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Robert Schumann - Pieces for Oboe and Piano - Alexei Utkin, Igor Tchetuev (2010) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Robert Schumann (1810–1856)
Artist: Alexei Utkin, Igor Tchetuev
Title: Schumann - Pieces for Oboe and Piano
Genre: Classical
Label: Caro Mitis/Essential Music
Release Date: 2010
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:48:59
Recorded: 5–8.09.2008, 5th Studio of The Russian Television and Radio Broadcasting Company (RTR), Moscow, Russia


In his youth Schumann was reputed to be a tender-hearted and desperate Romantic. This is undoubtedly true. We need only recall his ardent love for future wife Clara and how passionately he fought for her, how fervently he poured his feelings into numerous piano pieces and spared no effort in writing critical articles, where he furiously attacked Philistines and waxed lyrical about talented young composers such as Berlioz and Chopin.
When Schumann later found family happiness and his life became more tranquil, at least to outward appearances, characteristics that had previously lain hidden finally surfaced. The pieces recorded for this album give an idea of what the mature Schumann was like as a person and what interested him. Nearly all of them (except the violin sonata) were composed in Dresden, where he lived from 1844 to 1849. It should be mentioned that the change in Schumann’s place of residence which involved leaving Leipzig, the epicentre of musical activity, and moving to quiet, peaceful Dresden was undertaken on the advice of his doctors. The composer suffered from bipolar affective disorder. He was overcome by bouts of terrible depression which, in the end, also led to his death. Initially the move brought no relief: ‘I am still badly afflicted and often quite despondent. I am not allowed to work at all, only to rest and take walks, but often I lack the strength even for a stroll,’ wrote the composer in October 1844.
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Salvatore Accardo - Il Cremonese - Stradivari, 1715 (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Fritz Kreisler (1875-1962), Antonin Dvorak (1841-1904), Johannes Brahms (1833-1897), Nikolai Rimsky-Korsakov (1844-1908), Isaac Albéniz (1860-1909), Cécil Chaminade (1857-1944), Pyotr Ilyich Tchaikovsky (1840-1893), Felix Mendelssohn (1809–1847)
Artist: Salvatore Accardo, Laura Manzini
Title: Il Cremonese - Stradivari
Genre: Classical
Label: © Fonè Records/Audiophile Productions
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:58:20
Recorded: November 6, 7, 8 1993, Palazzo Cavalcabo, Cremona


The most extraordinary nucleus of the Stradivari Museum is represented by the tools which Antonio Stradivari used to realize his unique masterpieces. These include numerous forms, starting basis for the manufacture of an instrument, which were used to model the ribs and subsequently seal them to the top, bottom and corner-blocks. The forms, usually in walnut and maple, are sometimes accompanied by sets of models in wood or paper, such as, for example, the ones used for the manufacture of the alto Medicean viola or the tenor Medicean viola, the ones used for the making of a violino piccolo, or those used to realize the 1727 twelve string viola d’amore.
When designing his instruments Antonio Stradivari proceeded with extreme meticulousness. Once an instrument had been completed in each of its parts, the set of models that had been used for its realization was marked with a letter of the alphabet, collected and stored up in paper sheet.
The forms for violin exhibited are arranged in chronological order. The first two forms, undated, belong to the period in which Stradivari’s violins showed a clear legacy of Niccolò Amati’s typical style. Simone Ferdinando Sacconi allocated them to the period before 1689. The three successive forms, always according to Sacconi, are also allocated to the period prior to 1689 and they recall the phase following the so called Amati production.
The remaining forms used by Stradivari in the course of his long activity of violin making belong to the years of maturity. These are all dated, with the only exception of the one that Stradivari used to make, along with many other famous violins, the 1715 Cremonese ex Joachim, which is now in the collection “The strings of the Palazzo Comunale of Cremona”. Only three forms for viola are exhibited at the Stradivari Museum: the first one was used for the manufacture of the alto viola of 1672; the second one was used for the alto viola of the 4 October 1690; the third one for the tenor viola also dated 4 October 1690. As far as bassetti and cellos are concerned, no original forms have unfortunately reached us together with the other precious material which is now exhibited
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Salvatore Accardo - I Violini di Cremona, Omaggio a Kreisler (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Fritz Kreisler (1875-1962), Ludwig van Beethoven (1770-1827), Christoph Willibald Gluck (1714-1787), Nikolai Rimsky-Korsakov (1844-1908), Frédéric Chopin (1810-1849), Antonin Dvorak (1841-1904), Johannes Brahms (1833-1897)
Artist: Salvatore Accardo, Laura Manzini
Title: I Violini di Cremona, Omaggio a Kreisler
Genre: Classical
Label: © Fonè Records/Audiophile Productions
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: hd-klassik.com
Duration: 01:08:46
Recorded: November 6, 7, 8 1993, Palazzo Cavalcabo, Cremona

