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Johannes Brahms - The Piano Trios - Christian Tetzlaff, Tanja Tetzlaff, Lars Vogt (2015/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johannes Brahms (1833–1897)
Artist: Christian Tetzlaff, Tanja Tetzlaff, Lars Vogt
Title: Brahms - The Piano Trios
Genre: Classical
Label: © 2xHD/Ondine Oy, Helsinki
Release Date: 2015/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:22:57
Recorded: Sendesaal Bremen, 27 – 29 May 2014


Award-winning violinist Christian Tetzlaff and pianist Lars Vogt are joined together with Tanja Tetzlaff in this exciting new recording of the Johannes Brahms (1833-1897) Piano Trios.
The Brahms Piano Trios belong to the very core of the romantic chamber music repertoire. They span a period from the 1850s (the 1st version of Op. 8) to the 1880s, Op. 101 being completed during the last decade of Brahms' active career as a composer. Piano Trio No. 1 was also revised by the composer as late as in 1889.
Christian Tetzlaff has been considered as one of the world's leading international violinists for many years, and still maintains a most extensive performing schedule. Musical America named him "Instrumentalist of the Year" in 2005 and his recording of the violin concertos by Mendelssohn and Schumann, released on Ondine in 2011 (ODE 1195-2), received the "Preis der deutschen Schallplattenkritik". Gramophone Magazine chose his recording of the Schumann Violin Sonatas with Lars Vogt (ODE 1205-2) as "Disc of the Month" in January 2014. In addition, in 2015 ICMA awarded Christian Tetzlaff as the "Artist of the Year".
Chamber music plays a significant part in Tanja Tetzlaff's career. She gives regular recitals in renowned concert series and festivals. In addition to successes in many international competitions, she has collaborated with world-renowed orchestras and conductors.
Lars Vogt was appointed the first ever "Pianist in Residence" by the Berlin Philharmonic in 2003/04 and enjoys a high profile as a soloist and chamber musician.
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Johannes Brahms - Symphony no. 2, Tragic Overture, Academic Festival Overture - Budapest Festival Orchestra, Ivan Fischer (2014) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johannes Brahms (1833-1897)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Brahms - Symphony no. 2, Tragic Overture, Academic Festival Overture
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2014
Quality: DSF Stereo DSD64/2.82MHz
Source:nativeDSDmusic
Duration: 01:07:45
Recorded: Palace of Arts, Budapest, February 2012


A remarkable, transparent purity can be heard in Brahms’s Second symphony. It is a sharp contrast to the huge arsenal of ideas collected in the First Symphony, which Brahms had worked on for many years. Here in his Second he shows us his masterful skill in developing large-scale architecture from the simplest motifs. To give the first of these to the horns is a logical choice; Brahms always used natural horns and resisted the more modern instruments. Horns can ideally explore the purest of all musical ideas: the journey through the overtones.
Similar purity is present in all the themes. When at the start the basses step down a semitone and step back again, nobody could guess what a rich new world would develop from this cell. The last movement is also built on a simple tool: repeated, equal notes follow each other in regimental order (a classical tradition often heard in final movements by Haydn or Mozart). Is this Brahms’s most nature-related symphony? Considering the complicated organisms that develop from the simplest cells, yes, it is. Brahms certainly has the divine, creative talent to show us how this process can work in music. --Iván Fischer
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Johannes Brahms - Mass & Motets - Swedish Radio Choir, Peter Dijkstra (2014 High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johannes Brahms (1833-1897)
Artist: Swedish Radio Choir, Peter Dijkstra
Title: Brahms - Mass & Motets
Genre: Classical, Choral
Label: © Channel Classics Records B.V.
Release Date: 2014
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:57:25
Recorded: September 2013, Engelbrekts Church, Stockholm

