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Carrie Newcomer - The Slender Thread (2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Carrie Newcomer
Title: The Slender Thread
Genre: Folk, Pop Rock, Singer/Songwriter
Label: © Stockfisch Records SFR 357.4088.2
Release Date: 2015
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 00:49:45


Once upon a time there was a singer from a far-off country who was fair of face and sang with the voice of an angel. Her name was Newcomer, although she possessed a rich store of artistic experience. The master troubadours of Stockfisch heard of this wonderful songstress, and because in a fairy-tale nothing is impossible, they waved their wands and whisked her over the wide, wide ocean to ultimately land in the fabled acoustic cavern of Northeim. There they enhanced her golden voice with lutes, flutes and other fabulous instruments ...
The wonderful thing is: this is not a fairy tale, or more correctly, for the poets, dreamers, and connaisseurs (actually for all of us), this is a fairy-tale come true! With its warm, catchy tunes and mellow, autumnal glow, The Slender Thread, Newcomer's debut album on Stockfisch, can easily become a habit ...
One can't help getting the impression - Carrie Newcomer has a gift for happiness. For the artist herself, incidentally, her songs are old friends – they stand for her friendship with life, people and not least with music. The Slender Thread beckons with the promise of a good friend in the making - or perhaps a whole group of good friends in these songs and melodies that are sure to get stuck in your head.
Despite all harmony - more reflective themes are touched upon too. But in such a way that her gift of happiness is contagious: it rubs off on us too!
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Johann Sebastian Bach - Violin Concertos - Rachel Podger, Brecon Baroque (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Rachel Podger, Brecon Baroque
Title: Bach, J.S. - Violin Concertos
Genre: Classical
Label: © Channel Classics Records
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 00:51:42
Recorded: May 2010, St John the Evangelist Church, Upper Norwood, London

It sometimes seems that many Baroque violinists never would have had careers as "normal" violinists--but this is certainly not the case with Rachel Podger. Although some of her work in music later than the Baroque period is less than convincing in its approach, there's no question that she's a top-notch musician, and she's never made a finer (or smarter) recording than this. It's a pleasure from first note to last.
First of all, it's great seeing the two canonic Bach violin concertos not coupled with the usual "double" violin concerto (with the soloist playing both parts, of course). Instead, Podger offers transcriptions of two keyboard concertos, neither of which is usually thought to have been originally written for the violin. This makes less of a difference than you might think. The low tessitura of BWV 1055 may not offer Podger much of a technical challenge, but the sonorities recall the two strings-only Brandenburgs, and there are moments, such as her entry at the start of the finale, that are simply magical.
Both this work and BWV 1056 were likely composed for oboe (or oboe d'amore), but again, the delicious pizzicato Largo of the G minor concerto sounds wonderfully fresh and charming with a violin as soloist, and I don't miss the honking and clicking of the usual Baroque oboe one bit. Which brings us to the next issue: Podger plays all of this music immaculately, with characterful ornamentation and (thank God) enough vibrato to achieve a distinctive cantabile tone, especially in the slow movements. Her moderate tempos in the allegros (the term means "lively"--not "like a bat out of hell", as some authenticists apparently think) allow her to phrase the melodies with confidence, interact with and play off of the orchestra, and prevent Bach's chugging rhythms from turning mechanical.
Brecon Baroque numbers just six players aside from Podger, which means essentially one player to a part. Yet the result never sounds thin or dry, thanks in large part to Channel Classics' stunningly natural, warm SACD engineering (marvelous in regular stereo or multichannel formats). Also, and this really is a big deal, continuo player Christopher Bucknall uses a gentle, pleasant-toned instrument that never swamps the strings. The result is a true "chamber concerto" experience, an exquisite dialog that the players clearly relish while preserving the essential contrast between solo and tutti on which the concerto form depends. Highest recommendation.
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Johann Sebastian Bach - Double and Triple Concertos - Rachel Podger, Brecon Baroque (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Rachel Podger, Brecon Baroque
Title: Bach, J.S. - Double & Triple Concertos
Genre: Classical
Label: © Channel Classics Records
Release Date: 2013
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:05:23
Recorded: October 2012, St John’s the Evangelist Church, Upper Norwood, London

