Sort articles by: Date | Most Rates | Most Views | Comments | Alphabet
Bedrich Smetana - Ma Vlast: Cycle of symphonic poems - Boston Symphony Orchestra, Rafael Kubelik (1971/2016) DSF Stereo DSD64/2.82MHz

Сomposer: Bedřich Smetana (1824–1884)
Artist: Boston Symphony Orchestra, Rafael Kubelik
Title: Bedřich Smetana: Má Vlast - Cycle of symphonic poems
Genre: Classical
Label: © Esoteric Company ESSG-90153
Release Date: 1971/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 00:50:18
Recording
Executive Producer: Dr. Wilfried Daenicke
Recording Producer: Hans Weber
Tonmeister (Balance Engineer): Heinz Wildhagen
Recorded: March 1971, Symphony Hall, Boston
Re-mastering
Producer: Motoaki Ohmachi (Esoteric Company)
Mastering Engineer: Kazuie Sugimoto (JVC Mastering Center Daikanyama Studio)


Classical masterpiece collection :: The reissue of classical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. This series marks the first hybrid SACD release of historical recording selections that have been mainstays of the catalog since their initial release. These new audio versions feature ESOTERIC's proprietary re-mastering process to achieve the highest level of sound quality.

Experience by yourself… :: Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the "soul" hidden within the notes, but never before found in previously released recordings in any format.

ESOTERIC equipment used for re-mastering :: The criterion of re-mastering is to faithfully capture the quality of the original master. ESOTERIC's flag ship D/A converters, model D-01VU, Rubidium master clock generator model Grandioso G1 and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.
  • 0
Jean Sibelius - Works for Violin and Orchestra - Pekka Kuusisto, Tapiola Sinfonietta (2006/2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Jean Sibelius (1865-1957)
Artist: Pekka Kuusisto, Tapiola Sinfonietta
Title: Sibelius - Works for Violin and Orchestra
Genre: Classical
Label: © 2xHD/Ondine Oy, Helsinki
Release Date: 2006/2015
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 01:04:16
Recorded: January 2006, Tapiola Hall, Espoo, Finland


For lovers of Sibelius's famous Violin Concerto, this album offers an ideal opportunity to discover his less-performed works for violin and orchestra, played by celebrated Finnish violinist Pekka Kuusisto. Known as a cutting edge musician, Kuusisto is acclaimed for his tone, technique, infectious enthusiasm and his imaginative interpretations, all of which are on display here. The Tapiola Sinfonietta, one of the top professional orchestras in the Nordic countries, is famous for its fine performances of classical, contemporary and less familiar chamber orchestra repertoire.
Pekka Kuusisto and composer Jean Sibelius seem to be an ideal match. After his highly successful debut recording, playing the Sibelius concerto, Kuusisto returns here as soloist and conductor of the Tapiola Sinfonietta for another strong showing with some of Sibelius' lesser-known works for violin and orchestra.
This album was mastered using our 2xHD proprietary system. In order to achieve the most accurate reproduction of the original recording we tailor our process specifically for each project, using a selection from our pool of state-of-the-art audiophile components and connectors. The process begins with a transfer to analog from the original DSD master, using cutting edge D/A converters. The analog signal is then sent through a hi-end tube pre-amplifier before being recorded directly in DXD using the dCS905 A/D and the dCS Vivaldi Clock. All connections used in the process are made of OCC silver cable.
  • 0
Scott LaFaro - Pieces of Jade (2009/2017) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Scott LaFaro
Title: Pieces of Jade
Genre: Jazz, Post Bop, Cool Jazz, Modal Music
Label: © 2xHD/Resonance Records
Release Date: 2009/2017
Quality: DSF Stereo DSD128/5.64MHz
Source: AcousticSounds
Duration: 00:37:06
Recorded: 1961 in New York City


