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Bejun Mehta, Julius Drake - Down by the Salley Gardens: 20th Century English Songs (2011) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Various
Artist: Bejun Mehta, Julius Drake
Title: Down by the Salley Gardens: 20th Century English Songs
Genre: Classical, Vocal Music
Label: © Harmonia Mundi
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:06:21
Recorded: septembre 2010, Teldex Studio, Berlin


Ce panorama de la mélodie anglaise moderne nous transporte de l’esthétique édouardienne de Quilter ou du premier Vaughan Williams à l’expressivité intense d’un Howells ou d’un Finzi. Les réalisations purcelliennes de Britten et de Tippett, pour leur part, nous montrent deux grands compositeurs du XXe siècle en prise directe avec leur patrimoine musical. Après un disque Haendel plébiscité, la maîtrise aussi bien vocale que verbale de Bejun Mehta fait merveille au cœur de cette diversité.
This programme offers a vivid and varied cross-section of English song, ranging from the Edwardian aesthetic of Quilter and early Vaughan Williams to the intensely expressive style of Howells and Finzi. The Purcell realisations by Britten and Tippett, meanwhile, are products of two great 20th-century composers engaging with their musical heritage. In all these different styles, Bejun Mehta shows the same verbal and vocal mastery that won such acclaim for his debut Handel recital on harmonia mundi.
Dieses außergewöhnliche Programm entführt uns in die Welt der englischen Liedkunst – von der edwardianischen Ästhetik eines Quilter oder frühen Vaughan Williams bis zum hochexpressiven Stil von Howells oder Finzi. Und die Purcell-Bearbeitungen von Britten und Tippett präsentieren sich als die fruchtbare Auseinandersetzung zweier großer Komponisten des 20. Jahrhunderts mit ihrem musikalischen Erbe. Nach seiner begeistert aufgenommenen Händel-CD beweist uns Bejun Mehta auch mit diesem so unterschiedlichen Repertoire erneut seine sprachliche und sängerische Meisterschaft.
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Ludwig van Beethoven - Piano Concertos Nos. 1 & 2 - Tapiola Sinfonietta, Olli Mustonen (2007/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Tapiola Sinfonietta, Olli Mustonen
Title: Beethoven - Piano Concertos Nos. 1 & 2
Genre: Classical
Label: © 2xHD/Ondine Oy, Helsinki
Release Date: 2007/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:01:40


This is the first of three volumes featuring Beethoven's five piano concertos performed by Olli Mustonen, acting here as both soloist and conductor of the Tapiola Sinfonietta. The Finnish musician is known for delivering fresh, visionary readings of popular standard repertoire music, such as Beethoven's concertos which he had never recorded before. Mustonen has maintained a close relationship with chamber orchestra Tapiola Sinfonietta, accompanying this ambitious recording project with acclaimed tour performances. Also a published composer, Mustonen is playing his own cadenzas in the First Concerto.
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Ludwig van Beethoven - Violinkonzert - Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770-1827)
Artist: Anne-Sophie Mutter, Berliner Philharmoniker, Herbert von Karajan
Title: Beethoven - Violinkonzert
Genre: Classical
Label: © Deutsche Grammophon
Release Date: 1980/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:48:23
Recording: September 1979, Philharmonie, Berlin, Germany


Das Violinkonzert Op. 61 entstand im Jahre 1806, Beethoven schrieb es für Franz Clement, der damals als musikalisches Genie erster Geiger und Konzertmeister im Orchester des Theaters an der Wien war. Damit war klar, dass alle späteren Aufführungen dieses Werkes im Zeichen erstklassiger Violonisten stand. Kein leichtes Unterfangen für die DG, doch mit Herbert Karajan als Dirigent, den Berliner Philharmonikern und ganz besonders Anne-Sophie Mutter hatte die Plattenfirma erstklassige Voraussetzungen geschaffen. Mutter stellte bei diesem Konzert ihr großartiges Können unter Beweis, denn die von Beethoven in den Vordergrund gerückten Soloparts decken schließlich geringste Unsauberkeiten im Vortrag auf. Die Geigerin meistert jede noch so artistisch anmutende Passage mit Eleganz und nahezu spielerischer Leichtigkeit.
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Beethoven & Liszt - Solo Piano - Sophie Pacini (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ludwig van Beethoven (1770–1827), Franz Liszt (1811–1886)
Artist: Sophie Pacini
Title: Beethoven & Liszt - Solo Piano
Genre: Classical
Label: © Warner Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:16:36
Recorded: 21–24 March 2016, Sendesaal Bremen, Germany


