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Wolfgang Amadeus Mozart - Piano Concertos KV 413, 414 & 415 - Marie & Veronica Kuijken, La Petite Bande (2017) High-Fidelity FLAC Stereo 24bit/352,8kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Marie & Veronica Kuijken, La Petite Bande
Title: Mozart - Piano Concertos KV 413, 414 & 415
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 10 February 2017
Quality: Digital eXtreme Definition FLAC Stereo 352,8kHz/24bit
Source: spiritofturtle.com
Duration: 01:14:32
Recorded: Kapel Holland College, Leuven Belgium, 15-17 May 2016

Sigiswald Kuijken: Mozart conceived the 3 piano-concerti KV 414, 413 and 415 in 1782, one year after he had settled in Vienna as a more or less free-lance musician. From onset, his idea was to get these works (KV 414, 413 and 415) published; he obviously expected a positive response from the public, not only on the financial level but also as a composer and piano virtuoso. In order to enhance the attraction for his publication, he decided to write these concertos in such a way that they could be performed not only with full orchestra (i.e. strings and winds), but also with a reduced accompaniment of only string quartet. Clearly, Mozart did not consider this strategic starting point as an artistic limitation, but rather as a challenge: in fact, already the score without the wind parts should leave nothing to be desired. This resulted in a very careful and beautiful string writing, matching the solo part in the most effective and intimate way. The wind parts were then conceived to accentuate and “colour” certain passages in the accompaniment with even more depth.
Although Mozart in his announcements and the print of these concerti always mentions the “normal” composition of the string quartet (2 violins, viola and violoncello), I took the liberty to replace the violoncello by a double bass in our performances and our recording of these concertos. My reason was purely musical. Looking and listening to these works, we find a clear difference concerning their string-bass writing compared with Mozart’s own quartets for violin, viola, violoncello and piano, or also his trios for violin, violoncello and piano.
In these piano concertos the string bass is only playing the essential bass-line of the whole texture, thus very often doubling in simplified way the soloist’s left hand. Therefore, in fact this so called “violoncello” part shows exactly what the usual “basso” parts show in orchestral works or generally in the more conventional divertimento-style: offering and strengthening the (highly necessary) fundamental bass on which the whole of the construction is resting. So replacing the violoncello by a double bass in this reduced version of these concertos seems to me an obvious choice.
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Wolfgang Schneiderhan plays Mozart, Henze & Martin - Lucerne Festival, Vol. X - Wolfgang Schneiderhan, Irmgard Seefried, Paul Hindemith, Ferdinand Leitner, Bernard Haitink (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Wolfgang Amadeus Mozart (1756–1791), Hans Werner Henze (1926–2012), Frank Martin (1890–1974)
Artist: Wolfgang Schneiderhan, Irmgard Seefried, Swiss Festival Orchestra, Paul Hindemith, Ferdinand Leitner, Bernard Haitink
Title: Wolfgang Schneiderhan plays Mozart, Henze & Martin
Genre: Classical
Label: © Audite Musikproduktion
Series: LUCERNE FESTIVAL Historic Performances, Vol. X
Release Date: 2016
Quality: High-Fidelity FLAC MONO 48kHz/24bit
Source: audite.de
Duration: 01:05:04
Recorded: live, Kunsthaus, Lucerne, 13 August 1952 (Mozart); 26 August 1964 (Henze); 14 August 1968 (Martin)

In the spotlight of this latest volume in Audite's Lucerne Festival edition is the Austrian violinist Wolfgang Schneiderhan (1915-2002). He was one of several artists who made an outstanding contribution to the Festival over the years since its inauguration in 1938. He first appeared there in 1949, and went on to make annual visits most years until 1985. His trio, in which he was joined by the pianist Edwin Fischer and the cellist Enrico Mainardi, appeared there several times. Schneiderhan also gave master-classes at Lucerne. The attraction of the present release is that it features three recordings revealing the diversity of the violinist's work at the Festival. All are broadcast performances, culled from the archives of Schweizer Radio und Fernsehen (SRF).
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Jacques Brel - Olympia 1964 (1964/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Jacques Brel
Title: Enregistrement Public à l'Olympia 1964
Genre: Pop, Chanson française
Label: © Barclay
Release Date: 1964/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:49:03
Recorded: 16–17 October 1964

