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Beethoven, Brahms - Triple & Double Concertos - Geza Anda, Wolfgang Schneiderhan, Pierre Fournier, Janos Starker, Radio-Symphonie-Orchester Berlin, Ferenc Fricsay (1961/1962/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig Van Beethoven (1770-1827), Johannes Brahms (1833-1897)
Artist: Géza Anda, Wolfgang Schneiderhan, Pierre Fournier, Janos Starker, Radio-Symphonie-Orchester Berlin, Ferenc Fricsay
Title: Beethoven, Brahms - Triple & Double Concertos
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:11:23
Recording date: #1-3 in June 1960, #4-6 in June 1961
Recording Location: Jesus Christ Church, Berlin, Germany


Fricsay conducts concertos by Beethoven and Brahms: Friendship is the connecting link between the two works here. Beethoven is thought to have written his Triple Concerto in 1803 – 04 for his favorite pupil, the Archduke Rudolph. Brahms composed his Double Concerto in 1887 as a peace offering, to heal a breach with his friend the violinist Joseph Joachim. It seems to have done the trick; and it was canny of Brahms, who conducted the first performance (Cologne, October 1887), to have the cellist of the Joachim Quartet, Robert Hausmann, sharing solo hon- ours – it would have been difficult for Brahms and Joachim to have a row with a third party present. I do not know how friendly the soloists on these two famous recordings were, but I recall what a strong “house style” manated from Deutsche Grammophon productions in the 1950s and early 1960s.
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Beethoven 5, Schubert 7 - Deutsches Symphonie-Orchester Berlin, Yutaka Sado (2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig Van Beethoven (1770-1827), Franz Schubert (1797–1828)
Artist: Deutsches Symphonie-Orchester Berlin, Yutaka Sado
Title: Beethoven 5, Schubert 7
Genre: Classical
Label: © Avex Classics
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-onkyo
Duration: 01:00:40
Recorded: February 2014, The Church of Jesus Christ, Berlin

佐渡 裕、ついに『運命』に挑む!
最高の録音環境を得て、西洋音楽の伝統の頂上を目指す意欲作の誕生!
佐渡 裕が満を持して挑んだ究極の『運命』『未完成』!
重厚なドイツのサウンドを現代に受け継ぐ名門ベルリン・ドイツ交響楽団をベルリン、イエス・キリスト教会で指揮し、名だたる過去の名盤に正攻法で挑んだ話題盤!
圧倒的な興奮と感動、そして天上的な美しさを併せ持つ新たなる名盤の誕生!
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Ludwig van Beethoven - Symphony Nos. 4 & 6 - Budapest Festival Orchestra, Ivan Fischer (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Beethoven - Symphony Nos. 4 & 6
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: ISO SACD
Duration: 01:18:35
Recorded: February 2010, Palace of Arts, Budapest, Hungary


'Two fundamentally different symphonies: both works explore feelings from an entirely different point of view. The Fourth is about human feelings and moods: obsession, love (what a melody in the second movement!), happiness, fun, wit, (Beethoven's most humorous finale!). The Sixth is about feelings that nature awakens in us: calmness, meditation, thankfulness. It has been an especially creative process to work on these masterpieces. We discovered that the Fourth Symphony sounds better with natural horns and trumpets. In the Pastorale we used a different seating arrangement, with the winds scattered among the strings, so that each soloist was surrounded by musicians playing the flow of Beethoven's nature music. After the storm, when we hear the first tentative call of the clarinet, answered by the horn from a different mountain, as it were, we found it appropriate to use a solo violin, which is gradually joined by the whole orchestra.' --Iván Fischer
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Ludwig Van Beethoven - Symphony No.9, Overtures Egmont & Leonore III - Berliner Philharmoniker, Ferenc Fricsay (1958/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig Van Beethoven (1770-1827)
Artist: Berliner Philharmoniker, Ferenc Fricsay
Title: Beethoven: Symphony No.9, Overtures Egmont & Leonore III
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:31:47
Recording date: 12/1957, 1,4 & 9/1958
Recording Location: Jesus-Christus-Kirche, Berlin, Germany


