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Nuria Rial, Valer Sabadus - Sacred Duets (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Alessandro Scarlatti (1660–1725), Bernardo Pasquini (1637–1710), Giovanni Paolo Colonna (1637–1695), Domenico Gabrielli (1651–1690), Giovanni Bononcini (1670–1747), Giuseppe Torelli (1658–1709), Antonio Lotti (1667–1740), Antonio Caldara (1670–1736), Nicola Antonio Porpora (1686–1768)
Artist: Nuria Rial, Valer Sabadus
Title: Sacred Duets
Genre: Classical, Vocal Music
Label: © Sony Music Entertainment Germany GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:00:31
Recorded: Riehen, Landgasthof Riehen, 18–21/03/2016


Sony Classical present Italian duets and arias with baroque stars Nuria Rial and Valer Sabadus. The Spanish soprano Nuria Rial and the countertenor Valer Sabadus are both stars of the booming baroque music scene. Nuria Rial is a bright soprano with her “addictive timbre“ and Valer Sabadus's velvety "dramatic, crystal clear and lyric voice" (Süddeutsche Zeitung) are for the first time united in one recording. With the excellent Kammerorchester Basel they send the listener on a voyage of discovery to Italy, to lesser known music by Alessandro Scarlatti, Giovanni Paolo Colonna, Giovanni Gabrieli, Antonio Lotti, Giovanni Battista Bononcini, Bernardo Pasquini and Antonio Caldara. The arias and duets are mainly from oratorios, which have already fascinated many listeners.
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New Order - Low-Life (1985/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: New Order
Title: Low-Life
Genre: Rock, Electronic, Synth-Pop, Alternative Rock, Post Punk
Label: © Warner Bros. Records
Release Date: 1985/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 00:40:03
Recorded: 1984, Jam and Britannia Row Studios, London


New Order's third LP, Low-life, was, in every way, the artistic equal of their breakout, 1983's Power, Corruption & Lies. The point where the band's fusion of rock and electronics became seamless, it showed the bandmembers having it every way they wanted: heavily sequenced and synthesized, but with bravura work from Bernard Sumner's guitar and Peter Hook's plaintive, melodic bass; filled with hummable pop songs, but still experimental as far as how the productions were achieved. The melodica-led pop song "Love Vigilantes" was the opener, nearly identical as a standout first track to "Age of Consent" from Power, Corruption & Lies. Next was "The Perfect Kiss," one of the first major New Order singles to appear on an album. (The band being newly signed to Warner Bros. in the United States, it made perfect sense to include such a sublime piece of dance-pop on the LP.) Even as more and more synth-heavy groups like Eurythmics and Pet Shop Boys began approaching New Order's expertise with the proper care of electronics in pop music, the band still sounded like none other. "This Time of Night" and "Elegia" evoked the dark, nocturnal mood of the album's title and artwork, but none could call them mopey when they pushed as hard as they did on "Sunrise." Only "Sub-Culture," tucked in at the end, has the feel of a lost opportunity; remixed for a single release, it became much better. But there was no mistaking that New Order had reached a peak, experimenting with their sound and their style, but keeping every moment wrapped in an unmistakable humanness. --AllMusic Review by John Bush
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Wolfgang Amadeus Mozart - Violin Sonatas K296, 306, 454 & 547 - Alina Ibragimova, Cedric Tiberghien (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alina Ibragimova, Cédric Tiberghien
Title: Mozart - Violin Sonatas K296, 306, 454 & 547
Genre: Classical
Label: © Hyperion Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 99 minutes 4 seconds
Recorded: May 2015 Concert Hall, Wyastone Estate, Monmouth, United Kingdom


Mozart’s earliest violin sonatas, written during the European tour that took him and his family to Paris, London and The Hague in 1763–66, were his first published compositions. They differ from his mature works of the kind not only stylistically, but also in being conceived very much as keyboard sonatas with violin accompaniment—a popular form of domestic music-making at the time. The first four sonatas (K6–9) appeared in Paris in February 1764, as Mozart’s Opp 1 & 2. The title-page of each volume proudly described their composer as ‘Agé de Sept ans’. The following year, in London, Mozart saw his Op 3 in print—a set of six sonatas (K10–15) for harpsichord with violin or flute; and a further half-dozen works of the same kind (K26–31) were published in Amsterdam, as his Op 4. It was when, on 11 March 1766, Mozart and his sister performed at the celebrations in The Hague to mark the eighteenth birthday of Prince William of Orange that ‘our little composer’, as Leopold Mozart called him, was invited to write this last series for Princess Caroline.
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Wolfgang Amadeus Mozart - Serenades - Die Kolner Akademie, Michael Alexander Willens (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756–91)
Artist: Die Kölner Akademie, Michael Alexander Willens
Title: Mozart - Serenades, Vol. 1
Genre: Classical
Label: © BIS Records AB
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical.com
Duration: 74:41
Recorded: December 2015 at the Deutschlandfunk Kammermusiksaal, Cologne, Germany


