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Bruce Springsteen & The E Street Band - 2016-09-07 - Citizens Bank Park, Philadelphia, PA (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Bruce Springsteen & The E Street Band
Title: 2016-09-07 - Citizens Bank Park, Philadelphia, PA
Genre: Rock
Label: © Live Bruce Springsteen
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: live.brucespringsteen.net
Duration: 04:05:12
Recorded: 2016/09/07 Citizens Bank Park, Philadelphia, PA

Bruce Springsteen and the E Street Band launch The River Tour 2016, a nine-week US trek, on Jan. 16 in Pittsburgh. The announcement of the tour coincides with today’s release of “The Ties That Bind: The River Collection,” a comprehensive look at the era of the 1980 “The River” album that “Rolling Stone” calls “Springsteen’s best archival release yet.” The box set is now available at Amazon (4CD/3DVDs or 4CD/2Blu-ray) and iTunes.
Each night of the tour will be mixed for release on Live.BruceSpringsteen.net as high-quality downloads and CDs. Recordings will be available within days of each performance.
The original The River Tour began Oct. 3, 1980, two weeks before the release of Springsteen’s fifth album, and continued through Sept. 4, 1981. With sets that regularly approached the four-hour range, the 140-date international tour firmly established a reputation for Bruce Springsteen and the E Street Band as marathon performers.
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Bruce Springsteen & The E Street Band - 2016-08-30 - MetLife Stadium, East Rutherford, NJ (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Bruce Springsteen & The E Street Band
Title: 2016-08-30 - MetLife Stadium, East Rutherford, NJ
Genre: Rock
Label: © Live Bruce Springsteen
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: live.brucespringsteen.net
Duration: 04:01:15
Recorded: 2016/08/30 MetLife Stadium, East Rutherford, NJ

Bruce Springsteen and the E Street Band launch The River Tour 2016, a nine-week US trek, on Jan. 16 in Pittsburgh. The announcement of the tour coincides with today’s release of “The Ties That Bind: The River Collection,” a comprehensive look at the era of the 1980 “The River” album that “Rolling Stone” calls “Springsteen’s best archival release yet.” The box set is now available at Amazon (4CD/3DVDs or 4CD/2Blu-ray) and iTunes.
Each night of the tour will be mixed for release on Live.BruceSpringsteen.net as high-quality downloads and CDs. Recordings will be available within days of each performance.
The original The River Tour began Oct. 3, 1980, two weeks before the release of Springsteen’s fifth album, and continued through Sept. 4, 1981. With sets that regularly approached the four-hour range, the 140-date international tour firmly established a reputation for Bruce Springsteen and the E Street Band as marathon performers.
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Bruce Springsteen & The E Street Band - 2016-07-11 - AccorHotels Arena, Paris, FR (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Bruce Springsteen & The E Street Band
Title: 2016-07-11 - AccorHotels Arena, Paris, FR
Genre: Rock
Label: © Live Bruce Springsteen
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: live.brucespringsteen.net
Duration: 03:31:07
Recorded: 2016/07/11 AccorHotels Arena, Paris, FR


Bruce Springsteen and the E Street Band launch The River Tour 2016, a nine-week US trek, on Jan. 16 in Pittsburgh. The announcement of the tour coincides with today’s release of “The Ties That Bind: The River Collection,” a comprehensive look at the era of the 1980 “The River” album that “Rolling Stone” calls “Springsteen’s best archival release yet.” The box set is now available at Amazon (4CD/3DVDs or 4CD/2Blu-ray) and iTunes.
Each night of the tour will be mixed for release on Live.BruceSpringsteen.net as high-quality downloads and CDs. Recordings will be available within days of each performance.
The original The River Tour began Oct. 3, 1980, two weeks before the release of Springsteen’s fifth album, and continued through Sept. 4, 1981. With sets that regularly approached the four-hour range, the 140-date international tour firmly established a reputation for Bruce Springsteen and the E Street Band as marathon performers.
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Johannes Brahms - The Violin Sonatas - Christian Tetzlaff, Lars Vogt (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833–1897)
Artist: Christian Tetzlaff, Lars Vogt
Title: Brahms - The Violin Sonatas
Genre: Classical
Label: © Ondine Oy, Helsinki
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:12:51
Recorded: Sendesaal Bremen, 24–26 August 2015