This is simply one of the greatest, most deservedly legendary recordings of Beethoven's 9th Symphony ever offered to the public. Tempos and dynamics vary widely, with Fricsay always considerate of the works many thematic challenges. His handling of the subtle rhythmic gradations of the Molto vivace is peerless and prepare yourself for one of the most exhilarating Allegro assai finales this side of Toscanini. With a line up of soloists including Irmgard Seefried, Maureen Forrester, Ernst Haefliger, and Dietrich Fischer-Dieskau all in their vocal prime as well, it simply doesn't get any better than this. Deutsche Grammophon's rich well-balanced sound is very good for it's vintage. No matter how many performances of this frequently recorded masterpiece you may already own, don't miss Fricsay's!
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Ludwig van Beethoven - Symphony No. 3, Leonore Overture - London Symphony Orchestra, Bernard Haitink (2006) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770–1827)
Artist: London Symphony Orchestra, Bernard Haitink
Title: Beethoven - Symphony No. 3, Leonore Overture
Genre: Classical
Label: © London Symphony Orchestra
Release Date: 2006
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:04:19
Recorded live on 16, 17 and 21, 22 November 2005 at the Barbican, London


Much is made of the revolutionary nature of Beethoven’s Third Symphony. It marked the transition to a more complex symphonic world for the composer, and simultaneously embodied his admiration for the ideals of the French revolution: the symphony’s one-time dedicatee was Napoleon Bonaparte.
Napoleon had to be erased from the symphony’s title page once his overweening imperial ambition became known. It also suited Beethoven to ditch the reference, given that he could then earn a royal patron’s fee from another quarter (the ultimate dedicatee is Prince Joseph Franz Maximilian Lobkowitz). The concept of the third symphony as something ‘heroic’ nonetheless remained, and its published title became the ‘Sinfonia eroica’ instead of ‘the Bonaparte’.
The work is rightly admired for its ground-breaking attributes, formal innovations and harmonic shocks, but this particular recording has another revolutionary dimension. No stranger to Beethoven symphonies, Bernard Haitink took a completely new approach to this cycle, adopting more daring Beethovenian tempi as well as reining in the customarily full sound of the symphony orchestra to something sparer. The rhythmic audacity and percussive qualities of the work are that much clearer as a result, the reading nimbler. If Napoloen was the hidden hero of the symphony, the time in which he lived feels that much closer with this fabulously vigorous interpretation.
Beethoven’s opera ‘Fidelio’ was subject to revision a number of times and the composer wrote a total of four overtures for it. Only one of them became the official Fidelio overture, the other three bearing the title ‘Leonora”, an allusion to the opera’s heroine. Leonora Overture No. 2 was written for the performance of Fidelio in 1805, not quite two years after the completion of the Eroica. It makes an interesting foil for the symphony. --James Mallinson, LSO Live Producer
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Ludwig van Beethoven - Piano Concerto No. 2 - Maria Joao Pires, London Symphony Orchestra, Bernard Haitink (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770–1827)
Artist: Maria João Pires, London Symphony Orchestra, Bernard Haitink
Title: Beethoven - Piano Concerto No. 2
Genre: Classical
Label: © London Symphony Orchestra
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:30:53
Recorded live in DSD 64fs, 17 & 21 February 2013 at the Barbican, London


The LSO join forces with revered conductor Bernard Haitink and the celebrated pianist Maria João Pires in this revelatory recording of Beethoven’s Piano Concerto No.2. Haitink and the LSO’s previous Beethoven recordings have been hailed as landmark interpretations, and this new addition is sure to be welcomed into the catalogue. BachTrack described the performance as ‘music-making of the highest quality.’
Piano Concerto No 2 was composed during the 1790s when the young Beethoven was seeking to establish himself as a virtuoso pianist and composer. Subject to various revisions, the work was not published until 1801, by which time he had also published his Piano Concerto No 1.
The three-movement work opens with triumphant orchestral statements, which appear throughout the first movement and provide much of its flavour and developmental force. The music that follows is full of drama and contrast, showing off the soloist’s skill and displaying the young Beethoven at his best.

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Bartok, Prokofiev, Hindemith - Solo 2 - Ning Feng (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Béla Bartók (1881-1945), Sergey Prokofiev (1892-1953), Paul Hindemith (1895-1963)
Artist: Ning Feng
Title: Bartók, Prokofiev, Hindemith - Solo 2
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2013
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:09:45
Recorded: Westvest, Schiedam, February 2012, March 2012