The Violin Room at Cremona Town Hall is home to some of the most famous historic violins, with instruments by Guarneri, Stradivarious and Amati on display. To celebrate these fine instruments acclaimed violinist Salvatore Accardo was invited to record an album highlighting the different personalities of each violin. This recording also serves as a tribute to Fritz Kriesler, the prodigy who advanced the art of the violin throughout his extensive playing and composing careers.
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Ray Barretto - La Cuna (1981/2013) High-Fidelity DSF Stereo DSD64/2.82MHz


Artist: Ray Barretto
Title: La Cuna
Genre: Jazz, Soul Jazz, Fusion, Latin Jazz, New York Salsa, Crossover Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1981/2013
Quality: DSF Stereo DSD64/2.82MHz
Source: e-Onkyo
Duration: 00:34:25
Recorded: August 1979 at Van Gelder Studio, Englewood Cliffs, New Jersey


Producer Creed Taylor has inspired everything from praise to anger among jazz fans. His work has been brilliant at times, detrimental at others (his worst flaw being a tendency to overproduce). Taylor plays a mostly positive role on La Cuna, a jazz-oriented effort uniting Ray Barretto with such first-class talent as Tito Puente (timbales) and the late Joe Farrell (tenor & soprano sax, flute). As slick as things get at times on La Cuna, Taylor wisely gives the players room to blow on everything from the haunting "Doloroso" and the driving "Cocinando" (a piece by Carlos Franzetti that shouldn't be confused with Barretto's major salsa/cha-cha hit) to a somewhat Gato Barbieri-ish take on Mussorgsky's "The Old Castle." Barretto successfully moves into soul territory on Stevie Wonder's "Pastime Paradise" (which rapper Coolio recast as his hit "Gangsta's Paradise" in 1994). Barretto may hate the term "Latin jazz," but make no mistake: La Cuna is one of his most memorable contributions to that genre. --AllMusic Review by Alex Henderson
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Sergey Prokofiev - Violin sonatas - Mikhail Tsinman, Nika Lundstrem, Igor Tsinman (2011) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Sergey Prokofiev (1891-1953)
Artist: Mikhail Tsinman, Nika Lundstrem, Igor Tsinman
Title: Prokofiev - Violin sonatas
Genre: Classical
Label: Caro Mitis/Essential Music
Release Date: 2011
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:19:36
Recorded: 4–7.06.2010, 20.03.2011 5th Studio of The Russian Television and Radio Broadcasting Company (RTR), Moscow, Russia


You treat these four sonatas as a single cycle. What is the nature of its unity, and why did you decide against ordering them chronologically in the album? For musical reasons. The Sonata for solo violin is an introduction, followed by the powerfully tragic Sonata in F minor; next comes an intermezzo, the Double sonata, and the brilliant finale, Sonata in D major. Thus, the cycle has a general key, D major, and the contrast between its parts is very expressive. Each of the four sonatas has something in common, in images or intonations, with Prokofiev’s defining works in the genre of musical theatre. A stylistic change connected to the insight into the principal ethical task of creative work is the ballet “The Prodigal Son” and the Sonata for two violins; thinking about Russia’s historic destiny is manifested in “Alexander Nevsky” and “Ivan the Terrible”, in the operas “Semyon Kotko”, “War and Peace” and the epic First sonata; “Cinderella” and the Second sonata evoke fairy tales, and, finally, a number of “Soviet” pieces written on commission, which may include the Sonata for solo violin.