For two soloists chose themselves – so-called ‘Bach Double’ (a.k.a. the famous Concerto for TwoViolins in D minor) and the work for violin and oboe. Of course, the universal appeal of the former is unsurpassed with its timelessly beautiful middle movement of exquisite conversations between the two violins, framed by vigorous outer movements. In fact, this piece is a concerto for6 parts, as he himself stated on the manuscript title page ‘Concerto a Sei’ – all parts playing a crucial part in the colour and richness of the ensemble.
Performing these pieces with just single players on each part rather than an orchestra makes the roles of each particularly pronounced and clear, all of us ‘concerto-ing’, not just the conventional ‘soloists’.The other double concerto on this recording has a darker, broader and more dramatic landscape. The contemplative slow movement is the best answer to the question ‘what can I listen to after such a long day’s work?’, its gentle swing and beautiful mellifluous lines soothing any aches and pains. The last movement feels like a gutsy earth-bound ‘clog dance’ full of reels and japes.
The Triple Concerto in A minor is in a world of its own: it’s really a harpsichord concerto to which the colours of the flute and violin are sprinkled – the same scoring as in Bach’s Brandenburg Concerto no 5. Written about fifteen years after the Brandenburg, Bach adapted the outer movements of the Triple from his Prelude and Fugue, bwv 894, and the slow movement comes from the Organ Trio Sonata, bwv 527. It’s a brilliantly written piece for the harpsichord showing off many novel keyboard tricks with rapid figurations and interesting and engaging ripeno parts.
As we know, recycling his own works and adapting them for different purposes and contexts was a common practice for Bach, and it is widely known that his harpsichord concertos all found their musical voice, initially, in versions for other instruments, especially the violin. Such is the case with both these double concertos; for the violin and oboe concerto the only extant source is the two-harpsichord score from the composer’s Collegium Musicum concert series in the 1730s.The scoring of violin and oboe is speculative, albeit rather more than a guess.The Concerto for Three Harpsichords in C major is also believed to have been conceived originally as a Triple Violin Concerto in D major. It’s a treat to play: the richly interweaving lines of the solo instruments providing intensity and exhilaration, whether in conversation or competition. The solo passages take your breath away within the realms of virtuosic writing.Knowing Bach’s writing for violin we can understand his fondness for the instrument,not least the care in exceptional craftsmanship of idiomatic writing for it. It goes well beyond any other baroque composer.
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Wim Van Hasselt - Chant d'Automne (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Karl Amadeus Hartmann (1905-1963), Wilhelm von Grunelius (b.1942), Paul Hindemith (1895-1963), Iván Fischer (b.1951)
Artist: Wim Van Hasselt
Title: Chant d'Automne
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:53:50
Recorded: MCO studio 1, Hilversum, October 2015 (Hartmann, Hindemith); BMC studio, Budapest, August 2015 (Grunelius, Fischer)

The title of this album, featuring two world premieres (Grunelius and Fischer), is taken from the composition by the German pianist and composer Wilhelm von Grunelius. The inspiration for his work for flugelhorn, timpani and strings came from the poem ‘Chant d’automne’ by the French poet and art critic Charles Pierre Baudelaire (1821-1867). The use of texts is a recurring theme in this colourful programme of music for the trumpet in a variety of combinations. At the end of the final movement of his Sonata for trumpet and piano, ‘Trauermusik’, Paul Hindemith incorporates Bach’s chorale ‘Alle Menschen mussen sterben’ (BWV 634). In his Eine Deutsch-Jiddische Kantate, Iván Fischer employs texts by Avrom Sutzkever, Rainer Maria Rilke, Johann Wolfgang von Goethe and others. The recording is also of particular value in view of the fact that the two world premieres of music by Grunelius and Fischer are performed by the Budapest Festival Orchestra under Iván Fischer himself, while he also conducts his own Eine Deutsch-Jiddische Kantate, with his daughter Nora Fischer as soprano soloist.
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VA - Proprius Records Audiophile Best (2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Сomposer: Various
Artist: Various
Title: Proprius Records Audiophile Best
Genre: Classical, Choral, Jazz, Demo
Label: © 2xHD | Proprius Musik AB
Release Date: 2016
Quality: DSF Stereo DSD128/5.64MHz
Source: nativeDSDmusic
Duration: 01:16:51
Recorded: various location


In an advertisement for Proprius some years ago, Proprius founder Jacob Boëthius wrote: “A small record company can’t afford to put out bad discs. And you, the music lover, must be confident that what you buy is good”. He was aware that, in the final analysis, quality is what counts with regard to clients, record buyers, artists and sound engineers. This statement is mirrored totally in the 2xHD philosophy.
Proprius Records has always produced some of the most lifelike and incredibly realistic-sounding recordings available; from the mid-seventies on, it became pretty obvious to audiophiles that just about everything released by the label was a treasured commodity. With every recent advance in technology over the last couple of decades, these most highly regarded and sought-after recordings have been rereleased with regularity; most everyone out there has probably gladly bought them several times over in several different formats.
Now remastered in the optimum resolution from the original analog tapes - using the 2xHD proprietary system - the two audiophile labels, Proprius and 2xHD share an incomparable desire to reproduce and present the highest quality and most emotional listening experience.
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Urbie Green - The Fox (1976/2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Urbie Green
Title: The Fox
Genre: Jazz, Bop, Hard Bop, Soul Jazz, Trombone Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1976/2013
Quality: DSF Stereo DSD64/2.82MHz
Source: e-Onkyo
Duration: 00:38:46
Recorded: July, October and November 1976 at Van Gelder Studio, Englewood Cliffs, New Jersey