Award-winning violinist Christian Tetzlaff together with pianist Lars Vogt offer an exciting program of Violin Sonatas by Johannes Brahms (1833–1897). This new release continues a successful series of recordings of violin chamber works by the artist duo.
Johannes Brahms’ Violin Sonatas are among the greatest masterpieces in 19th century chamber music. Brahms wrote these sonatas between 1878 and 1888, at the height of his creative powers. With these powerful works Brahms brought the genre of violin sonatas into a new dimension. Included is also Scherzo movement from the F. A. E. Sonata which Brahms contributed to a composite sonata with Robert Schumann and Albert Dietrich in 1853.
Christian Tetzlaff is considered one of the world’s leading international violinists and maintains a most extensive performing schedule. Musical America named him ‘Instrumentalist of the Year’ in 2005 and his recording of the violin concertos by Mendelssohn and Schumann, released on Ondine in 2011 (ODE 1195-2), received the ‘Preis der deutschen Schallplattenkritik’. Gramophone Magazine was choosing the recording of the Schumann Violin Sonatas with Lars Vogt (ODE 1205-2) as ‘Disc of the Month’ in January 2014. In addition, in 2015 ICMA awarded Christian Tetzlaff as the ‘Artist of the Year’. His most recent recording on Ondine with Brahms’ Trios (ODE 1271-2D) received a GRAMMY nomination.
Lars Vogt was appointed the first ever “Pianist in Residence” by the Berlin Philharmonic in 2003/04 and enjoys a high profile as a soloist and chamber musician. His debut solo recording on Ondine with Bach’s Goldberg Variations (ODE 1273-2) was released in August 2015 and has been a major critical success. The album’s tracks have also been streamed online over 5 million times.
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Johannes Brahms - The Piano Trios - Christian Tetzlaff, Tanja Tetzlaff, Lars Vogt (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833–1897)
Artist: Christian Tetzlaff, Tanja Tetzlaff, Lars Vogt
Title: Brahms - The Piano Trios
Genre: Classical
Label: © Ondine Oy, Helsinki
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:22:54
Recorded: Sendesaal Bremen, 27 – 29 May 2014


Award-winning violinist Christian Tetzlaff and pianist Lars Vogt are joined together with Tanja Tetzlaff in this exciting new recording of the Johannes Brahms (1833-1897) Piano Trios.
The Brahms Piano Trios belong to the very core of the romantic chamber music repertoire. They span a period from the 1850s (the 1st version of Op. 8) to the 1880s, Op. 101 being completed during the last decade of Brahms' active career as a composer. Piano Trio No. 1 was also revised by the composer as late as in 1889.
Christian Tetzlaff has been considered as one of the world's leading international violinists for many years, and still maintains a most extensive performing schedule. Musical America named him "Instrumentalist of the Year" in 2005 and his recording of the violin concertos by Mendelssohn and Schumann, released on Ondine in 2011 (ODE 1195-2), received the "Preis der deutschen Schallplattenkritik". Gramophone Magazine chose his recording of the Schumann Violin Sonatas with Lars Vogt (ODE 1205-2) as "Disc of the Month" in January 2014. In addition, in 2015 ICMA awarded Christian Tetzlaff as the "Artist of the Year".
Chamber music plays a significant part in Tanja Tetzlaff's career. She gives regular recitals in renowned concert series and festivals. In addition to successes in many international competitions, she has collaborated with world-renowed orchestras and conductors.
Lars Vogt was appointed the first ever "Pianist in Residence" by the Berlin Philharmonic in 2003/04 and enjoys a high profile as a soloist and chamber musician.
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Easley Blackwood: Symphony No. 1 / Alexei Haieff: Symphony No. 2 - Boston Symphony Orchestra, Charles Munch (1959/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Composer: Easley Blackwood (b.1933), Alexei Vasilievich Haieff (1914-1994)
Artist: Boston Symphony Orchestra, Charles Munch
Title: Blackwood: Symphony No. 1 / Haieff: Symphony No. 2
Genre: Classical
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1959/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: AcousticSounds
Duration: 00:50:26
Recorded: Blackwood Symphony recorded Nov. 9, 1958, Symphony Hall; Haieff Symphony recorded Nov. 30, 1958, Symphony Hall