This programme features highlights of German Romanticism and one of the most familiar and frequently performed composers: Johannes Brahms. More particularly, Brahms’s choral music ‘in all its pureness’, the genre that made him so well-known and well-loved among the countless choirs of the time in Germany and Austria. Four years before Brahms was born in Hamburg, Felix Mendelssohn dusted off Bach’s St Matthew Passion and had it performed again, a hundred years after the premiere in 1729. Brahms likewise cherished the remembrance of Bach. In Vienna he performed his motets and throughout Brahms’s life, Bach remained his primary source of inspiration.
With its 32 professional singers, the Swedish Radio Choir forms an instrument with a range from the most delicate a cappella tones to oratorios of enormous power and versatility. Every individual is allowed his or her place in the group, resulting in an exclusive expressiveness – the Swedish Radio Choir’s unique sound. The Swedish Radio Choir, which is one of the world’s most respected a cappella ensembles, was founded in 1925, but it was not until 25 years later (1952), under the leadership of their new principal conductor Eric Ericson, that the choir began to develop into the flexible instrument that it has now become. And every principal conductor after him has also contributed to the character of the choir, adding new colour and accomplishments. The present principal conductor, since the autumn of 2007, is Peter Dijkstra.
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Bill Evans - Live at Art d'Lugoff's Top of the Gate (2012/2017) DSF Stereo DSD128/5.64MHz

Artist: Bill Evans
Title: Live at Art d'Lugoff's Top of the Gate
Genre: Jazz, Post Bop, Modal, Cool Jazz, Piano Jazz, Straight-Ahead Jazz
Label: © 2xHD/Resonance Records
Release Date: 2012/2017
Quality: DSF Stereo DSD128/5.64MHz
Source: nativeDSDmusic
Duration: 01:29:50
Recorded live October 23, 1968, Greenwich Village, NYC by George Klabin


The album Live at Art D'Lugoff's Top of the Gate, offers listeners a table at the front of the stage for a stellar performance by one of jazz's greatest trios. It's October 23, 1968 in Greenwich Village, The lineup that night consisted of three musicians in their prime: Evans, bassist Eddie Gomez and drummer Marty Morell. Evans had, reportedly, kicked his drug habit during this period, and this was thought by many to be his most stable and, certainly, longest-lasting group. This trio was together until 1975. Evans is in both swinging and contemplative modes and highlights the trio's superb interaction. Gomez had been with Evans since 1966, while Morell came aboard in 1968; Gomez was a master improviser, while Morell was an energetic, straight-ahead drummer, always keeping the trio on track. Along with the leader, both contribute masterful solos here. The album features two complete sets, including two versions of three songs. There is one original ("Turn Out the Stars"); the rest are jazz standards and familiar show tunes.
Throughout the two sets, Evans showcases his gift for interpreting standards, over the seventeen tracks. "My Funny Valentine" moves effortlessly from tenderness to passion, while "Gone with the Wind" erupts at a breakneck pace and "Here's That Rainy Day" concludes the evening with heart-breaking emotion.
Students of Evans' music will be delighted to see that three pieces ("Emily," "Yesterdays," and "'Round Midnight") are represented in both the first and second sets, offering a rare opportunity to compare the soloists' diverging takes on the same tunes in a single evening. Also, several of the selections possess historic significance: both "My Funny Valentine" and "Here's That Rainy Day" (and possibly "Mother of Earl") mark Evans' first documented trio performances of those songs, while "Here's That Rainy Day" may be the first time Evans recorded that piece period.
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VA - Impulse! 6 Great Jazz - Super Audio CD Jazz Collection (2015) DSF Stereo DSD64/2.82MHz

Artist: John Coltrane Quartet, Sonny Rollins, Roy Haynes Quartet, Oliver Nelson, Count Basie, John Coltrane And Johnny Hartman
Title: Impulse! 6 Great Jazz - Super Audio CD Jazz Collection
Genre: Jazz
Label: © Esoteric Company ESSI-90133/38
Release Date: 2015
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 03:29:23


