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Bob Ralston - Plays His Most Requested Songs (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Bob Ralston
Title: Bob Ralston As Featured On The Lawrence Welk TV Show - Plays His Most Requested Songs
Genre: Jazz, Jazz Pop, Swing, Easy Listening
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:34:46
Recorded: 1966, RCA's Music Center Of The World
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Blossom Dearie - Give Him The Ooh-La-La (1958/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Blossom Dearie
Title: Give Him The Ooh-La-La
Genre: Jazz, Traditional Pop, Vocal Jazz, Swing
Label: © The Verve Music Group, a Division of UMG Recordings, Inc.
Release Date: 1958/2016
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 00:38:17
Recorded: NYC, December 12 & 13, 1957


Of the six recordings Blossom Dearie did for the Verve label in the '50s, Give Him the Ooh-La-La is the third one to be released on CD. Three titles still remain in the vaults including a Betty Comden and Johnny Green tribute as well as a Broadway Hits collection. It's a shame because Dearie's girlishly dynamic voice, subtle piano playing, and rarified choice of contemporary material made her recordings unique among '50s jazz vocal outings. Give Him the Ooh-La-La is no exception, with stellar backing by regular bassist Ray Brown, drummer Jo Jones and guitarist Herb Ellis, and Dearie's taut arrangements of a set of glowing ballads and brisk swingers. Included are a few well-worn standards like "Just One of Those Things" and "Between the Devil and the Deep Blue Sea." More intriguing, however, are Dearie's inclusion of obscure titles like Cy Coleman's "The Riviera," a tongue and cheek portrait of Europe's playground, as well as his "I Walk a Little Faster." Additionally, there's the gently executed and innocuous self-help number "Try Your Wings," a bouncy "The Middle of Love," and a nod to her club stint in Paris with the French tune "Plus Je T'Embrasse." As usual, both Dearie's piano and voice are instilled with impeccable playfulness on mischievous numbers like the title track and in the tender pathos of ballads such as "Like Someone in Love." Like Dearie's two other available titles Blossom Dearie and Once Upon a Summertime, Give Him the Ooh-La-La features a great collection of tunes from the high point of her recording career. The dilemma is not which recording to get, but where to start. --AllMusic Review by Stephen Cook
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Blossom Dearie - Blossom Dearie (1957/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Blossom Dearie
Title: Blossom Dearie
Genre: Jazz, Traditional Pop, Vocal Jazz, Swing
Label: © The Verve Music Group, a Division of UMG Recordings, Inc.
Release Date: 1957/2016
Quality: High-Fidelity FLAC 2.0 Mono 192kHz/24bit
Source: HDTracks
Duration: 00:38:57
Recorded: NYC, September 11 & 12, 1956


Though she made her first appearance in 1952 as the uncredited 'answer voice' on King Pleasure's celebrated 'Moody's Mood for Love,' it still took a few years for Blossom Dearie to establish herself as a solo artist. Boasting expert support from the likes of bassist Ray Brown and drummer Jo Jones, 1956's „Blossom Dearie“ was a debut worth waiting for. With her schoolmarm voice and whimsical air, Blossom Dearie today is known as one of our pre-eminent cabaret artists. What her first LP makes clear is that she was (and remains) foremost a bona fide jazz musician, grounded in a solid sense of swing.
„Blossom Dearie“ features the singer in varied guises: piano instrumentalist ('More Than you Know'), up-tempo swinger ('Everything I Got'), jazz balladeer ('Loverman'), and French chanteuse ('Comment Allez Vous' and 'Tout Doucement'). Ms. Dearie infuses the proceedings with her estimable humor and magical delivery, lending each performance the bloom of 'A Fine Spring Morning,' a title which closed the original LP in songful style.
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Bloch, Ligeti & Dallapiccola - Suites for solo cello - Natalie Clein (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ernest Bloch (1880-1959), Luigi Dallapiccola (1904-1975), György Ligeti (1923-2006)
Artist: Natalie Clein
Title: Bloch, Ligeti & Dallapiccola - Suites for solo cello
Genre: Classical
Label: © Hyperion Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 64 minutes 29 seconds
Recorded: October 2015, Parish Church of St John the Baptist, Loughton, Essex, United Kingdom


Natalie Clein, whose previous recording of the music of Ernest Bloch was described as ‘inspired’ by The Sunday Times, turns to his three suites for solo cello as part of a recital of works written in the aftermath of the Second World War. The sombre voice of the cello seems especially apposite in music of such deep seriousness, Ligeti’s short sonata providing an energetic and life-affirming finale.
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Ludwig van Beethoven : String Quartet / William Walton : Sonata for Strings - Amsterdam Sinfonietta, Candida Thompson (2005) DSF Stereo DSD64/2.82MHz