Trombone player Urbie Green never was a household name but his two albums on the famous CTI label are excellent all-star jazz events featuring a host of guests like Eric Gale, Joe Farrell, Jeremy Steig, Mike Abene, Andy Newmark, Toots Thielemans, Jimmy Madison, Anthony Jackson and Mike Mainieri among others, delivering another slice of great CTI jazz. This session was produced by Creed Taylor and released 1976.
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VA - 8 Ensembles in 1 Bit (2015) High-Fidelity DFF Stereo DSD256/11.20MHz

Сomposer: Various
Artist: Breno Virícimo Group, Thomas & Eva, The Pipays, Kobra Ensemble, Merel Vercammen & Ketevan Roinishvili, De Gebroeders Harteveld & Fretz, New Amsterdam Voices, Odd Pearls
Title: 8 Ensembles in 1 Bit
Genre: Classical, Jazz, Folk, Demo
Label: © Native DSD Music | Just Listen
Release Date: 2015
Quality: DFF Stereo DSD256/11.20MHz
Source: nativeDSDmusic
Duration: 00:39:07
Recorded in DSD 256fs, March 4th and 5th 2015 at The Dutch Music Center for Broadcast (MCO) Studio 2 in Hilversum

‘Recording in DSD’ is not a term musicians are generally familiar with. As a matter of fact, none of the musicians we asked to participate had the slightest idea what it was at first! Surprisingly, without exception, all immediately said yes and were very keen to learn about it. Especially on the recording days, March 4th and 5th 2015, they soon learned what it’s like to record acoustically in DSD: “Hey you, cellist, a little closer to the mics please” and “Could the saxophone player take two steps back and one to the right?”. With the microphones spread around above their heads and the prospect of no post recording mixing at all, the sound balancing had to be made right there and then at the recording session.
Once the musicians and engineers were happy with the balance, the recording began. Not only audio, but also visual! Jonas Sacks filmed each take of each ensemble, dancing fluidly around the musicians. This way, when the best take was chosen, we would always have a ‘1 take’ video to go with the ‘1 take’ DSD audio!
Seeing the expression on the faces of the musicians when they listened to themselves in DSD for the first time in the studio proved that Native DSD had organized something quite special. Most of them immediately shouted out in excitement: “We are playing right here in this room for ourselves to listen to!” A few others closed their eyes, made no sound and sat totally still apart from the occasional jaw drop.
Well, that brings us to the point of why we did this. We are spreading the message of what the incredible DSD recording technique can deliver. At the same time, we are enriching the libraries of music fans with the music of some of the most promising Dutch musicians who would otherwise not have been recorded in DSD.
We intent to flabbergast the musicians as well as our Native DSD customers by facilitating a one-off chance to record - and listen to them - in DSD. And who knows, perhaps the next step will be to record a complete album with the most popular ensemble? Or we can go to other places and do the same? One thing is for sure: Native DSD will keep exploring the ‘beyond’ part of our “DSD and Beyond” mission!
We hope you will enjoy the repertoire, interpretations & audio quality of "8 Ensembles in 1 Bit" as an attempt of a holy musical trinity provided by the musicians, recording technique and your playback equipment. --The Native DSD Team
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Peter Ilyich Tchaikovsky - Ballet Suites For Piano Duo - Mari & Momo Kodama (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Peter Ilyich Tchaikovsky (1840–1893)
Artist: Mari Kodama, Momo Kodama
Title: Tchaikovsky - Ballet Suites for Piano Duo
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:03:15
Recorded: Studio 5, MCO Hilversum, The Netherlands in April 2016.