A genial conductor with a particular gift for French music, Charles Münch extended the Boston Symphony's glory years (begun under the baton of Serge Koussevitzky) into the early '60s. Münch was born in the province of Alsace-Lorraine, which at the time (1891) was controlled by Germany and has long hovered between two cultural worlds. Münch himself benefited from both French and German musical training, and his first important musical posts were in Germany. Yet he came to be regarded as the quintessential French conductor, and his recordings of French repertory with the Boston Symphony remain standards by which others are judged. Münch studied violin at the Strasbourg Conservatory, where his father was a professor, and, from 1912, in Paris with Lucien Capet. As an Alsatian, he was conscripted into the German army at the outbreak of World War I. Gassed and wounded as an artillery sergeant, he nevertheless survived the war through sheer resiliency. In 1919, upon returning to Alsace-Lorraine (now back in French hands), he took French citizenship, and a violin professorship in Strasbourg. Nevertheless, his professional interests soon sent him to Germany; he studied violin with Carl Flesch in Berlin, then moved to Leipzig to take a violin professorship at the conservatory there, and then became concertmaster of the Leipzig Gewandhaus Orchestra from 1926 to 1933, during Furtwängler's tenure.
But it was back in Paris, in 1933, where Münch made his successful conducting debut in a self-financed concert with the Straram Orchestra. He conducted the Paris Orchestre de la Société Philharmonique (1935-1938) and in 1937 was named director of the Société des Concerts du Conservatoire de Paris, a post he held through World War II. Münch introduced many new works, including, in 1945, Messiaen's L'Ascension; he quickly became known as a conductor attentive to music's larger formal structures, as well as details of color and sonority. Despite his allegiances 25 years before, Münch refused to collaborate with the Nazis, and indeed supported the French resistance; he was awarded the Légion d'honneur in 1945.
Münch's career quickly accelerated after the war. In 1946, he made his debut with the Boston Symphony (and several other American orchestras) as a guest conductor, and he toured America with the French National Radio Orchestra in 1948. The following year, he was appointed music director of the Boston Symphony, which he took on an unprecedented tour of the Soviet Union in 1956. Münch retired from the BSO in 1962 but continued to guest conduct, and helped Serge Baudo launch the Orchestre de Paris in 1967. On tour in America with that orchestra, he died the following year.
Münch was easygoing in rehearsal, reluctant to drill the spontaneity out of an orchestra. He was particularly noted as an elegant, colorful interpreter of French music of the nineteenth and twentieth centuries; his recordings of that material with the Boston Symphony for RCA are still regarded as classics of their kind. He was a strong advocate for the Franco-Swiss composers of his own generation, especially Roussel, Milhaud, and Honegger. But he also had a good touch with the conservative contemporary music of other lands, as may be heard in his few but important recordings of Martinu, Piston, and Barber. Indeed, during his Boston years Münch's commitment to American music was almost as strong as his allegiance to new French works. --Artist Biography by James Reel
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Hector Berlioz - Romeo et Juliette - London Symphony Orchestra, Valery Gergiev (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Hector Berlioz (1803–1869)
Artist: London Symphony Orchestra, Valery Gergiev
Title: Berlioz - Roméo et Juliette, Op 17 (1839)
Genre: Classical
Label: © London Symphony Orchestra
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:30:20
Recorded live in DSD, 6 & 13 November 2013 at the Barbican, London