Сomposer: Ludwig van Beethoven (1770-1827), William Walton (1902-1983)
Artist: Amsterdam Sinfonietta, Candida Thompson
Title: Beethoven : String Quartet / Walton : Sonata for Strings
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2005
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 00:54:30
Recorded: Stadsgehoorzaal, Leiden, The Netherlands, March/May 2005


Why Beethoven and Walton? Sir William Walton's Sonata for Strings is a piece that the Amsterdam Sinfonietta has performed with great success both at home and abroad. For this reason we felt that a recording of this work was an obvious choice. It is a powerful composition which gives a string orchestra the opportunity to display all of its discipline, virtuosity, and tone-color. We chose Beethoven's string quartet op. 135 as a companion piece for this recording because of our admiration for the greatness of this final string quartet. The only other recording of this work to date is the Vienna Philharmonic's legendary recording of op. 135 in an arrangement for string orchestra, conducted by Leonard Bernstein. In this earlier recording, the work is performed with a very large group of strings, and Beethoven's composition is realized on a symphonic scale. One important characteristic of the Amsterdam Sinfonietta is that the orchestra is conceived in terms of a string quintet, i.e. a small- scale setting. The orchestra has deliberately remained small in size for the exact purpose of preserving the intimate character of works such as those by Walton or Beethoven. In this way we are able to perform with a maximum of flexibility and articulation. During the recording sessions, attention was devoted not only to the dynamic levels in the score but an effort was also made to give different colors to the various motives. The Amsterdam Sinfonietta strives for the greatest possible expression in this way. Our choice for the combination of these two works is due more to the differences in their musical language than to their similarities.....
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Ludwig van Beethoven - Symphony No. 9 - Boston Symphony Orchestra, Charles Munch (1959/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Composer: Ludwig van Beethoven (1770-1827)
Artist: Boston Symphony Orchestra, Charles Münch
Title: Beethoven: Symphony No. 9
Genre: Classical
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1959/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 01:02:10
Recorded: 12/1958

Charles Munch's isn't the most subtle Beethoven around, but it certainly is exciting, and that counts for a lot. In particular, this Ninth has what has to be one of the angriest, most fiery first movements ever recorded. It's worth hearing for that alone, but there are other attractions as well, including a perfectly paced Adagio (about 14 minutes), and a very well-sung finale with some stellar names among the soloists. The Leonore Overture No. 3 also is a barn-burner of a performance, full of genuinely operatic drama and tension. Sonically the disc could use careful remastering. In the symphony, there's no real soft dynamics at all, but the mid-to-late-'50s stereo sound is otherwise acceptable. This will not be an uncontroversial recommendation: several friends and colleagues have referred to this performance over the years as "vulgar", and I take their point. Munch fans of course will already own this recording in one of its prior incarnations, but I suspect that more recent collectors might very well find this Japanese RCA reissue, available on demand from Arkivmusic.com, a real treat. --David Hurwitz, ClassicsToday.com
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Bartok & Ligeti - Chamber & Orchestral Works - Ensemble InterContemporain, Matthias Pintscher (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Béla Bartok (1881-1945), György Ligeti (1923-2006)
Artist: Ensemble InterContemporain, Matthias Pintscher
Title: Bartók & Ligeti - Chamber & Orchestral Works
Genre: Classical
Label: © Alpha Classics / Outhere Music France
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88.2kHz/24bit
Source: Qobuz
Duration: 01:48:42
Recorded: The Cité De La Musique, Philharmonie De Paris (Salle Des Concerts) From 10 To 13 And 17 June 2014 And On 10 And 11 November 2014


Alpha is launching a collaboration with the Ensemble Intercontemporain and its new artistic director, composer-conductor Matthias Pintscher.
This new series will alternate 20th-century landmarks and new works, providing an opportunity to show to advantage the great quality of the EIC musicians in the major masterpieces of the last century and to discover scores by composers of the 21st century.
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Barry Sadler - Back Home (1967/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Barry Sadler
Title: Back Home
Genre: Pop, Vocal Pop, Brass & Military, Folk, Country
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1967/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:28:44
Recorded: Sep/1966, RCA Victor Studio A, New York City