"Pieces of Jade" features material previously unavailable to American audiences. Among the highlights is a rare glimpse inside the creative process with LaFaro in an extended practice session with Bill Evans, both of them working through a standard they practically owned, "My Foolish Heart." Also included are five selections recorded in New York City during 1961 that showcase LaFaro with pianist Don Friedman and drummer Pete LaRoca. "His approach to the bass...it was a beautiful thing to see...He was a constant inspiration." --Bill Evans
For the 2xHD transfer of this recording the original 1/4", 15 IPS NAB master tape was played on a Nagra-T modified with high-end tube playback electronics, wired with OCC silver cable from the playback head direct to a Telefunken EF806 tube. The Nagra-T has one of the best transports ever made, having four direct drive motors, two pinch rollers and a tape tension head.
  • 0
Norah Jones - The Fall (2009/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Norah Jones
Title: The Fall
Genre: Jazz, Vocal Jazz, Alternative/Indie Rock, Singer/Songwriter
Label: © Blue Note Records/Analogue Productions
Release Date: 2009/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:45:59
Recorded: 2008–2009, The Coop, NY, The Magic Shop, NY, Sunset Sound Recorders, CA, and House Of David, Nashville, TN; Mastered by Kevin Gray at Cohearent Audio from the original analog master tapes!


Part of Analogue Productions’ reissue of the Norah Jones’ solo catalog, featuring the individual albums Come Away With Me, Feels Like Home, Not Too Late, The Fall and Little Broken Hearts. Each album is also featured in exclusive LP and SACD box sets that include Norah’s Covers album!
Norah has taken a new direction on The Fall, experimenting with different sounds and a new set of collaborators, including Jacquire King, a noted producer and engineer who has worked with Kings of Leon, Tom Waits and Modest Mouse. Richly detailed and vocally lush on this DSD format reissue by Analogue Productions, The Fall, Jones’ fourth album, may surprise some of Jones’ die-hard fans, Billboard magazine notes. During the 13-song set, Jones ditches the gentle piano playing of her previous work and tears into fresh, beat-savvy arrangements, playing plenty of electric guitar and exploring the piercing quality of Wurlitzer electric piano. Jones’ smoky voice and soulful veneer highlight the opening track and first single, "Chasing Pirates."
Jones displays a slinky kind of ambience on "Light As a Feather (co-written with Ryan Adams). The social commentary "It’s Gonna Be" offers a garage-rock attitude, and "You’ve Ruined Me" has a rich Americana flavor. But Jones is still a little bit country ("Tell Yer Mama") and a little bit rock’n’roll ("Stuck"). Overall, writes reviewer Gary Graff, Jones straddles those lines in an entirely different manner than she ever has before.
For The Fall, Jones enlisted several songwriting collaborators, including Ryan Adams and Okkervil River’s Will Sheff, as well as her frequent partners Jesse Harris and Richard Julian. Musicians include drummers Joey Waronker (Beck, R.E.M.) and James Gadson (Bill Withers), keyboardist James Poyser (Erykah Badu, Al Green) and guitarists Marc Ribot (Tom Waits, Elvis Costello) and Smokey Hormel (Johnny Cash, Joe Strummer).
  • 0
Norah Jones - Not Too Late (2006/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Norah Jones
Title: Not Too Late
Genre: Jazz, Vocal Jazz, Alternative/Indie Rock, Singer/Songwriter
Label: © Blue Note Records/Analogue Productions
Release Date: 2006/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:45:42
Recorded: 2005–2006 at The Coop, NYC and Brooklyn Recording, NY; Mastered by Kevin Gray at Cohearent Audio from the original analog master tapes!