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Khachaturian: The Masquerade Suite / Kabalevsky: The Comedians - Kiril Kondrashin, RCA Victor Symphony Orchestra (1958/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Aram Khachaturian (1903-1978), Dmitri Kabalevsky (1904-1987)
Artist: Kiril Kondrashin, RCA Victor Symphony Orchestra
Title: Khachaturian: The Masquerade Suite / Kabalevsky: The Comedians
Genre: Classical
Label: © Radio Corporation Of America | Sony Music Entertainment
Release Date: 1958/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: HDTracks
Duration: 00:33:03
Recorded: Manhattan Center, New York, October 30, 1958

RCA's "golden age" was more like a "golden minute" - in a scant period, roughly from 1958 to 1963, the beginning of the stereo era - pure vacuum tube amplification helped produce recordings demonstrating unparalleled fidelity and warmth, lifelike presence and midband illumination.
One of the best sounding recordings in the Living Stereo catalog finds Kiril Kondrashin conducting the RCA Victor Symphony Orchestra in performances of Aram Khachaturian's The Masquerade Suite and Dmitri Kabalevsky's The Comedians. Produced by Richard Mohr and recorded by Lewis Layton.
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Enrico Pieranunzi Quartet - Alone Together (2001) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Enrico Pieranunzi Quartet
Title: Alone Together
Genre: Jazz, Hard Bop, Post Bop, Straight-ahead/Mainstream Jazz, Piano Jazz, Guitar jazz
Label: © Challenge Records International
Release Date: 2001
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:59:13
Recorded: March 8, 2000


European jazz musicians don't always get the recognition they deserve worldwide. Italian pianist Enrico Pieranunzi has already proved himself on several earlier dates for Challenge and as a leader of the Space Jazz Trio, recording with such saxophone greats as Phil Woods and Lee Konitz. But this mostly quartet date with the Belgian guitarist Philip Catherine, the Dutch bassist Hein Van de Geyn, and a token American, drummer Joe LaBarbera, focuses exclusively on a dozen time-tested standards from the Great American Songbook. Pieranunzi is a talented soloist, but seems just as happy sharing the solo space. Catherine is the primary focus of the sizzling opener, "Speak Low," and his mellow guitar is also prominent in the somewhat brisker than normal and slightly Latin-flavored take of "My Foolish Heart." Trumpeter Eric Vloeimans is added on three numbers, including a somewhat spacey "What Is This Thing Called Love?," a tantalizing "Alone Together," which features somewhat sparse accompaniment at times, and a foot-tapping samba version of "You Don't Know What Love Is." This very enjoyable session is easily recommended to fans of post-bop. --AllMusic Review by Ken Dryden
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Dean Peer - Think…It’s all good (2000) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Dean Peer
Title: Think…It’s all good
Genre: Jazz
Label: © Turtle Records
Release Date: 2000
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:58:32
Recorded: 300 year old Mennonite church in Amsterdam, 1999


