Category: DSD File

Erin Helyard, Stephanie McCallum – Le Prophete: Works for Four Hands (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

             


Artist: Erin Helyard, Stephanie McCallum
Title: Le Prophete: Works for Four Hands
Genre: Classical
Release Date: 2016
Duration: 02:15:58
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: trptk
Source: https://trptk.nativedsd.com/albums/TTK0005-le-prophete

The only way to listen to the latest symphony or opera in the nineteenth century was to either seek out a live performance or perform it at home with a piano partner, quatre mains. Thus, an enormous amount of four-hand literature abounds from the 1820s to the 1930s. Works in transcription largely dominate this repertoire: operas, symphonies, and chamber works were adapted en masse for four hands by skilled and not so skilled musicians alike. But there were also works freshly composed in the medium, and four-handed playing could be heard in the home (its natural environment) but also on the relatively new environment of the concert stage

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Duke Ellington, Johnny Hodges – Side By Side (1959/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

             


Artist: Duke Ellington, Johnny Hodges
Title: Side By Side
Genre: Jazz
Release Date: 1959
Duration: 00:46:14
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Analogue Productions (Verve)
Source: https://store.acousticsounds.com/d/94073/Duke_Ellington_and_Johnny_Hodges-Side_By_Side-DSD_Single_Rate_28MHz64fs_Download

When Norman Granz signed Johnny Hodges to a recording contract in 1951, it was a prelude to Hodges' leaving the Duke Ellington orchestra to lead his own small band. Four years later Hodges was back in the Ellington fold, but he continued to record for Granz under his own name. Side By Side, recorded in 1958 and 1959, is a throwback to the small-group sessions Ellington recorded with Hodges and other members of his orchestra in the Thirties, but with a couple of important differences: the absence of Ellington himself on several cuts (with Billy Strayhorn taking over on piano), and the presence of such notable non-Ellingtonians as drummer Jo Jones and trumpeters Roy Eldridge and Harry "Sweets" Edison.

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Dennis Coffey – Hot Coffey In The D (2017) High-Fidelity DSF Stereo DSD128/5.64MHz

             


Artist: Dennis Coffey
Title: Hot Coffey In The D
Genre: Jazz
Release Date: 2017
Duration: 53:31
Quality: High-Fidelity DSF Stereo DSD128/5.64MHz
Label: 2xHD
Source: http://www.hdtracks.com/hot-coffey-in-the-d

Dennis Coffey's Hot Coffey in the D, is a collection of previously unreleased live recordings made during the legendary guitarist's residency at Morey Baker's Showplace Lounge in Detroit in 1968 featuring Motor City staples on the scene --- organist Lyman Woodard and drummer Melvin Davis.

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Marc van Roon Trio – Quantum Stories (2013) High-Fidelity DSF Stereo DSD128/5.64MHz

             


Artist: Marc van Roon Trio
Title: Quantum Stories
Genre: Jazz
Release Date: 2013
Duration:
Quality: High-Fidelity DSF Stereo DSD128/5.64MHz
Label: Challenge Records
Source: https://www.spiritofturtle.com/shop/quantum-stories-download/?v=24d22e03afb2

This album is inspired by the stories that create meaning in our lives. The stories we passionately co-construct that enable us to find our pathways through the excitingly swampy and complex wetlands of our reality, the stories that transform and represent our life experiences.

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Coleman Hawkins – Today and Now (1962/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

             


Artist: Coleman Hawkins
Title: Today and Now
Genre: Jazz
Release Date: 1962
Duration: 40:34
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Analogue Productions (Impulse)
Source: https://store.acousticsounds.com/d/94122/Coleman_Hawkins-Today_And_Now-DSD_Single_Rate_28MHz64fs_Download

Coleman Hawkins recorded three sessions for Impulse Records in the early to mid '60s. Of the three, Today And Now is the most compelling. The unusual choice of repertoire is what sets this album apart. Versions of the traditional song "Go Li's Liza" and the fairly obscure Quincy Jones ballad "Quintessence" are creatively rendered. Indeed, Hawk seems inspired throughout; he plays with an abandon that is altogether effortless.

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Coleman Hawkins – Coleman Hawkins and Confreres (1958/2014) High-Fidelity DSF Stereo DSD64/2.82MHz

             


Artist: Coleman Hawkins
Title: Coleman Hawkins and Confreres
Genre: Jazz
Release Date: 1958
Duration: 34:55
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Analogue Productions (Verve)
Source: https://store.acousticsounds.com/d/94074/Coleman_Hawkins-Coleman_Hawkins_and_Confreres-DSD_Single_Rate_28MHz64fs_Download

This unique 1958 recording is a collaboration between Coleman Hawkins and the Oscar Peterson Trio. Hawkins's voluminous, supple tenor sax sound, which had a great influence on the styles of musicians ranging from Dexter Gordon and Sonny Rollins up to Joe Lovano, is best heard on Honey Flower. The album features Ben Webster on tenor sax, Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, Roy Eldridge on trumpet, Hank Jones on piano, George Duvivier on double bass and drummers Alvin Stoller and Mickey Sheen.