Together for the first time in the recording studio, the sisters Mari and Momo Kodama are on scintillating form in these lively arrangements of music from Tchaikovsky’s ballets Swan Lake, Sleeping Beauty and Nutcracker. In another first, the release contains the first ever recording of Arensky’s transcription of the timeless Nutcracker together with notable arrangements by Debussy and Rachmaninov.
Conceived on a grand scale, Tchaikovsky’s colourful, often passionate scores for the ballets Swan Lake, Sleeping Beauty and Nutcracker abound with graceful melodies, arresting harmonies and exuberant orchestration. The music has proved enduringly popular with audiences and rates among his most familiar and best-loved works. Composers such as Arensky, Debussy and Rachmaninov made arrangements of these works for piano, not mere reductions but wholesale realisations of the works, combining subtlety and insight with their own technical polish.
“Tchaikovsky was really the first composer to combine a broad sweep of ballet music with a great story,” the Kodama sisters write in their introduction to the release, “before that, it more resembled a compilation of pieces…in all three works there is folkloric and popular music. He has the great skill to make such vivid colours and textures on a large canvas… This makes his orchestral works very special.”
“Our challenge was to use just two pianos … to bring the same sense of scale,” they write, “with just two pianos the atmosphere is more intimate, it brings a different quality to the music. And the composers who made the transcriptions brought their own personality to bear on the works. So we tried to reflect that in our playing.”
The sisters Mari and Momo Kodama both pursue busy international careers. Momo specialises in French and Japanese composers and 20th century and contemporary composers; she has been widely praised for her ‘attractive, lyrical tone’ and ‘technical brilliance’. Mari has established an international reputation for profound musicality and articulate virtuosity; she has recorded extensively for PENTATONE, including an acclaimed cycle of the complete Beethoven piano sonatas.
“We are quite different pianists and have our own ideas and approaches,” they write, “so we have spirited discussions. But we always find we are aiming for the same thing, usually from a different angle. So it’s been fun to record these works and it has brought us a lot of sisterly joy too!”
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Stan Getz, Joao Gilberto - Getz/Gilberto '76 (2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Stan Getz, João Gilberto
Title: Getz/Gilberto '76
Genre: Jazz, Bossa Nova, Brazilian Traditions, Post Bop, Saxophone Jazz
Label: © 2xHD/Resonance Records
Release Date: 2016
Quality: DSF Stereo DSD128/5.64MHz
Source: nativeDSDmusic
Duration: 00:46:13
Recorded live at Keystone Korner, San Francisco, May 11-16, 1976

Getz/Gilberto '76 is an instant classic collection of never-before-released recordings captured May 11-16, 1976 at the legendary San Francisco jazz club Keystone Korner, showcasing the legendary Brazilian singer, guitarist and composer João Gilberto, accompanied by the saxophone icon Stan Getz and his rhythm section of pianist Joanne Brackeen, bassist Clint Houston and drummer Billy Hart. These recordings were made during João Gilberto's and Stan Getz's weeklong engagement at the Keystone, which took place nearly 12 years after the release of their initial award-winning album.
The first Getz/Gilberto album sold over one million copies and almost single-handedly launched the bossa nova craze in America and around the world. It's been said that the hit single off that album, "The Girl From Ipanema," is the second most recorded song of all time, behind only "Yesterday" by the Beatles. The 1976 Keystone engagement represents one of the very few times this famed duo reunited after their initial creative collaboration in 1962, and according to the club's founder and owner Todd Barkan, this engagement was João Gilberto's first public performance after a four year hiatus
Back in 2012, George Klabin and I assumed the guise of a couple of jazz loving Indiana Jones - type archeologists when we decided to take an adventure: we were going to go after the crown jewels of a riveting tape collection amassed by Todd Barkan, the legendary jazz impresario and owner of San Francisco's iconic jazz club, Keystone Komer. Our adventure would take us deep into a treasure trove of live recordings made at the Keystone by the artists who played there.
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Jean Sibelius - Symphony No 2 & Pohjola's Daughter - London Symphony Orchestra, Sir Colin Davis (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Jean Sibelius (1865–1957)
Artist: London Symphony Orchestra, Sir Colin Davis
Title: Sibelius: Symphony No 2 & Pohjola's Daughter
Genre: Classical
Label: © LSO Live
Release Date: 2007
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:58:38
Recorded: Barbican Centre, London; Pohjola's Daughter recorded September and October 2005; Symphony No 2 recorded September 2006


Sibelius’s Pohjola’s Daughter is usually classified as a ’tone poem’– in other words, not a ’pure’ symphonic work, but one in which a literary or pictorial idea is represented in music. But Sibelius’s description was ’Symphonic Fantasy’ – which is exactly how the onemovement Seventh Symphony was entitled when it first appeared in 1924. It is quite possible to appreciate Pohjola’s Daughter simply as a colourful and highly compact one-movement symphony. All the same, unlike the Seventh Symphony, Pohjola’s Daughter does come with a story, printed in verse form in the score. It tells how V.in.m.inen – the wizard-hero of the Finnish folk-epic, the Kalevala – sees the daughter of the moon-god Pohjola sitting at her spinning wheel atop a rainbow. Instantly he falls in love with her, and begs her to join him. She agrees to come down when V.in.m.inen has conjured a boat from her spindle – in other words: ’Thanks, but no thanks’. V.in.m.inen tries heroically, but fails. Furious, humiliated, he springs onto his sleigh and vanishes.
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