Jazz Masterpiece Collection :: ESOTERIC proudly introduces a new series of re-master collcection – A great Jazz collection from impulse! label. The reissue of historical 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. These new audio versions feature ESOTERIC's proprietary re-mastering process to achieve the highest level of sound quality.
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 G-0Rb 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.
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.
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Johann Sebastian Bach - Mass in B minor, BWV 232 - Netherlands Bach Society, Jos Van Veldhoven (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

omposer: Johann Sebastian Bach (1685–1750)
Artist: Netherlands Bach Society, Jos Van Veldhoven
Title: Bach, J.S. - Mass in B minor, BWV 232
Genre: Classical, Choral
Label: © Channel Classics Records B.V.
Release Date: 2007
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:45:45
Recorded: Waalse Kerk, Amsterdam, the Netherlands, December 2006


From the moment that a decision was made to record Bach's Mass in b minor, it was clear tome that the scoring would have to be small-scale. After our successful and highly-praised recording of the St.John Passion in 2004-in which a small group of singcrs performed both the solo parts and the chorus parts there was really no way back. We had come to know a new kind of collaboration between instrumentalists and singers, which gave us an ideal foundation for the interpretation of Bach's music and led to deeply expressive performances. Together, we discovered a new definition for the word 'choir'. But at the same time, the Mass in b minor is a large-scale score: Bach, in his last completed work, demanded every possible performing force available to him. For example, in this unique and incomparable score, he used nearly every imaginable combination of voices and virtually the entire spectrum of instrumentation of his day. The enormous wealth of genres and structures is dazzling for the listener: timeless polyphony, fugues, canrus-firmus techniques, polychoral work, vocal and instrumental concern, concern for groups of instruments, concern grossi, osninani, solo arias and duets - in scorings from three to seven voices and in remarkably varied combinations-and choruses ranging from four to eight parts. It is certain that Bach never performed his masterpiece in complete form, and it remains unclear for what purpose or occasion he composed it. The beautiful autograph score remains a closed book in many respects: it contains hardly any tempo indications or dynamic signs. The movements are simply called Kyrie, Gloria, or Agnus Dci. All of the parts of the enormous score indicate one-on-a-part settings for instrumentalists or singers. Nowhere does Bach give suggestions for how to score the continuo. Is it written for soloists, or is Bach writing for a 'real' chorus? How large should the string groups be, and is variable scoring another option?
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Xuefei Yang - Romance de Amor (2006) High-Fidelity DSF Stereo DSD64/2.82MHz


Сomposer: Various
Artist: Xuefei Yang
Title: Romance de Amor
Genre: Classical, Chamber Music, Classical Guitar
Label: © EMI Classics
Release Date: 2006
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:00:32


debut with this EMI disc Romance de Amor. The program consists of the usual classical guitar bonbons mixed in with popular numbers mixed in -- the tango "La Cumparsita" and the Beatles' "Michelle" and Paul Simon's version of "El Condor Pasa" for example, and a couple of traditional Chinese songs, as well. The program, in and of itself, is not that interesting, but it doesn't matter. Xue Fei Yang is an incredible guitarist -- technically top drawer, warmly expressive in sound, and mind-bogglingly facile in her digital dexterity. Just listen to the attack on Rodrigo's Zapateado; she is able to vary her touch on the strings with lightning speed and pinpoint accuracy.
Yang is a known quantity to guitarists; John Williams was once so impressed by her playing that he made her a gift of one his own guitars. She has previously recorded for the small, San Francisco-based label GSP, but perhaps this EMI CD will help her gain a wider audience. Romance de Amor also has terrific sound quality, and one might be surprised to learn that EMI in Hong Kong, rather than the usual crew in the Capitol Building in Los Angeles who have engineered Christopher Parkening's recordings, made this one. Romance de Amor is a quality release; one could hope for literature that is more serious, but Xue Fei Yang is so amazing that she would probably sound good playing "Tubthumping." --AllMusic Review by Uncle Dave Lewis
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Richard Wagner - Opera Excerpts - Petra Lang, Budapest Festival Orchestra, Ivan Fischer (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Richard Wagner (1813-1883)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Wagner: Götterdämmerung; Die Meistersinger von Nürnberg; Siegfried Idyll
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2013
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:04:22
Recorded: January 2012, Palace of Arts, Budapest


