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Thad Jones/Mel Lewis Orchestra - All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Thad Jones/Mel Lewis Orchestra
Title: All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard
Genre: Jazz, Bop, Hard Bop, Modern Big Band
Label: © 2xHD/Resonance Records
Release Date: 2016
Quality: DSF Stereo DSD128/5.64MHz
Source: AcousticSounds
Duration: 01:04:57
Recorded live February 7 and March 21, 1966 at The Village Vanguard, New York City

A thrilling, thoughtfully curated two-disc collection, Resonance Records' All My Yesterdays presents the debut 1964 performances of the innovative Thad Jones/Mel Lewis Orchestra. Recorded by Resonance Records founder George Klabin, then a 19-year-old college sophomore, jazz radio DJ, and budding sound engineer at Columbia University, these recordings showcase the band in two uproariously received performances at the legendary Village Vanguard, their home for 50 years and counting. Initially intended as a way to attract a record deal for the band, the tracks have remained largely unheard by the general public. Here, they are presented in full with a detailed liner-notes booklet featuring pictures, essays, and interviews with Klabin and others. Recorded by Klabin alone, using minimal equipment by modern standards, with only the musicians themselves to help move microphones as needed, the recordings sound remarkably clear and capture the electric atmosphere of the band's debut. Highlighted by Jones' bop-oriented trumpet solos and grounded by Lewis' rhythm section featuring pianist Hank Jones, guitarist Sam Herman, and bassist Richard Davis, the orchestra was a lithe, forward-thinking yet always swinging entity that helped move large ensembles into the post-bop era. It also didn't hurt that the band was populated with a cross-generational cadre of virtuoso musicians including saxophonists Joe Farrell, Pepper Adams and Eddie Daniels; trumpeters Jimmy Owens and Snooky Young; trombonist Bob Brookmeyer; and others. All of this is quite evident on these recordings, which put you front and center at the Village Vanguard on February 7, 1966 as saxophonist Jerry Dodgion soulfully leads the band into an explosive version of Jones' swinging, gospel-inflected blues "Back Bone." From that moment onward the band rarely lets up, with Lewis driving the arrangements with his roiling, foot-tapping pulse and Jones calling out solos and improvised background phrases. The second disc of music, recorded March 21, 1966, features an equally captivating performance from the band and a longer set list, including dynamic versions of "Low Down," "Ah, That's Freedom," "Mean What You Say," and more. While the Thad Jones/Mel Lewis Orchestra has an extensive oeuvre of recorded music to enjoy, All My Yesterdays captures the band at its brilliant, joyous start. --AllMusic Review by Matt Collar
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Pyotr Il’yich Tchaikovsky - Symphony No. 6 'Pathetique' - Czech Philharmonic Choir of Brno, Budapest Festival Orchestra, Ivan Fischer (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Pyotr Il’yich Tchaikovsky (1840-1893), Alexander Borodin (1833-1887)
Artist: Czech Philharmonic Choir of Brno, Budapest Festival Orchestra, Iván Fischer
Title: Tchaikovsky - Symphony No. 6 'Pathétique'; Borodin - Polovtsian Dances
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:58:02
Recorded: Palace of Arts, Budapest, January 2014


When Pyotr Il’yich Tchaikovsky stepped onto the stage in Saint Petersburg on 28 October 1893 to introduce his Sixth Symphony to the public, he was received with a roar of applause. Less than an hour later the astonished audience was left dumbfounded. How could a symphony begin so softly and end even softer? And what about the second movement, with its undanceable waltz, and the third one with its unstoppable march? Nine days after the premiere, Tchaikovsky died in a city ravaged by cholera. Tchaikovsky himself considered the symphony to be the best he had ever written, and with it he said farewell to music, indeed to life itself. Rumours have never ceased to circulate about this unexpected end. For example, according to a controversial theory of the Russian musicologist Alexandra Orlova, the composer was forced to commit suicide. A secret council of honour is said to have sentenced Tchaikovsky thus because of a scandalous relationship with his young nephew; that he was reported to have died of cholera was no more than a pretence to conceal the true course of events. This theory has since been refuted. When the composer drunk a glass of unboiled water in the company of his brother Modest and nephew Vladimir Davidov, who warned him of the dangers, he replied “I am not afraid of cholera.” Did he know what he was doing? Is this the import of the dark, deathly sound of the menacing bassoons at the beginning of the symphony? Was the Pathétique indeed his message of farewell? And especially the final movement, Adagio, with its downward pull, in which all that holds on to life is swallowed up as if by a morass? Depressions overshadowed not only Tchaikovsky’s final years, but much of his life as well. Among the reasons for this was his homosexuality. In his younger years he was very nearly driven to suicide by an unhappy marriage, which was dissolved on medical advice. In his last symphony, the tragedy of the composer’s life seems to be captured in music.
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Peter Ilyich Tchaikovsky - Symphony No. 3 - Russian National Orchestra, Mikhail Pletnev (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Peter Ilyich Tchaikovsky (1840–1893)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Tchaikovsky - Symphony No. 3
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:52:06
Recorded: DZZ Studio 5, Moscow, April 2011