Die Kölner Akademie and Michael Willens have previously recorded Mozart’s complete piano concertos with Ronald Brautigam, earning praise for their fresh and colourful contributions to the series. The team now releases the first of four projected discs with further Mozart scores, beginning with two of the composer’s best-loved serenades. Serenades were a characteristic feature of Salzburg musical life: opening with a march and continuing with as many as eight or nine separate movements on an orchestral scale, such works will have been ringing in Mozart’s ears from childhood. Thirteen serenades of varying scope and scorings are included in Mozart’s catalogue of works, and of these the well-known ‘Posthorn Serenade’ is the ninth. It is also the last serenade that Mozart composed before leaving Salzburg for Vienna. The nickname stems from Mozart’s inclusion of a solo for post horn (‘cornodi posta’) in one of the movements, but the wind instruments play an important role throughout the serenade, with extended solos for flute and oboe.
In comparison, Eine kleine Nachtmusik – the last serenade Mozart wrote – is for strings only. It is also shorter than many of the other serenades, and was probably intended for a more intimate occasion. Mozart’s own thematic catalogue lists it as having five movements, but as the first minuet and trio (preceding the slow movement) have been lost, only four are typically performed today. In this recording a minuet from Mozart’s very first string quartet in G major, K. 80, is incorporated by way of completion of the five-movement arch.
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Wolfgang Amadeus Mozart - Oboenspitze, vol.3 - Alexei Utkin, Hermitage Chamber Orchestra (2010) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.3
Genre: Classical
Label: © Essential Music/Caro Mitis
Release Date: 2010
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:46:16
Recorded: 2-4.10.2007 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

The concertos are… a happy medium between what is too easy and too difficult. They are very brilliant and pleasing to the ear, but naturally without being vapid. There are passages here and there which only connoisseurs can appreciate, yet the less learned cannot fail to be pleased, without knowing why.

Wolfgang Amadeus Mozart formulated his understanding of the concerto in a letter from Vienna sent to his father on December 28th, 1782. By then he had composed about 20 concertos for various solo instruments and orchestra. In total Mozart wrote nearly fifty concertos, a figure that matches the number of symphonies. He began his mastery of the genre by reworking keyboard sonatas by other composers (KV 37, 39–41) in 1767, after returning to Salzburg from a three-year grand tour of European countries. His last concerto was KV 622 for clarinet and orchestra, which was completed in October 1791 just two months before his death.
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Wolfgang Amadeus Mozart - Oboenspitze, vol.3 - Alexei Utkin, Hermitage Chamber Orchestra (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.3
Genre: Classical
Label: © Essential Music/Caro Mitis
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:46:16
Recorded: 2-4.10.2007 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

The concertos are… a happy medium between what is too easy and too difficult. They are very brilliant and pleasing to the ear, but naturally without being vapid. There are passages here and there which only connoisseurs can appreciate, yet the less learned cannot fail to be pleased, without knowing why.

Wolfgang Amadeus Mozart formulated his understanding of the concerto in a letter from Vienna sent to his father on December 28th, 1782. By then he had composed about 20 concertos for various solo instruments and orchestra. In total Mozart wrote nearly fifty concertos, a figure that matches the number of symphonies. He began his mastery of the genre by reworking keyboard sonatas by other composers (KV 37, 39–41) in 1767, after returning to Salzburg from a three-year grand tour of European countries. His last concerto was KV 622 for clarinet and orchestra, which was completed in October 1791 just two months before his death.
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Wolfgang Amadeus Mozart - Oboenspitze, vol.2 - Alexei Utkin, Hermitage Chamber Orchestra (2008) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.2
Genre: Classical
Label: © Essential Music/Caro Mitis
Release Date: 2008
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:54:18
Recorded: 8,10-12.10.2006 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