Recoils from fame usually aren't as subdued as Norah Jones' third album, Not Too Late, but such understatement is customary for this gentlest of singer/songwriters. Not Too Late may not be as barbed or alienating as either In Utero or Kid A -- it's not an ornery intensification of her sound nor a chilly exploration of its furthest limits -- but make no mistake, it is indeed a conscious abdication of her position as a comfortable coffeehouse crooner and a move toward art for art's sake. And, frankly, who can blame Jones for wanting to shake off the Starbucks stigmata? Although a large part of her appeal has always been that she sounds familiar, like a forgotten favorite from the early '70s, Jones is too young and too much of a New York bohemian to settle into a role as a nostalgia peddler, so it made sense that she started to stretch a little after her 2004 sophomore set, Feels Like Home, proved that her surprise blockbuster 2002 debut, Come Away with Me, was no fluke. First, there was the cabaret country of her Little Willies side band, then there was her appearance on gonzo art rocker Mike Patton's Peeping Tom project, and finally there's this hushed record, her first containing nothing but original compositions. It's also her first album recorded without legendary producer Arif Mardin, who helmed her first two albums, giving them a warm, burnished feel that was nearly as pivotal to Jones' success has her sweet, languid voice. Mardin died in the summer of 2006, and in his absence, Jones recorded Not Too Late at the home studio she shares with her collaborator, bassist and boyfriend Lee Alexander. Although it shares many of the same sonic characteristics as Jones' first two albums, Not Too Late boasts many subtle differences that add up to a distinctly different aesthetic. Jones and Alexander have stripped Norah's music to its core. Gone are any covers of pop standards, gone are the studio pros, gone is the enveloping lushness that made Come Away with Me so easy to embrace, something that Not Too Late is most decidedly not. While this might not have the rough edges of a four-track demo, Not Too Late is most certainly music that was made at home with little or no consideration of an audience much larger than Jones and Alexander. It's spare, sometimes skeletal, often sleepy and lackadaisical, wandering from tunes plucked out on acoustic guitars and pianos to those with richer full-band arrangements. Norah Jones has never exactly been lively -- part of her charm was her sultry slowness, ideal for both Sunday afternoons and late nights -- but the atmosphere here is stultifying even if it's not exactly unpleasant. After all, unpleasantness seems to run contrary to Jones' nature, and even if she dabbles in Tom Waits-ian carnivalesque stomps ("Sinkin' Soon") or tentatively stabs at politics ("My Dear Country"), it never feels out of place; often, the shift is so subtle that it's hard to notice. That subtlety is the biggest Achilles' heel on Not Too Late, as it manifests itself in songs that aren't particularly distinctive or performances that are particularly varied. There are exceptions to the rule and they all arrive with full-band arrangements, whether it's the lazy jazz shuffle of "Until the End," the country-tinged "Be My Somebody," or the wonderful laid-back soul of "Thinking About You." These are songs that not only sound full but they sound complete, songs that have a purposeful flow and are memorable for both their melody and sentiment. They would have been standouts on Feels Like Home, but here they are even more distinctive because the rest of the record plays like a sketchbook, capturing Jones and Alexander figuring out how to move forward after such great success. Instead of being the end result of those experiments, the completed painting after the sketch, Not Too Late captures their process, which is interesting if not quite compelling. But its very release is a clear statement of artistic purpose for Jones: its ragged, unfinished nature illustrates that she's more interested in pursuing her art than recycling Come Away with Me, and if this third album isn't as satisfying as that debut, it nevertheless is a welcome transitional effort that proves her artistic heart is in the right place. --Stephen Thomas Erlewine
  • 0
Minoru Nojima Plays Franz Liszt (1987/2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Franz Liszt (1811-1886)
Artist: Minoru Nojima
Title: Nojima Plays Liszt
Genre: Classical
Label: © Reference Recordings
Release Date: 1987/2011
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:59:45
Recorded: December 17-18, 1986, Oxnard, California Civic Auditorium
Recorded natively in the PCM format at 176.4 kHz/24 bit and converted to DSD using the best equipment available.


Nojima Plays Liszt (RR-25) was named “Best Recording of the Month” by Stereo Review when it was originally released in 1988. It was described as “A stunning demonstration of technique put at the service of profoundly musical ends.” Minoru Nojima, one of Japan’s most internationally respected pianists, also created magic in Nojima Plays Ravel (RR-35) originally released in 1990.
From the LP Liner Notes: “Anticipating the judgment of history is no doubt presumptuous, but to hear Minoru Nojima is to find irresistible the idea that here is a pianist destined to join the pantheon of keyboard immortals. Nojima has a technique that invites comparison with the most dazzling of the great piano virtuosi, past or present. Even more, he has a depth of musical expressiveness that one can relate only to the spiritual, to music as an almost religious experience. His playing, once heard, is literally unforgettable…” —Robert Everist Greene Professor of Mathematics, UCLA Reviewer, The Absolute Sound
  • 0
Wolfgang Amadeus Mozart - Complete Sonatas for Keyboard & Violin - Rachel Podger, Gary Cooper (2004-09) DSF Stereo DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Rachel Podger, Gary Cooper
Title: Mozart - Complete Sonatas for Keyboard & Violin
Genre: Classical
Label: © Channel Classics Records
Release Date: 2004-2009/2014
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 09:22:52