For ‘Think…It’s all good’, bass player Dean Peer (1959) put together an unusual ensemble in which equal parts of folk, funk, jazz and Indian music are melted into an exciting new amalgam. A true master on the electric bass guitar and famous for his ground-braking harmonics techniques, our man from Boulder, Colorado, has always been into creating new sounds. Not only on his instrument, but also when it comes to ensemble sound. For his third album and debut on Turtle Records, Peer put together tablas and various other percussion, violin, jews’ harp and harmonica. For the album that was recorded in a Mennonite church in Amsterdam, Peer teamed up with violinist Stephen Trishmen, percussionist Ty Burhoe and Howard Levy on harmonica, jews’ harp and other ‘mouth instruments’ like a double ocarina, a four hole pewter ocarina and even a Spa mineral water bottle.
In the meticulously composed framework of the music there’s plenty of room for experiment and improvisation. Rhythm and grooves form a firm base on which a truely transparant arrangement of melody, harmonics and chords can florish. As said, the ingredients reveal musical traces from all over the world, though the first impressions of freedom, funky grooves and virtuoso, sometimes electrically manipulated (violin) playing, give ‘Think…It’s all good’ a particularly Western, contemporary feel.
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Chet Baker - She Was Too Good to Me (1974/2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Chet Baker
Title: She Was Too Good to Me
Genre: Jazz, Cool Jazz, Vocal Jazz, West Coast Jazz, Trumpet Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1974/2013
Quality: DSF Stereo DSD64/2.82MHz
Source: e-Onkyo
Duration: 00:36:12
Recorded: July, October, November 1974 at the Van Gelder Studio, Englewood Cliffs, New Jersey

Chet Baker was one of the most important representatives of the West Coast Cool Jazz movement. His heroin addiction is well documented with his exploits and misadventures wrapped in legendary anecdotes, but thankfully his life story never managed to overshadow his unmistakable talent. Chet Baker has one of the most recognisable sounds of all the jazz musicians in the cannon; his trumpet playing is intimate, simple and delicate with a hint of melancholy that tears at the heartstrings.
She Was Too Good To Me was released in 1974 on Creed Taylor's CTI label after a 4 year absence from the scene. And what a comeback: excellent vocal Cool Jazz tunes are interlude with instrumental goodness from the undisputed master of the trumpet.
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Johannes Brahms - Piano Quartet Op. 25 - Marc Albrecht, Netherlands Philharmonic Orchestra (2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johannes Brahms (1833-1897), Arnold Schoenberg (1874-1951)
Artist: Netherlands Philharmonic Orchestra, Marc Albrecht
Title: Brahms - Piano Quartet Op. 25 orc. by Schoenberg
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2015
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD-ISO
Duration: 00:51:03
Recorded: 2015, NedPhO-Koepel


Composer Arnold Schönberg considered it vitally important to study the techniques of other composers in order to thus penetrate more deeply into the true content of their music - and he believed the best way to do this was by arranging the original compositions. And thus between May and September 1937, Schönberg penned an orchestral version of the Piano Quartet in G minor by Johannes Brahms. His first reason was personal: “I like the piece.” But the other two were more of a practical nature. “It is seldom played. It is always very badly played, because the better the pianist, the louder he plays, and you hear nothing from the strings. I wanted for once to hear everything, and this I have achieved.”
In this regard, conductor Marc Albrecht and Netherlands Philharmonic Orchestra prevail, with individual instruments and sections coming forward in carefully drawn sections. It is a fun Quartet, and one that is brilliantly played by Albrecht and the orchestra. Furthermore, Albrecht’s style suits the composition, with its grand, impressive gestures and vivid colour to the music. When asked why he is so enthusiastic about the composition Marc Albrecht replies, “Schönberg’s contributions made it a true orchestral work: American with a Schönberg-like sound. It is a fantastic trip through an insanely good piece.”
Recorded at the orchestra’s impressive residence - the NedPhO-Koepel, formerly the Majella church - this album also features Schönberg’s own work, Begleitmusik zu einer Lichtspielscene (which translates as ‘Accompaniment to a cinematic scene’). Although the work reflected the customs of silent movies, Schönberg’s original score could not be used for film as it was not possible to adapt the music to the length of the scenes. The première was held in Frankfurt in 1930, without an accompanying film, and led by conductor Hans Rosbaud. Schönberg’s idea was not fulfilled until 1973, when three films by Jean-Marie Straub, Jan W. Morthenson and Luc Ferrari respectively were made to accompany the score.
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