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Bruch, Korngold: Violin Concertos / Chausson: Poeme - Arabella Steinbacher, Orquestra Gulbenkian, Lawrence Foster (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Erich Wolfgang Korngold (1897-1957), Ernest Chausson (1855-1899), Max Bruch (1838-1920)
Artist: Arabella Steinbacher, Orquestra Gulbenkian, Lawrence Foster
Title: Bruch, Korngold: Violin Concertos / Chausson: Poème
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2013
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD-ISO
Duration: 01:10:08
Recorded: Grande Auditório of the Calouste, Gulbenkian Foundation Lisbon, July 2012


Arabella Steinbacher has firmly established herself as one of today’s leading violinists on the international concert scene, where her mastery of the violin frequently joins forces with the world’s major symphony orchestras. The New York Times summed up her playing as follows: “Balanced lyricism and fire – among her assets are a finely polished technique and a beautifully varied palette of timbres.”
Steinbacher’s feeling for the timeless melodies on this CD runs as deep as her technical command is great. The result is lyricism of the highest order. The album opens with a lush arrangement of Max Bruch’s much-loved, yet surprising, Violin Concerto No. 1, followed by two exquisite pieces: Chausson’s Poème and Steinbacher’s acclaimed interpretation of Korngold’s Violin Concerto in D major.
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Bill Evans - Montreux II (1970/2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Bill Evans
Title: Montreux II
Genre: Jazz, Post Bop, Mainstream Jazz, Modal Music, Piano Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1970/2013
Quality: DSF Stereo DSD64/2.82MHz
Source: e-onkyo
Duration: 00:39:37
Recorded live at the Montreux Jazz Festival, Casino De Montreux, Switzerland on June 19 & 20, 1970

Montreux II is a live album by jazz pianist Bill Evans with Eddie Gómez and Marty Morell recorded at the Montreux Jazz Festival in Switzerland in 1970 and released on the CTI label. The album was the second of Evan's Montreux concert recordings to be released following the Grammy Award-winning Bill Evans at the Montreux Jazz Festival (1968).
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Hector Berlioz - L'Enfance du Christ - London Symphony Orchestra, Sir Colin Davis (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Hector Berlioz (1803-1869)
Artist: London Symphony Orchestra, Sir Colin Davis
Title: Berlioz - L’enfance du Christ Op. 25, H130
Genre: Classical, Oratorio
Label: © London Symphony Orchestra, London UK
Release Date: 2007
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:36:23
Recorded live in DSD, 2 and 3 December 2006 at the Barbican, London

Alone among Berlioz’s major works, L’enfance du Christ came into being not in response to a clear plan but gradually, haphazardly, over a period of several years. One evening in 1850 at a party, while his fellow guests played cards, his friend the architect Joseph-Louis Duc asked him to write something for his album. Berlioz complied: ’I take a scrap of paper and draw a few staves, on which in a little while an Andantino in four parts for organ makes its appearance. I am struck by a certain character of naïve, rustic devoutness in the music and decide to add some words in the same vein. The organ piece disappears and turns into a chorus of Bethlehem shepherds saying goodbye to the child Jesus at the moment when the Holy Family set out on their journey to Egypt.’
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Bela Bartok - The Two Violin Concertos - Arabella Steinbacher, Orchestre de la Suisse Romande, Marek Janowski (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Béla Bartók (1881-1945)
Artist: Arabella Steinbacher, Orchestre de la Suisse Romande, Marek Janowski
Title: Bartók - The Two Violin Concertos
Genre: Classical
Label: © Pentatone
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD-ISO
Duration: 01:01:11
Recorded: Victoria Hall, Geneva, Switzerland, June/July, 2009

Whilst unfulfilled passion and unre- quited love have driven many to depression, Béla Bartók was able to sublimate such personal disappointment into exuberant creativity. In February 1908, after his passionate courting attempts had been rejected by the Swiss violinist, Stefi Geyer, Bartók wrote her: “Having read your letter, I sat down at the piano – and had the sad premonition that, in life, music is to be my only consolation.” He illustrated these lines with a musical quotation which included the broken major-seventh chord, c-sharp – e – g-sharp – b-sharp, adding the words: “This is your leitmotiv.” It will have been particularly bitter for the composer that he had completed the score of the violin concerto, which had been written for Stefi, and into which he had poured his profound feelings for her, just a few days before her rejection. It is also to her that he dedicated the concerto, which, as in “a narcotic dream” (Römer), had been inspired a year earlier by his intoxicating love for her, but he did not do so without adding a tragic poem by Béla Balázs to the autograph score. Stefi Geyer kept the score until her death in 1956, with- out every performing the concerto publicly. It was not until 30 May 1958, thirteen years after Bartók’s death, that the concerto finally had its first public performance, in Basel, under the baton of Paul Sacher, with Hansheinz Schneeberger as soloist.
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Johann Sebastian Bach - The Art of Fugue, BWV1080 - Rachel Podger, Brecon Baroque (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Rachel Podger, Brecon Baroque
Title: Bach, J.S.: The Art of Fugue (Die Kunst der Fuge), BWV1080
Genre: Classical
Label: © Channel Classics Records
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:10:07
Recording: Church of Saint Jude-on-the-Hill, 15-17 December, 2015