Nowadays, Tchaikovsky’s first three sym- phonies seldom appear on the concert programmes, whereas his symphonies four to six – in other words, the symphonies generally recognized as masterpieces – are regularly included. And thus the three early symphonies share a fate that none of them have necessarily earned. After all, each in its own individual way is a worthwhile symphony: the composer certainly did not consider them to be preliminary works, a type of precursor to the later symphonies. From 1866 to 1878, Tchaikovsky taught harmony at the Moscow Conservatoire and during this period, he composed – among other works – his first three symphonies, namely in 1866, 1872, and 1875. And for Tchaikovsky, the journey leading to the symphony was not an easy one: on the con- trary, he trod a painful path before tapping into this high-end genre. This is proven, on the one hand, by the amount of time and energy he put into the creation of his sym- phonies, which was characterized by serious doubts about their quality; or, on the other hand, by the fundamental reworking of his second symphony, despite the success of its première. However, Tchaikovsky had a much easier time with his Symphony No. 3 in D.
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Peter Ilyich Tchaikovsky - Symphony No. 2 'Little Russian' - Russian National Orchestra, Mikhail Pletnev (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Peter Ilyich Tchaikovsky (1840–1893)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Tchaikovsky - Symphony No. 2 'Little Russian'
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:48:10
Recorded: DZZ Studio 5, Moscow, April 2011


Following the long and rocky road to the First Symphony, on which, due to his teaching duties at the Moscow Conservatory, Tchaikovsky had been forced to work at night, the Second Symphony was composed mainly in the summer of 1872, hot on the heels of his second opera, The Oprichnik. At this time, Tchaikovsky was once again tak- ing a holiday on the country estate of his sister Aleksandra, located near the Ukrainian town of Kamianka, in the Kiev Governerate. Numerous anecdotes report Tchaikovsky’s touching assertion that he was not the true creator of the work, but rather, that it actually had been composed by one Pyotr Gerasimovich, one of the older servants in the household of his sister and her husband, Lev Davydov, for it was Pyotr Gerasimovich who had sung the folksong, The Crane, to him, which provided the basis for the work’s finale. Regardless of the story’s veracity, there is no other work in Tchaikovsky’s symphonic oeuvre that contains such a wealth of authentic folksong themes beside freely composed folksong-like creations. The work’s unofficial title, Little Russian Symphony, is indeed attributable to the fact that so many Ukrainian folksongs are employed in it, ‘Little Russia’ having been the standard term for the central and northern portions of today’s Ukraine in Tsarist times.

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Peter Ilyich Tchaikovsky - Symphony No. 1 'Winter Daydreams' - Russian National Orchestra, Mikhail Pletnev (2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Peter Ilyich Tchaikovsky (1840–1893)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Tchaikovsky - Symphony No. 1 'Winter Daydreams'
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2011
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:55:16
Recorded: DZZ Studio 5, Moscow, 4/2011

