them perform.
French composer Jean Françaix (1912-1997) has been an admirer of Wolfgang Amadeus Mozart's genius. He arranged Mozarts Quintet K. 452 for four woodwind instruments and piano for oboe, horn, clarinet, bassoon and string quintet. This particular version allows all the soloists from CHAARTS, to showcase their individuals skills.
With his sensitive and expressive playing, 27 year old Swiss violinist Sebastian Bohren ranks among the most promising talents of his generation. The musician has given solo performances in the Vienna Konzerthaus, the Munich Residenz, the Tonhalle Zurich and the KKL Lucerne. He has played with orchestras such as the Zurich Chamber Orchestra, Lucerne Symphony Orchestra, Camerata Zürich, Chamber Aartists, Lucerne Chamber Orchestra, and the St. Petersburg State Orchestra. Sebastian Bohren plays a Stradivarius (King George 1710) generously lent to him by the Habisreutinger Foundation.
CHAARTS – an ensemble of excellent chamber musicians and the best principal musicians from renowned Swiss orchestras such as the Tonhalle Orchestra, the Sinfonieorchester Basel or the Orchèstre de la Suisse Romande. CHAARTS perform mainly WITHOUT conductor, which means, that every musician has to be extremely attentive and concentrated when he interacts with the other musicians or with soloists. The result are extraordinary interpretations – both exciting and discreet.
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Andrew Bird - Are You Serious (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Andrew Bird
Title: Are You Serious
Genre: Pop Rock, Alternative/Indie Rock, Indie Folk
Label: © Loma Vista Recordings
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:50:05
Recorded: Fairfax Studio, Zeitgeist Studio

Andrew Bird has always been highly respected and has held a captive audience with his story telling prowess, but it’s with his new album, Are You Serious, that he has made a breakthrough record. Produced by Tony Berg, the album propels him into a new category of American songwriters. It’s his most direct lyrically to date with key contributions from Fiona Apple and Blake Mills.
Three years ago while traveling west to California to start a new life with his wife and young child they stopped at the family farm in rural Illinois for two weeks to catch their breath. The previous two years had been intense to say the least: raising a child in New York City as his wife battled a serious illness. With these dark days behind them he spent the next seven days on the front porch writing the lyrics for what became Are You Serious. It’s a breakthrough for him in that it gets to the quick of the matter. This is the record he needed to make right now and is certain to put him in the leading class of American songwriter.
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Anna Garano, Anais Tekerian - Ansahman (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Anna Garano, Anais Tekerian
Title: Ansahman
Genre: Folk, World, Vocal Music, Jazz Folk, Armenian Tradition
Label: © Fonè Records/Audiophile Productions
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:40:02
Recorded and mixed by Kamilo Kratc; Mastered by Giulio Cesare Ricci

Anna Garano, classical and Flamenco guitarist from Trieste, Italy, has arranged a repertoire of Armenian songs for voice and guitar. Here in New York at Alwan she is joined by Anaïs Alexandra Tekerian, one third of the acclaimed Armenian a cappella trio Zulal, in this lyrical, poignant fusion of Flamenco and vocals of the Old World.
In light of the upcoming 100th anniversary of the Armenian Genocide, Anna and Anaïs will present a selection of Armenian songs of love and idealization, of loss and despair, of questioning and hope.
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Buddy Greco - From the Wrists Down (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Buddy Greco
Title: From the Wrists Down
Genre: Pop, Jazz Pop, Traditional Pop, Easy Listening, Bossa Nova, Piano Jazz
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 31:46
Recorded: 1965

Known by his colleagues as a "singer's singer" and a "musician's musician," Buddy Greco has sold more than one million records. He is well-known for releasing songs from every genre, from jazz to country to pop music. He has performed on stage, on film and on television.
Born Armando Greco in Philadelphia, Buddy Greco began singing and playing the piano at the age of four. He used his talents performing on the radio. By the age of 16 Buddy Greco had more than a decade of musical experience behind him. He was playing in the nightclub Philadelphia's Club 13 when he was spotted by Benny Goodman. Bandleader Benny Goodman was impressed by Buddy Greco's talents and hired him as a pianist, a singer and an arranger. At the age of 16 Buddy Greco was traveling the world with one of the most popular big bands of the '30s, the Benny Goodman Band. He stayed with the band for four years.
At the ripe age of 20 Buddy Greco decided to pursue a solo professional music career. He began singing and performing in nightclubs and concerts. Some of his hit recordings include the popular favorites "Oh Look at Her, Ain't She Pretty," "The Lady Is A Tramp" and "Around the World." During his musical career he has made more than 65 albums including an album of he and the London Symphony Orchestra, in which he conducted and played.
In the '60s Buddy Greco's music career had been very successful. He appeared with the popular '60s rock group the Beatles in a performance for Queen Elizabeth the second. It was also in the '60s when Buddy Greco seriously began a career in film and television. In 1967 he was a regular performer on the TV series Away We Go. This nationwide television program gave Buddy Greco enormous exposure as a talented singer and pianist. He followed this series with a part in the 1969 film, The Girl Who Knew Too Much. His talents have taken him to great heights recording more than 100 hit singles. During the '70s and '80s, Buddy Greco concentrated on recording and performing. His hits included jazz, country and pop music. Audiences are astounded at the many styles of Buddy Greco.
Even after more than four decades of performing, Buddy Greco still remains one of the most widely-known singers of his time. In the early 90s he toured with "The Salute to the Benny Goodman Band." The ensemble performed 72 shows, each garnering a standing ovation. He performed for two years at The Desert Inn Hotel in Las Vegas and in 1996 ended two world tours at Café Royale in London.
With all his musical credits, Buddy Greco is an inductee of the Philadelphia Music Alliance's Walk of Fame and has entries in both the Encyclopedia of Great Musicians and the Encyclopedia of Great Jazz Singers and Musicians. Buddy Greco's musical abilities live on in his more than 60 albums and more than 100 hit singles. He writes and records scores for film and television. --Artist Biography by Kim Summers
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Fairground Saints - Fairground Saints (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Fairground Saints
Title: Fairground Saints
Genre: Pop Rock, Country Folk, Indie Folk, Alternative/Indie Rock
Label: © The Verve Music Group, a Division of UMG Recordings, Inc.
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 47:04
Recorded by Gabe Veltri and Csaba Petocz at EastWest Studios, Hollywood, CA and Matthew Wilder at HP Studios, Malibu, CA

This self-titled debut album from Los Angeles roots trio Fairground Saints is packed with warm and wistful sounds that play off the delicate contradictions at the heart of the music. The band consists of singer and guitarist Mason Van Valin, Elijah Edwards on vocals, guitar, mandolin, keyboards, Dobro and accordion and Megan McAllister on vocals, guitar and dulcimer, each sharing songwriting duties. For this debut, the group shook off all inhibitions and took a playful approach to the writing and recording, allowing the three members to hold true to their vision of creating "a very love driven album.” There’s no filter on the emotion coming through in the songs, all based in visceral feeling, with lyrics as real as any conversation with an ex-girlfriend or boyfriend. Produced by Matthew Wilder (No Doubt, Christina Aguilera), the album showcases the trio's elegant melodies and lush three part harmonies.

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