Wagner is the giant among composers because he created his own world. Whereas others interpreted ancient and familiar mythology, Wagner created his own myth. Whereas others composed to librettos by poets, Wagner wrote his own texts. He evenbuilt his own opera house, which had to be different and innovative. Wagner was the greatest creative genius of music history.And yet this superhuman giant also had a sense of humor, clearly audible in thewonderfully constructed Meistersinger Overture. And he had intimate, sensitive lyricism, which moves us deeply in his Siegfried-Idyll. This lyricism is the most important aspect of Wagner’s music; Brünnhilde’s beautiful, longing melody which shines through the huge flame that absorbs her and the collapsing world. --Iván Fischer
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The Doors - The Soft Parade (1969/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: The Doors
Title: The Soft Parade
Genre: Rock, Hard Rock, Proto-Punk, Psychedelic/Garage, Rock & Roll, AM Pop
Label: © Elektra Entertainment Group/Analogue Productions XAPP75005D64
Release Date: 1969/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:33:57
Recorded: July 1968 – May 1969, Elektra Sound Recorders, Los Angeles, California
Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer. DSD files created from the Analogue Productions SACD cutting master by Gus Skinas.


About Soft Parade, Rolling Stone described two songs written by guitarist Robby Krieger, “Touch Me” and “Follow Me Down” as horn-string showpieces for the resonant baritone of Jim Morrison.
Described as among the cleanest, most solid and, above all, most recognizable sounds in rock, the distinctive Doors’ sound was no doubt due to the Morrison power, but the other Doors were equally responsible. Ray Manzarek brought virtuosic keyboard tapestries, Krieger gritty, expressive fretwork, and Densmore dynamically rich percussion grooves.
Half of the songs on Soft Parade, The Doors’ fourth LP, were written by Morrison and the other half by guitarist Krieger. “Touch Me” became one of The Doors’ most popular singles. Released as a single in December 1968, the song reached No. 3 on the Billboard Hot 100 and No. 1 in the Cashbox Top 100 in early 1969. It was the band’s third American No. 1 single.
Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles — The Doors, Strange Days,Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 200-gram vinyl, pressed at 45 rpm. All six titles are also available on Hybrid Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best tape copy.
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The Doors - Morrison Hotel (1970/2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: The Doors
Title: Morrison Hotel
Genre: Rock, Hard Rock, Proto-Punk, Psychedelic/Garage, Rock & Roll, AM Pop
Label: © Elektra Entertainment Group/Analogue Productions XAPP75007D64
Release Date: 1970/2012
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:37:30
Recorded: August 1966, November 1969 – January 1970, Elektra Sound Recorders, Los Angeles, California
Mastered by Doug Sax using an all-tube system. Overseen by Bruce Botnick, The Doors producer/engineer. DSD files created from the Analogue Productions SACD cutting master by Gus Skinas.


Rolling Stone proclaimed that Morrison Hotel opens "with a powerful blast of raw funk called ‘Roadhouse Blues’. It features jagged barrelhouse piano, fierce guitar, and one of the most convincing raunchy vocals Jim Morrison has ever recorded."
In short, the harsh brilliance of "Roadhouse Blues" was its angry hard rock manner, brought to fore in brooding fashion with a chillingly true Morrison lyric: "I woke up this morning and I got myself a beer/The future’s uncertain and the end is always near."
Making it one of The Doors’ best-ever tracks, "Roadhouse Blues" was joined as praise-worthy in Rolling Stones’ review by the buoyant catchiness of another Morrison Hotel single, "Land Ho." "A chanty that sets you rocking and swaying on first listen and never fails to bring a smile every time it’s repeated."
Analogue Productions and Quality Record Pressings are proud to announce that six studio LP titles — The Doors, Strange Days, Waiting For The Sun, Soft Parade, Morrison Hotel and L.A. Woman — are featured on 200-gram vinyl, pressed at 45 rpm. All six titles are also available on Hybrid Multichannel SACD! All were cut from the original analog masters by Doug Sax, with the exception of The Doors, which was made from the best tape copy.
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