"Sophie Pacini is a protégée of Martha Argerich and it shows…There’s a similar air of in-the-moment rhapsodising and no fear of giving the performance a boot up the backside.” - Gramophone
Born in Munich in 1991, Pacini began her studies at the age of ten as a pupil of Karl-Heinz Kämmerling at the Salzburg Mozarteum, where she was accepted two years later by the newly founded Institute for Highly Gifted Students. From 2007 she continued her studies in master classes given by Pavel Gililov, completing her diploma in 2011 with honours. In 2010 she became acquainted with Martha Argerich, who invited her the following year to give a recital as part of the Martha Argerich Project in Lugano, and who has since become an important figure in the young pianist’s career.
“Our first project combines works by Beethoven and Liszt, two composers who have influenced me a great deal musically. They embody what has fascinated and captivated me about the piano from the beginning: the ability to transpose an entire orchestra onto the keyboard and trace the complexity of a score in fine detail, as well as the idea of the instrument as a powerhouse of musical evolution." – Sophie Pacini
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Barney Wilen - Auto Jazz: Tragic Destiny of Lorenzo Bandini (1968/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Barney Wilen
Title: Auto Jazz: Tragic Destiny of Lorenzo Bandini
Genre: Jazz, Free Jazz, Avant-Garde Jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1968/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:36:35
Recorded: February 13, 1968 at Tonstudio Bauer, Ludwigsburg; Soundtrack Recorded at the Grand Prix Automobile de Monaco, May 7, 1967

At 21 French tenor saxophonist Barney Wilen achieved instant fame when he played with Miles Davis’ group on the sound track to the Louis Malle film noir classic Ascenseur pour l’échafaud (Elevator to the Gallows). Today the album is considered one of Miles’ masterpieces. Wilen also performed with Art Blakey on the soundtrack to Roger Vadim’s Les Liaisons Dangereuses. In the following years he sampled music styles ranging from the Avant-garde to fusion on into world music. A devoted Formula One fan, Wilen journeyed to the 1967 Monaco Grand Prix intending to tape-record the race, but when famed Italian driver Lorenzo Bandini suffered a horrific crash during the race and died of his injuries a few days later, Wilen decided to compose a piece honoring Bandini by integrating the audio tape into the composition. Originally conceived as a multimedia event, it was premiered at the Musée d’Arte Moderne in Paris after which Wilen was invited to perform his work at Manhattan’s New York University in front of an audience that included Rauschenberg, Warhol, and Ginsburg. Critic Jason Ankeny calls it “careening, visceral music brilliantly paralleling the exhilaration of its subject matter.” Expectancy contrasts and competes with the pre-race warm-up hullabaloo, while Start plays out against the noise and chaos as the race begins, as the quartet mirrors the autos’ roar and speed. In Tribune Princiere an ominous piano plays over the relative quiet of the racetrack. The bass enters followed by the tenor with its serene, psalm-like line, as the tension builds. On Hair Pin the percussive underpinning of prepared piano and tenor play in tandem with the cars as they tackle the track’s Gazomètres hairpin turn. The Canyon Sounds and Destiny reflects the sense of impending doom as the Hammond organ transmogrifies into some otherworldly harbinger of death and Wilen plays a dirge-like prayer that ascends into passionate cries and screams. Underneath bowed bass and drums create an audio maelstrom. The music settles with the plaintive, anguished cries of Bandini! Bandini!
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Johann Sebastian Bach - Sonatas & Partitas for Solo Violin, BWV 1001-1006 - Julia Fischer (2005) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Julia Fischer
Title: Bach - Sonatas & Partitas for Solo Violin, BWV 1001-1006
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2005
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 02:28:48
Recorded: Doopsgezinde Singelkerk, Amsterdam, 12/2004

No doubt many of you are wondering whether I should be recording Bach’s complete sonatas and partitas at the age of only 21. Perhaps I should have waited a bit longer? Well, patience has seldom been my strong point, and after all I have already waited a number of years for an opportunity to record these works. During the first six years of study with my teacher Ana Chumachenco, I studied the sonatas and partitas thoroughly, and first performed both cycles in their entirety in the Bach year 2000, during the course of two evenings at the Mecklenburg-Vorpommern Festival. Ever since that intensive “Bach month”, in which I concentrated purely on the music of this composer, I have felt the urgent need to hold on to the sonatas and partitas by means of a recording. This musical experience led me to overcome my many years of aversion to studio recordings. Thus, I decided at the time already to reserve my first solo CD for the music of Bach.
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Johann Sebastian Bach - Gamba Sonata - Gen Yokosaka, Kasuoki Fujii (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Gen Yokosaka, Kasuoki Fujii
Title: Bach, J.S. - Gamba Sonata
Genre: Classical
Label: © Warner Music Japan
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: prestoclassical.co.uk
Duration: 00:45:36