Béla Bartok composed his Sonata for violin solo (1944) after emigrating from Hungary to the USA on the outbreak of World War II. A few years before, he had openly expressed his aversion to Hitler and the rise of the Nazis, refusing to play his own
music or have it performed in Germany. Bartók was consequently boycotted almost everywhere, particularly in pro-German countries. Political developments in Hungary and surrounding dictatorships became such an unbearable torment, that after long hesitation he said farewell to his fatherland (and to his mother). In North America, however, the composer and his wife could hardly settle. For many years Bart.k did not compose, and he felt that he would never be able to do so again. He darted through the overcrowded streets of New York like an anxious animal. He felt like a miserable and uprooted stranger, became ill, and weighed hardly 44 kilos in 1943. Bartók died of leukaemia in New York in 1945
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Johann Sebastian Bach - Aria With 30 Variations, BWV 988 'Goldberg Variations' - Mahan Esfahani (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Johann Sebastian Bach (1685 - 1750)
Artist: Mahan Esfahani
Title: Bach, J.S. - Aria With 30 Variations, BWV 988 'Goldberg Variations'
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 01:18:23
Recording: Cologne, Deutschlandfunk Kammermusiksaal, 4/2016


The Bach performances of harpsichordist Mahan Esfahani are never boring and often fascinating. He has a way of using his instrument, here a contemporary version of a 1710 Thuringian harpsichord, to evoke a wide range of extramusical associations, and during a live performance of the Goldberg Variations, BWV 988, he offered as an encore not another piece of music but a reading from Horace. One may be forgiven for thinking that this much-anticipated Goldberg Variations recording, released as Esfahani began a five-year traversal of Bach's music at London's Wigmore Hall, gets away from him a bit even as it displays the utterly distinctive thinking of the performer. Start with the booklet, where Esfahani begins with a pointless defense of the veracity of Johann Nikolaus Forkel's account of the sleepless Russian Count Goldberg that gave the variations their name: Bach was said to have been asked to write variations that were then requested by the Count at his bedtime, presumably singly. The grand conceptions of the individual variations, explored by Esfahani in the booklet and excitingly realized at the keyboard, might be thought more likely to jolt the Count awake than to put him to sleep, and in general this is a Goldberg Variations that impresses more in its individual parts than in the whole. Esfahani speaks disdainfully of numerological interpretations of the score, which is perhaps understandable, but balance is as much a part of the score as distinctive evocative detail, and it gets lost in Esfahani's interpretation. Sample Variation 24, the canon at the octave, which Esfahani likens to "the grand ensemble of horns and strings" at the beginning of the Cantata No. 65, "Sie werden aus Saba alle kommen," BWV 65: it may be ringing and stirring, but it is less clearly linked to its surroundings, to say nothing of the snoozing Goldberg, than one would like. Nevertheless, for bold thinking on the harpsichord, Esfahani can't be beat; he may be slightly better live than on recordings, and this is certainly a major new statement concerning the Goldberg Variations. --AllMusic Review by James Manheim
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Johann Sebastian Bach - Motets - Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner (2012) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Monteverdi Choir, English Baroque Soloists, Sir John Eliot Gardiner
Title: Motets
Genre: Classical, Choral
Brand/Label: © SDG/Soli Deo Gloria/The Monteverdi Choir and Orchestras Limited
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 01:12:52
Recorded live at St John’s, Smith Square, London, on 3-5 October 2011


Thirty years on from their acclaimed recording for Erato, Sir John Eliot Gardiner and the Monteverdi Choir return to the Bach Motets in a new SDG recording, taken from a concert in London last year at the end of a tour which saw performances in Italy, France, The Netherlands and Germany.
The Motets can be seen as some of Bach’s most perfect and hypnotic compositions. Through their extraordinary complexity and density, they require exceptional virtuosity and sensitivity of all the performers.
Each of them is endlessly fascinating, and each inhabits its own sound world, Bach's masterful use of canon, fugue and counterpoint, the brilliant exploitation of double-choir sonorities are perfectly matched by the Monteverdi Choir's virtuosity.
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Azгucar Moreno - Esencial Azucar Moreno (2014) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Azúcar Moreno
Title: Esencial Azúcar Moreno
Genre: Pop, Latin Pop
Label: © Legacy Recordings/Sony Music Entertainment España, S.L.
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 02:12:51

Influenced by disco divas Donna Summer and Gloria Gaynor, sisters Toñi and Encarna Salazar used to dream about becoming pop stars. Encarna began singing and dancing at a very young age and Toñi performed live for the first time at the age of 13 in her native Badajoz. After singing backup for Los Chunguitos, a band formed by their brothers, they started their own project called Azucar Moreno, debuting in 1984 with Con La Piel En Los Labios and having their breakthrough in 1988 after issuing Carne de Melocotón. Playing a mixture of contemporary flamenco and rumba/pop, the Spanish duet returned in 1990 with Bandido. During the following years, Encarna and Toñi Salazar had the opportunity to work along with producers Emilio Estefan and Estefano, achieving a Billboard music award and becoming one of the top-selling artists in the Latin pop scene. --Artist Biography by Drago Bonacich
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