We bundled the eight Mozart cd’s that Rachel Podger and Gary Cooper recorded over the last ten years into an atrractive box, with an informative note from producer Jonathan Freeman-Attwoord. The duo partnership Gary Cooper and Rachel Podger has taken them worldwide. These recordings of Mozart’s Complete Sonatas for Keyboard & Violin have received countless awards and accolades, including multiple Diapason d’Or awards and Gramophone Editor’s Choices, and hailed as ‘benchmark’ recordings.

“Finally, one asks why there hasn’t previously been a complete recording on historical instruments. From my ‘privileged’ position as listener-in-chief, I can tell you it is because no pair can make such transparent and difficult music sound so effortless, elegant, witty, emotionally persuasive and enjoyable. Jonathan Freeman-Attwood, producer
  • 0
Franz Joseph Haydn - Symphonies Nos. 53, 64 & 96 - Oregon Symphony Orchestra, Carlos Kalmar (2017) DSF Stereo DSD64/2.82MHz

Сomposer: Franz Joseph Haydn (1732-1809)
Artist: Oregon Symphony Orchestra, Carlos Kalmar
Title: Haydn - Symphonies Nos. 53, 64 & 96
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2017
Quality: DSF Stereo DSD64/2.82MHz
Source: pentatonemusic.com
Duration: 01:01:51
Recorded: Arlene Schnitzer Concert Hall, Portland, Oregon, in 2013 (Symphony No. 64) and 2016 (Symphonies Nos. 53 and 96).


Whether it’s a confident swagger or a balletic grace, a beguiling folk-melody or a quicksilver rondo, there is always something new to discover in the endlessly inventive symphonies of Haydn, especially in these firm favourites played by the Oregon Symphony under Carlos Kalmar in this new release.
While Haydn wrote only one “Surprise” symphony, there are surprises to be enjoyed aplenty here. From the bewildering Largo in Symphony No. 64 with its unexpected turns and derailments, to the ceremonial elegance and ear-tickling melodies of Symphony No. 53 or the mock-heroics and propulsive rhythms of Symphony No. 96, Haydn’s irrepressible and dazzling ingenuity constantly delights and astonishes. “There is no one who can do it all,” wrote Mozart, “to joke and to terrify, to evoke laughter and profound sentiment – and all equally well, except Joseph Haydn.”
This is Carlos Kalmar’s fourth album for PENTATONE with the Oregon Symphony. Their album Music for a Time of War, earned two Grammy nominations (Best Orchestral Performance and Best Engineered Album, Classical) and was widely praised by music critics.
Gramophone said of their album This England “Kalmar’s Oregon performance certainly pulls no punches … a total success, gripping in mood and hot on specific instrumental detail,” adding, “sound-wise, you couldn’t ask for more; nor could anyone expect finer recording from PENTATONE.” And in 2016, their critically acclaimed album of 20th century American orchestral works The Spirit of the American Range earned a Grammy nomination for Best Orchestral Performance.
Carlos Kalmar, a Uruguayan national, is in his fourteenth season as Music Director of the Oregon Symphony. He is also the artistic director and principal conductor of the Grant Park Music Festival in Chicago. His Carnegie Hall debut in May 2011 with the Oregon Symphony, was noted by New York critic Alex Ross as “one of the most gripping events of the current season”.
  • 0
Etta Cameron and Nikolaj Hess with Friends - Etta (2009) DSF Stereo DSD64/2.82MHz

Artist: Etta Cameron and Nikolaj Hess with Friends
Title: Etta
Genre: Jazz, Vocal Jazz
Label: © Stunt Records
Release Date: 2009/2015
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 00:59:58
Recorded: Sun Studio, Copenhagen, May 2009