Released in the year of Shakespeare’s 400th anniversary, Valery Gergiev and London Symphony Orchestra are joined by soloists Olga Borodina, Kenneth Tarver and Evgeny Nikitin for Berlioz Roméo et Juliette, recorded live at the Barbican Hall in November 2013. Part of a major series of eight concerts, this work toured to venues in the Czech Republic, Germany, Austria and France.
A large-scale ‘symphonie dramatique’, Roméo et Juliette was the fruit of the composer’s dual fascination with Shakespeare and with the actress Harriet Smithson, whom he was later to marry. Using the story of the star-crossed lovers as a starting point, Shakespeare’s passion and drama is deftly portrayed through his music, as well as through the abundance of lyrical poetry, written by French poet Émile Deschamps.
Grammy-award winning mezzo-soprano Olga Borodina is a star of the Mariinsky Theatre, regularly appearing at major opera houses and with great orchestras around the world. A winner of the Rosa Ponselle and Barcelona competitions, Borodina made her highly acclaimed European debut at London’s Royal Opera House, Covent Garden, in 1992, sharing the stage with Plácido Domingo in Samson et Dalila – a performance that launched her international solo career as one of the most sought-after mezzos for her repertoire.
Kenneth Tarver is considered one of the outstanding tenore-di-grazia of his time. He has appeared at the most prestigious opera houses and concert halls around the world specialising in Mozart and challenging, skilled oratorio repertoire. He is a graduate of prestigious institutions including Interlochen Arts Academy, Oberlin College Conservatory of Music, Yale University School of Music, and was also a member of the Metropolitan Opera’s Young Artist Development Program. He has appeared on previous LSO Live recordings, notably the double Grammy Award winner Les Troyens, conducted by Sir Colin Davis.
Bass-baritone Evgeny Nikitin trained at the St Petersburg State Conservatory, graduating in 1997. He has been described as ‘physically, vocally, a complete star’ by The Independent. His premiere solo performance was with the Mariinsky Orchestra and was followed by invitations to perform at major theatres and festivals across the world. His discography includes other recordings with Valery Gergiev, including Wagner Parsifal on the Mariinsky Label.
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Barclay James Harvest - Once Again (1971/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Barclay James Harvest
Title: Once Again
Genre: Rock, Prog Rock, Art Rock, British Folk Rock
Label: © Parlophone Records
Release Date: 1971/2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:40:30
Recorded: 9 October 1970 – 25 November 1970, EMI Studios, London


Once Again was the second album released by Barclay James Harvest, in early 1971. It is generally regarded as one of their strongest efforts, featuring powerful, epic tracks such as "Song For Dying", "She Said", and "Mocking Bird", one of their best known songs. As was the case with their other early albums, it was recorded with a full orchestra.
On the track "Galadriel", Lees played John Lennon's Epiphone Casino guitar, an event later recounted in a song on the band's 1990 album Welcome To The Show titled "John Lennon's Guitar".
In an interview with Songfacts, Keith Domone (official biographer of Barclay James Harvest with his wife Monika) said John Lees wrote "Mocking Bird" back in 1968 while he was living with the parents of his future wife, Olwen. The song is based on a musical phrase from "Pools Of Blue", which he wrote around the same time. In the Q & Mojo Classic Special Edition ‘’Pink Floyd & The Story of Prog Rock’’, the album came #39 in its list of "40 Cosmic Rock Albums".
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Barclay James Harvest - Gone To Earth (1977/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Barclay James Harvest
Title: Gone To Earth
Genre: Rock, Prog Rock, Art Rock
Label: © Polydor | Esoteric Recordings
Release Date: 1977/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: DVD Audio
Duration: 00:40:13
Recorded: March to June 1977, Strawberry Studios, Stockport


Gone To Earth is an album by the English rock group Barclay James Harvest released in 1977. It reached #30 in the UK charts, but in Germany it peaked at #10 and stayed for 197 weeks in the German album charts. As of 2011 it is ranked #6 on the list of longest running albums in the German album charts. Only the My Fair Lady soundtrack and albums by Simon & Garfunkel (Greatest Hits), The Beatles (1962-1966), Pink Floyd (Wish You Were Here) and Andrea Berg (Best Of) spent more weeks in the charts. It was the band's largest selling album, eventually selling more than a million copies worldwide.
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Johann Sebastian Bach - The French Suites - Murray Perahia (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johann Sebastian Bach (1685 - 1750)
Artist: Murray Perahia
Title: Bach, J.S. - French Suites BWV 812–817
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:31:34
Recording: Berlin, Funkhaus Nalepastrasse, Saal 1, July 2013