Fugue and the art of counterpoint are often almost bywords for Bach the composer. Certainly, from the viewpoint of many later generations, he was the first composer to make fugue the basis for a whole and complete piece of music, one that often seemed to serve no purpose beyond the ‘purely musical’. In a sense, this must surely be right: while there are countless fugal compositions before Bach, very few share the same relentless, yet expressive, cohesion, and most that were written outside the keyboard sphere were associated with a text and liturgical function. There is something about Bach’s fugal composition that immediately places it at the service of composers such as Mozart, Beethoven, Brahms and Schoenberg. For them, earlier counterpoint in the Renaissance tradition provided more a model for refined technique than for an overriding nexus of musically cohering ideas.
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Art Farmer, Jim Hall - Big Blues (1978/2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Art Farmer, Jim Hall
Title: Big Blues
Genre: Jazz, Hard Bop, Cool Jazz, Trumpet Jazz, Guitar Jazz
Label: © CTI Records, a division of Creed Taylor, Inc. | King Record Co., Ltd.
Release Date: 1978/2013
Quality: DSF Stereo DSD64/2.82MHz
Source: e-Onkyo
Duration: 00:34:45
Recorded: February 2 & 3 1978, Electric Lady Studios, New York City

Recorded at Electric Lady Studios in February 1978 and issued on the CTI label in 1978, Big Blues finds flugelhornist Art Farmer and guitarist Jim Hall pairing up for one of their first sessions together since their collaborations in the mid-60s and they literally don't miss a beat. The unique quintet project is rounded out by Mike Mainieri (vibraphone), Michael Moore (bass) and Steve Gadd (drums) and the results are as relaxed as they are lyrical.
The rich 4-track affair opens with a textured take on Benny Golson’s “Whisper Not” and then waltzes through Thad Jones' “A Child Is Born” before running down Jim Hall's own cool/bop title cut "Big Blues" and concluding with a first-rate jazz adaptation of Maurice Ravel's classical standard "Pavane For A Dead Princess."
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Arne Domnerus, Leif Strands Kammarkor - Allt under himmelens faste (1974/2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Arne Domnérus, Leif Strands Kammarkör
Title: Allt under himmelens fäste
Genre: Classiacal, Jazz, Folk, Vocal Jazz, Choral, Sacred, Secular Music
Label: © 2xHD | Proprius Musik AB
Release Date: 1974/2016
Quality: DSF Stereo DSD128/5.64MHz
Source: nativeDSDmusic
Duration: 00:43:46
Recorded: 12-13 June, 1974

Is this the line between folk and spiritual song? Between hymn to Christ's bride and the earthly love song? The border is not straight and clear, but on both sides lies a treasure of music and lyrics that we must have to stay alive - in our day and future , as an inheritance . . . Leif Strand and the musicians on this record, offer a kind of continuation of the sorrow and the joy.
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Arne Domnerus, Leif Strands Kammarkor - Sorgen och Gladjen (1971/2016) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Arne Domnérus, Rune Gustafsson, Bengt Hallberg, Egil Johansen, Georg Riedel, Leif Strands Kammarkor
Title: Sorgen och Glädjen
Genre: Classiacal, Jazz, Folk, Vocal Jazz, Choral, Sacred, Secular Music
Label: © 2xHD | Proprius Musik AB
Release Date: 1971/2016
Quality: DSF Stereo DSD128/5.64MHz
Source: nativeDSDmusic
Duration: 00:38:33
Recorded: 1971?

Is this the line between folk and spiritual song? Between hymn to Christ's bride and the earthly love song? The border is not straight and clear, but on both sides lies a treasure of music and lyrics that we must have to stay alive - in our day and future , as an inheritance . . . Leif Strand and the musicians on this record, offer a kind of continuation of the sorrow and the joy.
Leif Strand Chamber Choir began in 1965; the first concert together with jazz musicians was held at Hönsten 1967 with, among others, Jan Johansson, Arne Domnérus, Rune Gustafsson, Georg Riedel. Since the choir - in connection with Arne Domnérus sextet - made a couple hundred concerts, numerous radio and television appearances and five published LPs.
On this album, the Leif Stand Choir from Sweden join with Jazz greats Georg Riedel, Arne Domnérus, Egil Johansen and Bengt Hallberg - best known for their work on the classic Jazz At The Pawnshop. Joy and Sorrow features the choir and musicians performing traditional, chorale and spiritual music.
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Amber Rubarth - Sessions From The 17th Ward (2012) High-Fidelity DSF Stereo DSD128/5.64MHz

Artist: Amber Rubarth
Title: Sessions From The 17th Ward
Genre: Folk, Vocal, Singer/Songwriter, Binaural
Label: © Chesky Records
Release Date: 2012
Quality: DSF Stereo DSD128/5.64MHz
Source: HDTracks
Duration: 44:31
Recorded: March 2012 at the Hirsch Center in Brooklyn, New York


The Chesky Records Binaural+ recording technique, fit for both speakers and headphones, captures the timeless sound of musicians playing in great acoustic settings. And now, starting with the Binaural+ sessions, Chesky Records has taken that approach to the next level.
Singer-Songwriter Amber Rubarth, Cellist Dave Eggar, Violinist Tim Snider and Percussionist Chuck Palmer join forces, and combine their unique musical vocabulary to create Sessions from the 17th Ward. Together, this innovative team fuses classic songwriting and acoustic music to create a sexy, yet sophisticated album. The catchy, upbeat "Full Moon In Paris” proves Amber Rubarth’s crossover appeal, showing off her talents as a songwriter during the infectious chorus, and in a bridge that brings the song full circle. "Don’t You" merges the four musical talents perfectly, showcasing each artist's talent in a moment of pure bliss. Sessions from the 17th Ward will make you fall in love with Rubarth’s genuine, unique voice and musical style.
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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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