Etta Cameron is best known as a gospel vocalist with a conta- gious enthusiasm, which can distill the ardor in any choir and lead them to rock even the smallest country church. When on the panel of one of TV’s many talent contests, lovable Etta always gives top score to anybody exhibiting the smallest ink- ling of talent.
But more than anything else, Etta represents Black music. Through a long career she has infused soul, gospel, blues and jazz tunes with her personal touch and richly dark, beautiful voice. All this experience helps shape her interpretation of this impressive string of jazz pearls.
Etta Cameron and Nikolaj Hess have worked closely together for 20 years. Nikolaj has accompanied Etta at countless venues – small and large – with large orchestras, trios and quartets, or alone behind the piano. Their mainstay is gospel, but when the chance arises, they love playing a few jazz ballads. Often, they have rehearsed on the backseat of the car en route from one gig to the next, and that is also exactly how this album was born.
Nikolaj and Etta have often discussed recording a selection of especially beautiful tunes with the best possible line‐up. And
so it came to be: Bassist Klavs Hovman and saxophonist Jens Søndergaard ‐ both regulars in Etta’s bands for years – were ready. Marilyn Mazur and Palle Mikkelborg were equally ent- husiastic. And so Nikolaj started arranging for this particu- lar line‐up. In May 2009, Etta and the musicians were ready to visit Copenhagen’s Sun Studios and bring out the magic in tunes like “What a Wonderful World”, “Smile”, “Careless Love” and many others. The legendary sound wizard Bjarne Hansen engineered the session.
And the magic is unquestionable on this new CD, when the youthful vocalist with many years of experience behind her puts all her interpretive powers on the line. The production gives us a close‐up on Etta and her wonderful voice, as she invites us under the skin of the tunes and breathes a vibrant proximity into the lyrics. You will be astounded at the almost minimalistic framework, which enables Etta and a handful of Denmark’s leading musicians to strip each song to the bone.
Vocalists may compete for attention, but nothing beats experi- ence, and when combined with breathtaking honesty, a subli- me listening experience is right around the corner ‐ as on this CD featuring a genuine diva.
  • 0
Dvorak & Lalo - Cello Concertos - Johannes Moser, PKF-Prague Philharmonia, Jakub Hrusa (2015) DSF Stereo DSD64/2.82MHz

Сomposer: Antonín Dvořák (1841-1904), Édouard Lalo (1823-1892)
Artist: Johannes Moser, PKF-Prague Philharmonia, Jakub Hrůša
Title: Dvořák & Lalo - Cello Concertos
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2015
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:05:34
Recorded: Forum Karlín in Prague, Czech Republic in January 2015


German-Canadian international soloist Johannes Moser recently signed an exclusive recording contract with PENTATONE. He regularly performs with the world’s leading orchestras such as the Berlin Philharmonic, New York Philharmonic, Chicago Symphony, London Symphony, Royal Concertgebouw, NHK Symphony, Philadelphia and Cleveland Orchestras as well as the leading conductors of our time including Mariss Jansons, Valery Gergiev, Zubin Mehta and Gustavo Dudamel. He has received many accolades for his recordings including two ECHO Klassik awards as well as the Preis der Deutschen Schallplattenkritik.
For his debut album with PENTATONE Johannes chose to record the pinnacle of the repertoire for cello and orchestra, the concerto by Antonín Dvořák. In this monumental work Dvořák explores the entire spectrum of human emotion, very much inspired by his own experiences, ranging from exhilarating bursts of life in New York City to the devastating tragedy of his unfulfilled love.
In preparation for the recording, made with the PKF - Prague Philharmonia, Johannes Moser and conductor Jakub Hrůša had Dvořák's own manuscript at hand in order to come closer to the composer's intention rather than relying on unquestioned traditions and acquired habits, while paying tribute to the concerto's nickname, "Dvořák's 10th Symphony”.
Moser completes his debut album with the Cello Concerto by Édouard Lalo. It is a work of great verve which fully embodies Spanish flair combined with romantic spirit.
Besides being staples of the Romantic cello repertoire the two works have a lot in common. Johannes Moser says about the two concerti: “The unifying motif between these two Cello Concertos is a sense of yearning: From America, Dvořák yearned for his homeland and an unfulfilled love, whereas Lalo yearned for the typically Spanish flair and the Mediterranean temperament”.


  • 0
Dear visitor, you have not login. We recommend you to REGISTER and LOGIN to gain access to the full resource on our website.