The genre of the symphony played a major role throughout the creative life of Pyotr Tchaikovsky. He composed his first symphony at the age of 26, and his sixth and last symphony – the Pathétique – in 1893, the year in which he died. Whereas his three last symphonies have remained an integral part of the concert repertoire, performances of his first three symphonies are still quite rare. Unfairly so, as they are unique indi- vidual works, artistic expressions of a high quality. Tchaikovsky defined the symphony as “the most lyrical of musical forms. After all, is it not meant to express that for which there are no words, but which forces itself out of the soul, impatiently waiting to be uttered?”. With these words, Tchaikovsky makes us aware of the special nature of his symphonies. Primarily, they provided him with a musical outlet for the elaboration of his emotions, his mental and spiritual pro- cesses. Probably the greatest error as far as the reception of Tchaikovsky’s symphonies is concerned, is that the subjectivity of his symphonic sound world, the sweet melliflu- ousness of one melody or another confused and irritated the judgment of the academics to the same degree in which these musical characteristics met, by contrast, with euphoric approval from a wide-ranging audience. After all, especially in German- speaking countries, his music was unjustly stamped as follows: “Beware! Sensitive, sloppy sentiment!”. But Tchaikovsky absolutely did not want to get involved in an academic game with empty notes. And rightly so.
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Pyotr Ilyich Tchaikovsky - Symphonies Nos. 1-3 - London Symphony Orchestra, Valery Gergiev (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840–1893)
Artist: London Symphony Orchestra, Valery Gergiev
Title: Tchaikovsky - Symphonies Nos. 1-3
Genre: Classical
Label: © London Symphony Orchestra
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 02:05:56
Recorded live 18 and 23 January 2011, 23–24 March 2011 at the Barbican, London, and 20 May 2011 at the Tonhalle Zürich, Switzerland.


Tchaikovsky was well into his twenties when he abandoned an unpromising career as a civil servant in the Russian Ministry of Justice and began to study music seriously, at first privately and then at the newly-established St Petersburg Conservatory. Immediately after graduating, he was offered a teaching post at the even newer Moscow Conservatory, and it was during his early months there that he composed the First Symphony. Its birth was accompanied by the anxiety and self-doubt that Tchaikovsky was never to overcome, even as a mature and established master.
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Stevie Ray Vaughan and Double Trouble - Texas Flood (1983/1999) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Stevie Ray Vaughan and Double Trouble
Title: Texas Flood
Genre: Blues, Blues Rock, Electric Texas Blues, Modern Electric Blues
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1983/1999
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:59:04
Recorded: 22-24 November 1982, Down Town Studio, Los Angeles, California


"Texas Flood" is the monumental debut by Stevie Ray Vaughan and Double Trouble. It introduced the world to a soul-filled sound unlike any heard before. This blues-rock affair climbed into the Top 40 and spent countless weeks on the Billboard charts. It revitalized blues and made Vaughan an international superstar. It features the stunning standouts “Rude Mood,” “Lenny,” “Pride And Joy” and Howlin' Wolf’s “Tell Me.” “Texas Flood” was nominated for Best Traditional Blues Performance and “Rude Mood” was nominated for Best Rock Instrumental Performance at the GRAMMYS. The album finds the group at an undeniable peak of their formidable powers.
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Stevie Ray Vaughan and Double Trouble - Couldn't Stand The Weather (1984/1999) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Stevie Ray Vaughan and Double Trouble
Title: Couldn't Stand The Weather
Genre: Blues, Blues Rock, Electric Texas Blues, Modern Electric Blues
Label: © Epic Records, a division of Sony Music Entertainment
Release Date: 1984/1999
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:54:57
Recorded: January 1984, Power Station, New York City


"Couldn’t Stand The Weather"is the remarkable sophomore album by Stevie Ray Vaughan and Double Trouble. It follows their critically acclaimed debut, Texas Flood. Incorporating the same winning formula of musicianship and songwriting, Couldn’t Stand The Weather cemented Vaughan’s place as one of music’s greatest. It is their first to earn Gold certification and their first platinum-seller. It includes breathtaking renditions of Clark’s “Cold Shot” and Hendrix’s “Voodoo Child.” A staple on the Billboard charts, this definitive masterpiece received praise from Entertainment Weekly, Q, Down Beat and many others.

