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Wolfgang Amadeus Mozart - Violin Sonatas K305, 376 & 402 - Alina Ibragimova, Cedric Tiberghien (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alina Ibragimova, Cédric Tiberghien
Title: Mozart - Violin Sonatas K305, 376 & 402
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 99 minutes 4 seconds
Recorded: January 2015, Concert Hall, Wyastone Estate, Monmouth, United Kingdom


The earliest music here dates from when Mozart was just six years old, the latest from his first years as a freelance composer resident in Vienna. The distinguished advocacy of Alina Ibragimova and Cédric Tiberghien, in a second volume of the complete violin sonatas, is equally persuasive in both.
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Wolfgang Amadeus Mozart - Oboe Concerto & 'Gran Partita' - Les Dissonances, David Grimal (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: David Grimal, Les Dissonances
Title: Mozart - Oboe Concerto & 'Gran Partita'
Genre: Classical
Label: © Dissonances Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:06:50
Recorded: Opéra de Dijon, 19 February 2014 & 2 April 2015


Oboe Concerto in C major K314: All his life, Mozart (1756 - 1791) was an indefatigable traveller, especially during his childhood and youth. On 22 September 1777 he left Salzburg with his mother, en route for Augsburg, Mannheim and then Paris, with a view to obtaining a secure position and a regular income. The first reference to the Oboe Concerto appears in a letter from Leopold Mozart to his son dated 15 October 1777: ‘. . . if you had a copy of your oboe concerto, Perwein might enable you to make an honest penny in Wallerstein.’ The oboist Perwein had left the service of Archbishop Colloredo of Salzburg to take up a post in Wallerstein; his departure had led to the engagement in April 1777 of an Italian virtuoso, Giuseppe Ferlendis, for whom this concerto was initially conceived.
On 4 November Mozart answered his father. During his stay in Mannheim, he had discovered among the members of one of the nest orchestras of the day a small community of outstanding musicians who were to become his friends, including the Konzertmeister Cannabich and the first oboe Ramm. Mozart related that he had made the acquaintance of the oboist, ‘who plays very well and has a delightfully pure tone. I have made him a present of my oboe concerto . . . and the fellow is quite crazy with delight. I played this concerto to him today on the pianoforte at Cannabich’s, and although everybody knew that I was the composer, it was very well received! Nobody said that it was not well composed, because the people here do not understand such matters . . .’ (The last sentence is of course sarcastically intended.)
Friedrich Ramm, whom the composer described as ‘a very good, jolly, honest fellow of about thirty- ve, who has already travelled a great deal, and consequently has plenty of experience’, became a close friend and made this concerto his ‘cheval de bataille’ (speciality). He played it at least five times in 1778, ensuring the work acquired genuine popularity. So much so, indeed, that when Mozart received around this time a commission for ute concertos from a Dutch merchant, he only composed one new one (K313) and merely transposed the Oboe Concerto into D major to serve as the second.
Serenade no.10 in B flat major K361, ’Gran Partita’: ‘Outdoor’ music represents a significant proportion of the catalogue of Mozart’s works, since there are around forty serenades, cassations, nocturnes and divertimentos. Their format varies from wind or string trio to full orchestra, and almost all of them date from Mozart’s Salzburg period. But there was a type of serenade for which he was still commissioned to write in Vienna in the 1780s, namely Harmoniemusik. From 1782 onwards, music for wind ensemble became fashionable; in that year the Emperor Joseph II founded the Imperial Harmonie, a wind octet devoted to this repertory, which was played on festive occasions and dinners and in the court gardens.
The great Serenade K 361, known as ‘Gran Partita’, can be assigned to this period of Mozart’s maturity; contemporary with Die Entführung aus dem Serail, it was probably completed in 1781. We do not know the precise reason for its composition, but the large forces suggest it was conceived for a bene t concert for Anton Stadler, first clarinetist of the Imperial Harmonie and a friend of Mozart’s. It was doubtless these specific circumstances that enabled Mozart to augment the octet forces with two additional horns, two basset-horns and a double bass.
The style at once seems to suggest an outdoor serenade, although the breadth and profundity of the work – and its duration, which makes it Mozart’s most extended instrumental composition – make it impossible to believe it was written for some trivial occasion. The solemn slow introduction, marked Largo, would not be surprising in a symphony, but is unexpected in a serenade. The minuets, by contrast, are part and parcel of the genre, even if the use of minor keys is unusual. The Adagio constitutes the heart of the work with its long melodic line. The last three movements of the work are a Romance (a title rare in Mozart), followed by a theme and variations taken from the Flute Quartet K285b of 1778 and a brilliant finale.
The Gran Partita immediately aroused the curiosity of the Viennese for this ‘great wind piece of a very special kind’, as it was called by the advertisement for the first recorded performance, on 23 March 1784. The critic Johann Friedrich Schink, for instance, recalled in his ‘Literary Fragments’: ‘I heard music for wind instruments today, too, by Herr Mozart . . . – glorious and sublime! It consisted of thirteen instruments, viz. four horns, two oboes, two bassoons, two clarinets, two basset-horns, a double bass, and at each instrument sat a master – oh, what an effect it made – glorious and grand, excellent and sublime!’
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Wolfgang Amadeus Mozart - Complete Piano Sonatas - Fazil Say (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Fazil Say
Title: Mozart: Complete Piano Sonatas
Genre: Classical
Label: © Warner Classics
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 06:14:25
Recorded: 27.VI.–3.VII.2014*; 15–17.IX.2014 & 13–16.III.2015, Great Hall, Stiftung Mozarteum Salzburg, Austria