Jacques Brel's second live album, recorded over two nights in October 1964 at the famed Olympia Theatre in Paris and released in 1967. The album showcases Brel's superb ability to communicate with a live audience and is listed in Robert Dimery's 2005 book 1001 Albums You Must Hear Before You Die.
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Jacques Brel - Marieke (1961/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Jacques Brel
Title: Marieke
Genre: Pop, Chanson française
Label: © Barclay
Release Date: 1961/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:45:36
Recorded: 22 février-12 avril 1961 au Studio Blanqui, Paris, France excepté #1, Bruxelles


Jacques Brel's fifth album, released in 1961, contains the often-covered title love song which has been translated and recorded by a wide range of artists including Liza Minnelli and Judy Collins. On this album, Brel sings the lyrics both in French and Flemish, the other major language of his native Belgium, marking the only time in his career he combined French and Flemish on a song. Also included here is Le Moribond, a huge worldwide hit in English in 1974 for Terry Jacks under the title Seasons in the Sun.
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Jacques Brel - Les Bourgeois (1962/2013) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Jacques Brel
Title: Les Bourgeois
Genre: Pop, Chanson française
Label: © Barclay
Release Date: 1962/2013
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:45:14
Recorded: 6, 7, 9, 14 mars 1962 au studio Barclay, Paris, France; #13-14 - 1963


Jacques Brel's sixth album, released in 1962, is a satiric and often critical look at upper class French society. Brel had long spoken out against the materialism of the bourgeois, a reaction to his own upper class family's disapproval of his choice of career. The lyrics on this album, specifically the title track, left no doubt about his contempt for "les bourgeois."
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Herbie Hancock - Mwandishi - The Complete Warner Bros. Recordings (1994/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Herbie Hancock
Title: Mwandishi - The Complete Warner Bros. Recordings
Genre: Jazz, Fusion, Jazz-Funk, Post-Bop, Piano Jazz
Label: © Warner Bros. Records
Release Date: 1994/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 02:05:04
Recorded: #1-7: October 4 and 16, November 26 and December 8, 1969 at Van Gelder Recording Studios, Englewood Cliffs, New Jersey; #8-10: December 31, 1970 at Wally Heider Recording Studios, San Francisco, California; #11-13: February 15-17, 1972 at Pacific Recording Studios, San Mateo, California; Moog and Mellotron recorded at Different Fur Trading Company, San Francisco, California


None can argue that Herbie Hancock's Blue Note recordings are mostly jazz milestones, the somewhat overlooked Warner Bros. period remains one of his most creatively adventurous, and enduring. The three albums presented here all offer different sides of Hancock after he left Miles Davis. All are presented here in their entirety, with copious notes by Bob Blumenthal, who interviewed Hancock for the package. The set begins with the wildly joyous, deep, funky groove of Fat Albert's Groove, the music Hancock recorded for Bill Cosby's Saturday morning cartoon show. These seven tracks, with their three-horn front line (originated for Hancock on his final Blue Note album, Speak Like a Child) of Joe Henderson on flute and tenor, Johnny Coles' trumpet, and Garnett Brown's trombone, are singing, lyrical funk grooves that predated Headhunters by a few years and swung way harder by sticking back and lying in the groove as much as possible. Hancock's electric piano teamed with Tootie Heath and Buster Williams to form an unbeatable, gutsy, and stomping rhythm section. The band was fleshed out on a couple of tracks by additional horns, additional drums and percussion, and electric guitars. After such a melodic entry, Warners' executives must have been shocked when Hancock brought them the abstract funkified impressionism of his emerging Mwandishi band on its selftitled offering. Comprised of three long tracks, the album showcased Hancock's use of free jazz and long intervallic inventions on modal frames. Only Buster Williams remained from the previous set. The rest of the sextet includes Billy Hart, Eddie Henderson, Julian Priester, and Bennie Maupin. also This same band with the addition of a few sidemen recorded the Crossings with the addition of synthesizer player Patrick Gleeson. This final record sank from the market like a stone; it found some success a year later, after Hancock had moved to Columbia, to issue Sextant and then Headhunters. Crossings melds street music, modal jazz and the expansive sonic approach of Sun Ra fom this same period; it's approach keeps jazz close to the street while fully exploring the varying tonal and rhythmic changes that were going on post-Coltrane. Again, only three tracks appear, though the first is a long, brazen expressionistic suite ("Sleeping Giant"). The musical evolution present in this double set reveals the composer, arranger, and pianist as a large scale visionary. --AllMusic Review by Thom Jurek
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Giacomo Gorzanis - Solo Lute Music - Michele Carreca (2017) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Giacomo Gorzanis (1520-1579)
Artist: Michele Carreca
Title: Giacomo Gorzanis - Solo Lute Music
Genre: Classical
Label: © Deutsche Harmonia Mundi/Sony Music Entertainment Switzerland GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:53:33