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Rachmaninov, Stravinsky, Shchedrin - Piano Concertos & Capriccio - Denis Matsuev, Mariinsky Orchestra, Valery Gergiev (2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Sergei Rachmaninov (1873–1943), Igor Stravinsky (1882-1971), Rodion Shchedrin (b.1932)
Artist: Denis Matsuev, Mariinsky Orchestra, Valery Gergiev
Title: Rachmaninov, Stravinsky, Shchedrin - Piano Concertos & Capriccio
Genre: Classical
Label: © Mariinsky
Release Date: 2015
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:06:19
Recorded live 16 November 2014, 6 & 7 April 2015 in DSD in the Concert Hall of the Mariinsky Theatre, St Petersburg, Russia


Denis Matsuev showcases works for piano and orchestra by three of Russia's greatest composers. Renowned for interpretations of music from his homeland, and affectionately known as 'the Siberian Bear with the fastest paws in the Arctic', Matsuev's previous releases on the Mariinsky Label, including Rachmaninov Piano Concerto No 3 and Rhapsody on a Theme of Pagnini, have received widespread acclaim.
Piano Concerto No 1 was written whilst Rachmaninov was still a teenager and though relatively playful in comparison to his other piano concertos, its three movements are full of the showmanship, beautiful melodies and lush orchestral accompaniment that were to characterise his music in the years to come. A similarly playful tone can be found in the revised 1949 edition of Stravinsky's Capriccio for Piano and Orchestra, which premiered in 1949 with the composer at the piano. Written as a virtuosic vehicle for Stravinsky himself, the piece is characterised by a dancing piano part, full of leaps and bounding with energy. Completing this release is Shchedrin's Piano Concerto No 2, recorded in the presence of the composer, which influenced by twelve-tone techniques and jazz. Virtuosic writing is a feature throughout, and the final movement sees the surprise introduction of a jazz ensemble, including vibraphone and drum kit.
Speaking about this release, Denis Matsuev says ' we wanted to show Great Russian composers from different periods.' Rachmaninov's First Piano Concerto is one of my favourites. It was written whilst he studied at the Moscow Conservatory and despite his young age he managed to reveal himself as a great artist. Capriccio is a brilliant work with a wonderful sense of humour. It is also very cinematic; one can envisage this music whilst listening to it and we tried to communicate all of these features to the audience. Shchedrin is a very special composer in the Russian tradition. He takes an active part in rehearsals; we have an opportunity to talk to him, to exchange ideas and listen to his advice. It is a priceless experience.'
This release is dedicated to the memory of Maya Plisetskaya (1925–2015), wife of Rodion Shchedrin and dedicatee of his Piano Concerto No 2, who passed away shortly after the making of this recording.
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Sergei Rachmaninov - Symphony No. 3 / Mily Balakirev - Russia - London Symphony Orchestra, Valery Gergiev (2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Sergei Rachmaninov (1873–1943)
Artist: London Symphony Orchestra, Valery Gergiev
Title: Rachmaninov: Symphony No 3 in A minor, Op 44 (1935–36); Balakirev: Russia (Second overture on three Russian themes) (1864, rev 1907)
Genre: Classical
Label: © London Symphony Orchestra
Release Date: 2015
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:56:28
Recorded live in DSD 128fs, 11 & 13 November 2014 at the Barbican, London

Sergei Rachmaninov Symphony No 3 in A minor Op 44 (1935–36) :: Each of Rachmaninov’s three symphonies sums up one of the three main periods of his life. The First (1897) is the outpouring of a passionate and adventurous young man steeped in the climate of late 19th-century Russian music and literature. The Second (1907) is an expansive, opulent work composed when Rachmaninov was at the peak of his triple career as composer, pianist and conductor. The Third, written three decades later, comes from the years of exile when Rachmaninov was cut off from his native culture and traditions. He had become a world-famous piano virtuoso, but outside Russia was generally less highly regarded as a composer.
Rachmaninov began the Third Symphony in the summer of 1935 in his villa on the shores of Lake Lucerne in Switzerland. The first two movements were written relatively quickly, but he had to interrupt work for a major concert tour in the United States that autumn and winter. It was only in June 1936 that he was able to return to Switzerland to compose the finale. The premiere took place in America that November: ‘I was present at the first two performances’, wrote Rachmaninov, ‘it was played wonderfully (The Philadelphia Orchestra—Stokowski conducting). Both audience and critics responded sourly. Personally, I’m firmly convinced that this is a good work. But … sometimes the author is wrong, too! However, I maintain my opinion’.
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