Murray Perahia’s performances of Bach on the modern piano have long been renowned for their poetic clarity and profound sense of humanity. Turning now to the six French Suites, he can look back on a lifelong association, and ever-deepening relationship, with this music. “Bach has always been central to my life,” Perahia reflects. “Although I played a few pieces as a child, the first time I heard Bach in concert was when Pablo Casals conducted the St Matthew Passion at Carnegie Hall when I was about fifteen. This left an indelible impression on me. “The way he performed it was very human. At that time, the early 1960s, we often heard Bach performed in a mechanical way. Orchestras, if they played Bach at all, would play it very strictly. Many critics and also some great pianists were against playing Bach on the piano – the harpsichord was considered the only valid vehicle for it. That felt discouraging – so I saw it as a challenge. I took up the harpsichord for two years and tried to apply its lessons to my piano playing, but it wasn’t an easy fit. Gradually I found my own way towards playing Bach on the piano.” Perahia has previously recorded the Partitas, the English Suites, some of the keyboard concertos and the Goldberg Variations; adding the French Suites is, he says, a natural progression. Some he has played since childhood. “The French Suites are Bach on the highest level,” he says, “even though it’s music that could be approached by children. Five of them were already included in the Anna Magdalena Notebook of 1722 so they could be used as teaching material. They are nevertheless quite profound. I don’t think Bach wrote one note that didn’t have wider meanings and that wasn’t to be tackled with all one’s heart and soul. “I find the first three Suites, in the minor keys, are very sad in a tender way; the Sarabandes are particularly touching. The second three, in the major keys, are very joyful, indeed gleeful. The Fifth, the bestknown, has a Gigue that is pure joy, and the Sixth is on the level of heaven, or going there. “The French Suites are different from the English Suites and Partitas in that they are, on the whole, more delicate,” he adds. “They are often in a two- or three-voice texture. That and the lack of obvious bravura suggest that they may have been written for the clavichord. On the other hand, the more dramatic Gigues – as, for example, in the First and Second, with all its trills – might challenge that assumption.” The “French” elements range from notational conventions to expressive devices: “Accenting the second beat in a Sarabande is a French characteristic,” Perahia explains, “as is the double-dotting in certain passages, with quick, light runs and elegant phrasing.” Each suite has a core of four movements: Allemande, Courante, Sarabande and Gigue. To these Bach adds gavottes, bourrées, minuets and more. “For me, the voice-leading – the harmony created by the counterpoint – is really the most interesting aspect of this music,” says Perahia, “but the dance rhythms are absolutely essential: they’re the lifespring of the suites.” Most of the movements are in binary form: two halves, each repeated. Perahia chooses to observe all the repeats: “The second time round, I like to play variants – for example, adding ornamentation,” he says. He also favours using, judiciously, the piano’s sustaining pedal, which some other performers avoid in Bach because it did not exist on the harpsichord. For him, that argument seems too draconian. “If you hear the harpsichord up close, the damping of the strings is not so complete, so there’s a constant resonance that resembles a pedal effect,” he points out. “Or go into a church and listen to an organ: that’s the last thing from dry. Dryness just wasn’t a Baroque concept and to my mind the way the harmonies interact is best effected if there’s a slight pedal.” Playing Bach has had a profound impact on his approach to composers such as Beethoven and Chopin, whose music, he reflects, would have been “unthinkable” without Bach. “Bach permeates Western music, on many levels,” he says. “It’s the beginning of music that is cohesive, in which every note is related to every other note, and not in an academic way. And it’s so joyful, so full of buoyancy and spirituality, that it affects all of the music written after it.” In the end, though, Perahia’s Bach playing is inspired by a very personal devotion. “There was a period when I couldn’t play the piano because of a finger infection that wouldn’t heal,” he remembers. “I had to spend a long time away from the instrument. But, because I love music so much, I had to be involved with it, and the solace and consolation that I found was from Bach. I studied Bach every day and it would nourish me. For that I’m very grateful.” --Jessica Duchen
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