In the mid-18th century a composition bearing the name Sinfonia concertante captivated audiences at large public concerts in Paris, London and Mannheim. In many ways akin to a solo concerto, symphonies with the participation of a group of solo instruments were seen primarily as an alternative to the usual orchestral symphony – somewhat lighter in content, but far more virtuoso and showy by nature. The powerful, stirring sound of the orchestra (in which an important role was played by developed parts for wind instruments) was combined with sections that allowed the best European performers to demonstrate their mastery.
As things turned out, the wider public is familiar with only a few examples among many hundreds of 18th-century concertante symphonies. By a certain irony of fate, sometimes even the names of composers who were famous in their day for writing dozens of such symphonies have been practically forgotten, whereas Mozart’s sole surviving opus in this genre, the Sinfonia concertante in E flat major for violin and viola (KV 364), is traditionally an integral part of the classical repertoire. It sufficed for Mozart to make just one episodic application of the sinfonia concertante genre in order to eclipse his colleagues’ legacy for several centuries, although admittedly this work occupies an important place among his compositions.
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Wolfgang Amadeus Mozart - Oboenspitze, vol.2 - Alexei Utkin, Hermitage Chamber Orchestra (2008) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.2
Genre: Classical
Label: © Essential Music/Caro Mitis
Release Date: 2008
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:54:18
Recorded: 8,10-12.10.2006 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

In the mid-18th century a composition bearing the name Sinfonia concertante captivated audiences at large public concerts in Paris, London and Mannheim. In many ways akin to a solo concerto, symphonies with the participation of a group of solo instruments were seen primarily as an alternative to the usual orchestral symphony – somewhat lighter in content, but far more virtuoso and showy by nature. The powerful, stirring sound of the orchestra (in which an important role was played by developed parts for wind instruments) was combined with sections that allowed the best European performers to demonstrate their mastery.
As things turned out, the wider public is familiar with only a few examples among many hundreds of 18th-century concertante symphonies. By a certain irony of fate, sometimes even the names of composers who were famous in their day for writing dozens of such symphonies have been practically forgotten, whereas Mozart’s sole surviving opus in this genre, the Sinfonia concertante in E flat major for violin and viola (KV 364), is traditionally an integral part of the classical repertoire. It sufficed for Mozart to make just one episodic application of the sinfonia concertante genre in order to eclipse his colleagues’ legacy for several centuries, although admittedly this work occupies an important place among his compositions.

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Wolfgang Amadeus Mozart - Oboenspitze, vol.1 - Alexei Utkin, Hermitage Chamber Orchestra (2004) DSF Stereo DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.1
Genre: Classical
Label: © Caro Mitis/Essential Music
Release Date: 2004
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:04:25
Recorded: 30.01-6.02.2004 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia


Little is known about Giuseppe Ferlendis who was appointed oboist at the court of Archbishop of Salzburg Prince Hieronymus Colloredo on April 1, 1777. But irrespective of whether Ferlendis was a profound or average musician, his appearance in Salzburg orchestra inspired young Wolfgang Amadeus Mozart to create one of his rare compositions with solo oboe: Concerto in C major KV 314. Did the successful composer create this work out of boredom, having to spend months and years of his youth in the Austrian province he felt aversion for?
Whatever it might be but when at the end of September of same year (1777) Wolfgang set out for an important musical tour of Europe in search of the worthy application of his talent (for the first time without his father, accompanied only by his mother), he took the manuscript of the new Concerto with him – as a kind of business card, one of spectacular samples of his composing accomplishment.
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Moritz Moszkowski - Piano Concerto Op. 3 - Ludmil Angelov, BBC Scottish Symphony Orchestra, Vladimir Kiradjiev (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Moritz Moszkowski (1854-1925), Adolf Schulz-Evler (1852-1905)
Artist: Ludmil Angelov, BBC Scottish Symphony Orchestra, Vladimir Kiradjiev
Title: Moszkowski - Piano Concerto Op. 3
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 65 minutes 4 seconds
Recorded: June 2015, City Halls, Candleriggs, Glasgow, Scotland

The first recording of Moritz Moszkowski’s long-lost—and eagerly awaited—early Piano Concerto makes for a particularly important addition to the Romantic Piano Concerto series. The coupling is another rarity (and recorded premiere): the Russian Rhapsody by Adolf Schulz-Evler.
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