クラシック界のニュー・スター チェリスト 横坂 源、待望の初録音。
骨太で力強く、歌心あふれるイマジネーションで魅せるガンバ・ソナタ集。
チェリストの登竜門として知られる全日本ビバホール・チェロコンクールでの最年少優勝(当時15歳 )を皮切りに多くの受賞歴を持ち、日本を代表するチェリストの一人である横坂源の待望の初レコーディング作品。
ドイツのシュトゥットゥガルト国立音楽大学、並びにフライブルク国立音楽大学で研鑚を積む。ジャン=ギアン・ケラスに師事。
骨太で力強い音色と正確な音程、歌心あふれる演奏が魅力。ミュンヘン国際音楽コンクール審査委員長のパメラ・ローゼンベルクに「紛れもない詩人」と称賛された。
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Carl Philipp Emanuel Bach - Flute Concertos - Emmanuel Pahud, Kammerakademie Potsdam, Trevor Pinnock (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Carl Philipp Emanuel Bach (1714–1788)
Artist: Emmanuel Pahud, Kammerakademie Potsdam, Trevor Pinnock
Title: Bach, C.P.E. - Flute Concertos
Genre: Classical
Label: © Warner Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:06:39
Recorded: 30 March 2014, Villa Hügel, Essen


Emmanuel Pahud returns to music written for The Flute King with these three concertos by Carl Philipp Emmanuel Bach (1714-88), who spent nearly 30 years on the musical staff at the court of Frederick the Great, a powerful monarch and a highly accomplished flautist. Pahud, the long-standing principal flautist of the Berlin Philharmonic Orchestra, is joined by Kammerakademie Potsdam, directed from the harpsichord by Trevor Pinnock.
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Johann Sebastian Bach - The French Suites, BWV 812-817 - Richard Egarr (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Richard Egarr
Title: Bach: The French Suites, BWV 812-817
Genre: Classical
Label: © 2016 harmonia mundi usa
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88.2kHz/24bit
Source: Qobuz
Duration: 01:45:08
Recorded in August, 2015 at United Mennonite Church (Vereenigde Doopsgezinde Gemeente) in Haarlem, Netherlands


Richard Egarr is world renowned for directing the Academy of Ancient Music and other period ensembles, though his fine reputation is equally based on his performances of Baroque keyboard music, which he has recorded extensively for Harmonia Mundi. This 2016 release of Johann Sebastian Bach's French Suites, BWV 812-817, which Egarr plays on a modern replica of a ca. 1650 harpsichord by Joseph Johannes Couchet, continues his series of highly polished recordings of great Baroque keyboard pieces, which includes works by George Frederick Handel, Henry Purcell, and François Couperin, and follows his 2012 release of Bach's English Suites, BWV 806-811. The variety of his interpretations of 18th century dance forms and their expressive possibilities make Egarr's performances especially appealing, and the freshness of his ornamentation and his lively rhythms keep the music surprising at every turn. The six suites are divided evenly between two CDs, and Egarr concludes with the Menuet II and three variant Courantes from BWV 813, using the 1722 autograph from the Klavierbüchlein, a copy by Heinrich Nikolaus Gerber, and a copy by Anna Magdalena Bach. Highly recommended for Bach fans who prefer historically informed performances on harpsichord.
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Art van Damme Quintet - Art In The Black Forest (1968/2014) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Art van Damme Quintet
Title: Art In The Black Forest
Genre: Jazz, Post Bop, Swing, Cool Jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1968/2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:34:26
Recorded: 1968


Called “The hippest cat ever to Swing an accordion”, Art Van Damme was born in the small town of Norway, Michigan in 1920. The 40’s and 50’s saw the classically trained Van Damme revolutionize the way the accordion was played, removing it from its stereotyped role as a polka playmate; in 1947 Van Damme made the cover of the prestigious jazz magazine Downbeat and was voted “Top Accordionist” 10 years in a row. He starred on such popular American TV programs as “Today”, “The Dinah Shore Show”, and “The Tonight Show”, and toured Europe some 40 times. With his decision to combine guitar and vibes with accordion, Van Dam’s groups developed a unique sound early-on. His recordings with MPS were some of his best, given the company’s predilection of allowing the musicians a free hand. As one reviewer put it, Van Damme played “…right-hand runs with a velocity and lightness of touch that defied the presumed limitations of the instrument, consistently emphasizing the lyric contours of a melodic phrase rather than the lightning technical flourishes that led up to it.”
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