With his extraordinary pianistic talents, Turkish pianist Fazıl Say has been touching audiences and critics alike for more than twenty-five years, in a way that has become rare in the increasingly materialistic and elaborately organised classical music world. He is a pianist, composer and director with firm reputation in Europe, Asia and the US. After spending five years under David Levine at the Robert Schumann Institute in Düsseldorf and further studies at the Berlin Conservatory he came to international attention 1994 when he was the winner of the Young Concert Artists International Auditions. Since then he has become a regular guest artist with orchestras such as the New York Philharmonic, the Israel Philharmonic, the Baltimore Symphony, the St Petersburg Philharmonic , the Concertgebouw Orchestra Amsterdam, the Vienna Symphony Orchestra, the BBC Philharmonic, and the Orchestre National de France.
This release sees him return to Mozart, a composer with whom he has a great affinity, and a recording of his complete piano sonatas. The sonatas here are grouped by key, revealing Mozart’s unique approach to tonality.
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Wolfgang Amadeus Mozart - Clarinet Concerto K 622; Adagio and Fugue K 546; Clarinet Quintet K 581 - Fabrizio Meloni, Artkronos, Ezio Rojatti (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Fabrizio Meloni, Artkronos, Ezio Rojatti
Title: Mozart - Clarinet Concerto K 622; Adagio and Fugue K 546; Clarinet Quintet K 581
Genre: Classical
Label: © Deutsche Grammophon | Universal Music Italia
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:08:30

Fabrizio Meloni incide il Concerto per clarinetto di Mozart, capolavoro che deve la sua popolarità planetaria all’Adagio, colonna sonora del film “La Mia Africa”. Meloni ha scelto di utilizzare il clarinetto di bassetto che si avvicina maggiormente all’idea di Mozart di uno strumento dal timbro dolce e con una accentuata profondità di suono nel registro grave, molto vicino alla voce umana. Completano il CD l’Adagio e fuga K546 e il Quintetto per clarinetto dove Meloni collabora con Marco Rizzi, Laura Bortolotto (violini), Danilo Rossi (viola) e Giovanni Gnocchi (violoncello).
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Wolfgang Amadeus Mozart - C minor Mass - Bach Colegium Japan, Masaaki Suzuki (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756–91)
Artist: Bach Collegium Japan, Masaaki Suzuki
Title: Mozart - C minor Mass
Genre: Classical
Label: © BIS Records AB
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical.com
Duration: 71:17
Recorded: November 2015 at the Saitama Arts Theater, Concert Hall, Japan


Following on the 2015 release of Mozart’s Requiem, Masaaki Suzuki and his Bach Collegium Japan has gone on to record the composers Mass in C minor, K427 – the ‘Great Mass’. As the nickname indicates it is a work of unusual proportions for a mass of the Classical period – or would have been so, had Mozart completed it. It is not known for what occasion Mozart intended the work, but a letter to his father Leopold dated 4 January 1783 indicate that he may have committed himself to writing it in connection with his marriage to Constanze and a planned visit to Salzburg.
A performance of parts of the Mass did take place in Salzburg in October 1783, with Constanze performing the prominent soprano part. Two years later Mozart reused the music from the Kyrie and Gloria sections in the sacred cantata Davidde penitente, K 469, but the Mass itself was left incomplete. The present performance includes the sections completed by Mozart himself, as well as those sections for which extensive sketches by Mozart provided a basis for completion (by Franz Beyer in 1989).
Three of Suzuki’s soloists also took part in the recording of the Requiem, while the Dutch mezzo-soprano Olivia Vermeulen makes her first appearance on BIS, shining in the aria Laudamus te. The disc closes with the celebrated cantata Exsultate, jubilate in which the soprano Carolyn Sampson glitters in the virtuosic solo part. As an appendix to the programme she and the Bach Collegium Japan orchestra also repeats the initial aria, in a less well-known later version with a slightly different text and with flutes replacing the oboes of the original.
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Michael Giacchino - Rogue One: A Star Wars Story (2016) High-Fidelity FLAC Stereo 24bit/96kHz


Сomposer: Michael Giacchino
Artist: Michael Giacchino
Title: Rogue One: A Star Wars Story
Genre: Soundtrack
Label: © Lucasfilm/Walt Disney Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:09:28