The timing of Staff Sgt. Barry Sadler's number-one smash "The Ballad of the Green Berets" couldn't have been more impeccable. Released in early 1966, when anti-war sentiment was beginning to swell, "The Ballad of the Green Berets" tapped into an enormous wellspring of patriotic fervor among Americans who were tired of the dissent and ambiguity surrounding Vietnam, and desperately wanted confirmation of America's heroism and moral virtue; that they were on the right side. Sadler was the perfect man to supply it: he was himself a member of the Green Berets, the Army's elite Special Forces unit, and a wounded Vietnam veteran who wanted to pay tribute to his comrades in arms. Although "The Ballad of the Green Berets" was the biggest hit single of 1966, Sadler never duplicated its blockbuster success, and soon retired from music to become a successful author.
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Baroque Divas - Vivica Genaux, Sonia Prina, Mary-Ellen Nesi, Romina Basso, Armonia Atenea, George Petrou (2015) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Giovanni Bononcini (1670-1747), Antonio Caldara (1671-1736), Christoph Willibald Gluck (1714-1787), Johann Adolph Hasse (1699-1783), Giovanni Porta (1675-1755), Domenico Natale Sarri (1679-1744), Francesco Maria Veracini (1690-1768), Leonardo Vinci (1690-1730), Antonio Vivaldi (1678-1741)
Artist: Vivica Genaux, Mary-Ellen Nesi, Romina Basso, Sonia Prina, Armonia Atenea, George Petrou
Title: Baroque Divas
Genre: Classical
Label: © Universal Music Italia Srl
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 01:15:32
Recording: Dimitris Mitropoulos Hall, Megaron, The Athens Concert Hall, Athens, 17 & 18 June 2012, 7–11 January 2013


The history of opera is inseparably linked with the biographies of singers. Audiences have always been fascinated by the musical highlights and the goings-on behind the scenes alike. The battle for prestige and fame was particularly passionate during the Baroque age.
In Baroque opera – and especially in Neapolitan opera – the “prima donna” and “primo uomo” were so important that they could in fact give famous composers instructions as to what they wanted their arias to be like. Thus, it comes as no surprise that these singers reached cultic status and stardom, which eventually led to legendary rivalries.
The Haendel performers Francesca Cuzzoni and Faustina Bordoni were among the most acclaimed divas of the Baroque age. They were fierce competitors, even resorting to fisticuffs on stage. With tongue-in-cheek humour, present-day primadonnas Vivica Genaux, Mary-Ellen Nesi, Sonia Prina and Romina Basso follow in the footsteps of their passionate predecessors. Extra spice is added by the fact the these present-day divas will also perform arias that, in the Baroque era, were the province of male singers.
These three star mezzos and the wonderful contralto will be accompanied by the superb Greek orchestra Armonia Atenea under conductor George Petrou, winner of Germany’s prestigious ECHO Klassik Prize.
Enjoy a marvellous recital, bringing to life the rich heritage of Baroque opera –the acme of musical enjoyment and the entertaining element of cultic stardom alike.
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Johann Sebastian Bach - The Well-Tempered Clavier Book II - Ramin Bahrami (2016) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Ramin Bahrami, Soloists of the Accademia Nazionale di Santa Cecilia
Title: Bach, J.S. - The Well-Tempered Clavier, Book II, BWV 870-893
Genre: Classical
Label: © Universal Music Italia Srl
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 02:28:43


Era, mi è sembrato, come se l’armonia universale si intrattenesse con se stessa, un po’ alla stregua di quello che deve essere successo nella mente di Dio poco prima della Creazione del mondo». Lo afferma Goethe. Dopo aver ascoltato alcuni brani del Clavicembalo ben temperato. Ascoltando l’ultima fatica di Ramin Bahrami risulta difficile non pensare a quell’altezza siderale. Entrambi i Libri, che notoriamente indagano tutto l’indagabile sulle tonalità dello strumento a testiera, si addentrano in sentieri mai battuti. Ma se quell’altezza viene lambita da Bach nella prima silloge, nella seconda, posteriore di più di vent’anni, è la cifra stilistica. Altezza siderale. Chiaro che non mancano molteplici e continui riferimenti a forme e stili del proprio tempo, dalla danza alla Sonata bipartita (spunta addirittura un Mozart di là da venire nel track 9): imprinting riconoscibili e orgoglio di un uomo aggiornatissimo quale Bach era. Ma su tutto governa il molteplice che procede dall’unico, secondo il principio dell’identità nella varietà approfondito dalla scienza filosofica di Leibniz. E l’identità, in questo Bach, è un’entità superiore. Tant’è che dopo i multipli cd dedicati al Kantor coi quali il pianista iraniano ci ha deliziato fino a oggi – interpretati in maniera sempre poeticamente intensa ma anche molto “terrena” nell’estrema confidenza col linguaggio d’autore – questa doppia registrazione perde volutamente contatto col reale. È il personale dialogo di Bahrami con l’Assoluto. A noi, semplici ascoltatori, il privilegio di esserne testimoni.--Nicoletta Sguben "amadeusonline.net"
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