Born in the Italian province of Puglia, the blind lutenist composer Giacomo Gorzanis may have started his career at the Spanish court in Bari. He eventually settled in Trieste, where by 1567 he had received citizenship. His solo lute music is technically accomplished, and goes some way towards initiating the Italian dance suite. He published four collections of lute tablature and two collections of Neapolitan lute songs. 17 of the 25 pieces that Michele Carreca has selected for this album are world premiere recordings.
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Georgia Gibbs - Call Me Georgia Gibbs (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Georgia Gibbs
Title: Call Me Georgia Gibbs
Genre: Pop, Vocal Pop, Vocal Jazz, Traditional Pop
Label: © Bell Records, a division of Columbia Pictures Industries Inc | RCA Records, a division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:30:33
Recorded: 1966


Georgia Gibbs (1919-2006) was an American popular singer and vocal entertainer rooted in jazz. Already singing publicly in her early teens, Gibbs first achieved acclaim (and notoriety) in the mid-1950s interpreting songs originating with the black rhythm and blues community and later as a featured vocalist on a long list of radio and television variety and comedy programs. Her key attribute was tremendous versatility and an uncommon stylistic range from melancholy ballad to uptempo swinging jazz and rock and roll.
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George Thorogood & The Destroyers - Bad To The Bone (1982/2012) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: George Thorogood & The Destroyers
Title: Bad To The Bone
Genre: Rock, Blues Rock, Boogie Rock, Hard Rock, Rock & Roll
Label: © Capitol Records, LLC
Release Date: 1982/2012
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 41:37
Recorded: 1981 - 1982, Dimension Sound Studios, Boston

Bad to the Bone is the fifth studio album by the American Blues-Rock band George Thorogood & The Destroyers. It was released in 1982 by the label EMI America Records and contains their best known song, "Bad to the Bone". The album also features The Rolling Stones side-man Ian Stewart on keyboards and piano.
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Fiona Boyes - Professin' The Blues (2016) High-Fidelity FLAC Stereo 24bit/176,4kHz

Artist: Fiona Boyes
Title: Professin' The Blues
Genre: Blues, Acoustic Blues
Label: © Reference Recordings
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 176,4kHz/24bit
Source: HDTracks
Duration: 00:53:58
Recorded: February 25-26, 2016 at Skywalker Sound in Marin County, California


Professin’ The Blues proclaims Fiona Boyes passion for the Blues as she celebrates the unique contribution of recording and mastering engineer ‘Professor’ Keith O. Johnson, Reference Recording’s Technical Director and audio legend. In her self-penned and illustrated liner notes Fiona makes the declaration, “’Professor’ Keith’s amazing approach to capturing sounds, mostly with his own hand built equipment, is nothing short of sonic alchemy”.
Australian Blues guitarist, vocalist, and songwriter Fiona Boyes has been recording and performing for more than 25 years, building a career that has taken her to major festivals and stages around the world. A veteran recording artist with 13 releases, she has received 5 Blues Music Award nominations in 4 different categories from the Blues Foundation in Memphis, more than 30 Australian music awards, worldwide accolades and legions of supporters. Fiona’s immersion in the rich musical and historical traditions that make up the Blues lend conviction and authenticity to both her guitarwork and songwriting. Her abundant talent, artistic sincerity and musical integrity are a beacon.
In solo, duo and trio settings, Fiona presents 16 tunes (14 originals and 2 covers), employing a traditional acoustic guitar, two different metal body resonators and a unique 4-string cigar box guitar. Joining her are two highly respected instrumentalist; drummer Jimi Bott and bassist Denny Croy.
Recorded at Skywalker Sound in Marin County, California, Professin’ The Blues, like all of ‘Prof.’ Johnson sessions, was recorded live, in real-time, with no separate tracks, overdubs, or effects. Co-produced by Fiona Boyes and Janice Mancuso.
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