From Lucasfilm comes the first of the Star Wars standalone films, "Rogue One: A Star Wars Story", an all-new epic adventure. In a time of conflict, a group of unlikely heroes band together on a mission to steal the plans to the Death Star, the Empire s ultimate weapon of destruction. This key event in the Star Wars timeline brings together ordinary people who choose to do extraordinary things, and in doing so, become part of something greater than themselves.
"Rogue One: A Star Wars Story" is directed by Gareth Edwards and stars Felicity Jones, Diego Luna, Ben Mendelsohn, Donnie Yen, Mads Mikkelsen, Alan Tudyk, Riz Ahmed, with Jiang Wen and Forest Whitaker. Kathleen Kennedy, Allison Shearmur and Simon Emanuel are producing, with John Knoll and Jason McGatlin serving as executive producers. "Rogue One: A Star Wars Story" opens in U.S. theaters on December 16, 2016.
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Meredith Monk - On Behalf Of Nature (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Composer: Meredith Monk
Artist: Meredith Monk Ensemble
Title: On Behalf Of Nature
Genre: Avant-Garde, Classical, Vocal Music
Label: © ECM Records GmbH
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:00:54
Recorded: June 2015, Avatar Studios, New York


For five decades, vocalist-composer Meredith Monk has explored what she calls “primordial utterance,” or non-verbal vocal sound that lay beneath and beyond language, expressing “that for which we have no words.” This exploration has led her to create music that The New Yorker describes as simultaneously “visceral and ethereal, raw and rapt,” an art that “sings, dances and meditates on timeless forces.” With her latest, multivalent ECM New Series album, Monk aimed to address ecology and climate change, she says: “Believing that music speaks more directly than words, I worked to make a piece with a fluid, perceptual field that could expand awareness of what we are in danger of losing. On Behalf of Nature is a meditation on our intimate connection to nature, its inner structures, the fragility of its ecology and our interdependence.” Voices and instruments have equal weight: sometimes each is heard alone; sometimes they are blended to form a new, mysterious sound; sometimes they are combined to create intricate, layered, yet transparent sonic landscapes.
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Felix Mendelssohn - The Complete Solo Piano Music, Vol. 4 - Howard Shelley (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Felix Mendelssohn (1809-1847)
Artist: Howard Shelley
Title: Mendelssohn - The Complete Solo Piano Music, Vol. 4
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 67 minutes 16 seconds
Recorded: December 2014, All Saints' Church, East Finchley, London, United Kingdom


The Op 35 set of Preludes and Fugues is the most substantial single opus Mendelssohn wrote for solo piano, a mark of his reverence for the mighty Bach. Coupled with the popular fifth book of Songs without Words, we have here a heavyweight fourth volume in Howard Shelley’s compendium.
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Felix Mendelssohn - Symphonies Nos 1 & 4 'Italian' - London Symphony Orchestra, Sir John Eliot Gardiner (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Felix Mendelssohn (1809-1847)
Artist: London Symphony Orchestra, Sir John Eliot Gardiner
Title: Mendelssohn - Symphonies Nos 1 & 4 'Italian'
Genre: Classical
Label: © LSO Live
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 01:02:06
Recorded live in DSD128fs at the Barbican Hall, 23rd March 2014 & 16th February 2016


Constantly in the vanguard of enlightened interpretation, Sir John Eliot Gardiner stands as a leader in today’s musical life. His award-winning Mendelssohn cycle on LSO Live showcases his period performance expertise, the musicians standing to play, highlighting their individual musicianship. As Gardiner explains: ‘It gives a different type of dynamism and energy... it means that the fiddles are freer in the way that they attack the extremely virtuosic lines and it gives a tremendous sense of occasion to the music making.’
Dramatic and harmonically adventurous, Mendelssohn’s First Symphony is presented here in an exceptionally unique format, with both the original and revised versions of the third movement. As Gardiner said when introducing the work in concert:
‘It’s not every evening that you get to hear a symphony by a fourteen-and-a-half year-old genius and there’s an intriguing complication to this piece. When Mendelssohn came to London in 1829, he performed the symphony and he wrote back to his parents saying: “well, I looked over my symphony and, lord, the minuet bored me to tears! So what I did was to take the scherzo from my Octet and I added a few airy trumpets and it sounded lovely.” Well, actually he did an awful lot more than that; he re-orchestrated absolutely brilliantly. And it’s so good, we thought you should hear that version. But what about the minuet and trio? Why, when he came to publish the symphony did he use that version and leave out the scherzo? I happen to think they’re both really remarkable, as is the whole symphony, and perhaps you’d let us know which you prefer...?’
The Fourth Symphony is inspired by the sights, sounds and atmosphere of Italy and is among the best loved of all the composer’s works. Mendelssohn described it as: ‘the jolliest piece I’ve written so far.’ John Eliot Gardiner says of the work: ‘Mendelssohn threw everything, in terms of virtuosity and risk-taking, at the Italian Symphony and it’s remained incredibly popular...
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