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Netherlands Radio Philharmonic Orchestra, James Gaffigan – Prokofiev: Symphonies Nos. 6 & 7 (2016) High-Fidelity DSF Stereo DSD128/5.64MHz

             


Artist: Netherlands Radio Philharmonic Orchestra, James Gaffigan
Title: Prokofiev: Symphonies Nos. 6 & 7
Genre: Classical
Release Date: 2016
Duration: 01:12:53
Quality: High-Fidelity DSF Stereo DSD128/5.64MHz
Label: Challenge Records
Source: https://challengerecords.nativedsd.com/albums/CC72714-symphonies-nos-6-and-7

Prokofiev wrote his Sixth Symphony almost straight after the Fifth. The Sixth is quite different from the Fifth, despite the success of the latter at its premiere, which the composer himself conducted in January 1945. Where the mood of the Fifth is triumphant and heroic (the Nazis had almost succumbed to defeat by this stage), the Sixth is more elegiac, less compact and more diffuse. Opinions differ widely on the work's form; the Russian musicologist Nestiev, one of Prokofiev's first biographers and of course toeing the Party line as he wrote, argued that the composer had swapped over the exposition and development in the first movement. If this is true, it may explain why the opening seems like a bombardment of motifs tumbling over each other, so that the surfeit of themes only gradually gives way to a semblance of order as the movement progresses.

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Ewald Demeyere, Quatuor Dialogues – Mozart: Gran Partita (2016) High-Fidelity DSF Stereo DSD128/5.64MHz

             


Artist: Ewald Demeyere, Quatuor Dialogues
Title: Mozart: Gran Partita
Genre: Classical
Release Date: 2016
Duration: 01:44:46
Quality: High-Fidelity DSF Stereo DSD128/5.64MHz
Label: Challenge Records
Source: https://challengerecords.nativedsd.com/albums/CC72697-wolfgang-amadeus-mozart-gran-partita

The Serenade in B flat major K. 361/370a by Wolfgang Amadeus Mozart, the so-called Gran Partita (this appellation is not the composer's), is inarguably one of the greatest works in the wind instrument repertoire. It adheres to the Viennese tradition of Harmoniemusik-music for wind ensembles intended to add lustre to aristocratic events and banquets-yet transcends the genre by its instrumentation (two basset-horns, two horns and a double bass were added to the traditional octet), its monumental proportions (seven movements) and the richness of its musical inventiveness.

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Netherlands Symphony Orchestra, Jan Willem de Vriend – Mendelssohn: Symphonies Nos. 4 & 5 (2014) High-Fidelity DSF Stereo DSD128/5.64MHz

             


Artist: Netherlands Symphony Orchestra, Jan Willem de Vriend
Title: Mendelssohn: Symphonies Nos. 4 & 5
Genre: Classical
Release Date: 2014
Duration: 00:56:30
Quality: High-Fidelity DSF Stereo DSD128/5.64MHz
Label: Challenge Records
Source: https://challengerecords.nativedsd.com/albums/cc72658symphonies-nos-4-5

It was only when he reached Naples in April 1831 -- after almost a year of his journey -- that Italy began to seep its way into Mendelssohn's music. Naples also called a halt to the pleasures of travelling. The weather was dreadful, with continual rain, so it was better to remain indoors. Mendelssohn used his 'free time' for a new symphony in the vibrant key of A major, the Italian. It seems to have fl owed from his pen with consummate ease, although he was only to complete the work some two years later, in Berlin, when his journey to Paestum on the Gulf of Salerno was far in his past. The Italian is a real party piece. This was certainly the view following the work's premiere in London on 13 May 1833, given by the Philharmonic Society. (Mendelssohn was highly acclaimed in London, where he had been commissioned to produce a new symphony). This makes it all the more remarkable that Mendelssohn himself described this masterpiece as having been 'one of the most bitter moments of my entire career', fretting, for years to come, about whether he ought to rewrite the second, third and fourth movements. The opening Allegro vivace abounds with Mediterranean exuberance. The slow movement probably depicts a religious procession, witnessed by the composer in Naples. The third movement -- Con moto moderato -- seems to have little in the way of Italian infl uence. Rather one might imagine oneself in the shade of Germanic limes, beech and pine trees, Biedermeier-style. But the fi nale is drawn directly from Italian folk life: an irresistible, whirling dance to the rhythmic beat of the saltarello.

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Lisa Larsson, Combattimento Consort Amsterdam, Jan Willem de Vriend – Ladies First! Opera arias by Joseph Haydn (2013) High-Fidelity DSF Stereo DSD128/5.64MHz

             


Artist: Lisa Larsson, Combattimento Consort Amsterdam, Jan Willem de Vriend
Title: Ladies First! Opera arias by Joseph Haydn
Genre: Classical
Release Date: 2013
Duration: 01:03:07
Quality: High-Fidelity DSF Stereo DSD128/5.64MHz
Label: Challenge Records
Source: https://challengerecords.nativedsd.com/albums/ladies-first-opera-arias-by-joseph-haydn

The operas of Joseph Haydn are far less known today than those of his contemporaries Christoph Willibald von Gluck (1714 -- 1787) and Wolfgang Amadeus Mozart (1756 -1791). In 1790 Haydn was generally considered the most famous composer of his age, but the relative obscurity of his operas in comparison with his other works today was also the case in the 18th century. How is it possible that Haydn's operas are still relatively unknown, despite a remark Empress Maria Theresia expressed upon hearing Haydn's L' Infeldelta Delusa in 1773; "If I want to hear good opera, I am going to Esterhaza!" Between 1761 and 1790 Haydn was in the employment of Prince Paul von Esterhazy and his son and successor Prince Nikolaus, both passionate music lovers. From 1766 onwards, Haydn wrote, in addition to composing chamber music and symphonies, four Italian comedies, six German Singspiele and numerous Italian operas for his employers of the Esterhazy dynasty. Furthermore he also supervised all musical activities at the court including yearly performances of more than 150 operas, many composed by his contemporaries. As Kapellmeister Haydn was not only responsible for musical direction of the operas but also for staging, contracting the singers and occasionally writing an extra aria as required, like the aria "Quando la rosa". This aria was included in the performance of Guiseppe Anfossi's opera La Metilde Ritrovata (1773).

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