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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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Berg, Webern & Schonberg - Chamber Music - Belcea Quartet (2015) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Anton von Webern (1883-1945), Alban Berg (1885-1935), Arnold Schönberg (1874-1951)
Artist: Belcea Quartet
Title: Berg, Webern & Schönberg - Chamber Music
Genre: Classical
Label: © Alpha Classics / Outhere Music France
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: Qobuz
Duration: 01:19:24
Recorded: 14-17 November 2014, 3-7 March & 14-17 May 2015 At The Britten Studio, Snape (Aldenburgh Music)


With a complete recording of the Beethoven quartets that caused a stir and enchanted concert halls everywhere, the Belcea Quartet is henceforth considered one of the finest quartets in the world. ‘The principle characteristic of their playing is [...] intensity,’ wrote BBC Music Magazine in 2013.
With this new recording, the Quartet tackles another summit of chamber music: the Second Viennese School. With their passion and technical abilities, this breathtaking music, which drastically changed the history of music, rings out in all its force and mystery.
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Benedikt Jahnel Trio - The Invariant (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Benedikt Jahnel Trio
Title: The Invariant
Genre: Jazz, Modern Jazz, Contemporary Jazz, Piano Jazz
Label: © ECM Records GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 00:45:40
Recorded: March 2016, Rainbow Studio, Oslo



The trio with Spanish bassist Antonio Miguel and Canadian drummer Owen Howard has been an “invariant” in the life of Berlin-based pianist Benedikt Jahnel, “a constant in a transformational period” as he puts it, and new album The Invariant is issued as the players reach their tenth anniversary as a working unit.
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Ludwig van Beethoven - Overtures - Boston Symphony Orchestra, Charles Munch (1956/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Composer: Ludwig van Beethoven (1770-1827)
Artist: Boston Symphony Orchestra, Charles Münch
Title: Beethoven - Overtures
Genre: Classical
Label: © RCA Records, a division of Sony Music Entertainment
Release Date: 1956/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: AcousticSounds
Duration: 00:46:57
Recorded: 1956

A genial conductor with a particular gift for French music, Charles Münch extended the Boston Symphony's glory years (begun under the baton of Serge Koussevitzky) into the early '60s. Münch was born in the province of Alsace-Lorraine, which at the time (1891) was controlled by Germany and has long hovered between two cultural worlds. Münch himself benefited from both French and German musical training, and his first important musical posts were in Germany. Yet he came to be regarded as the quintessential French conductor, and his recordings of French repertory with the Boston Symphony remain standards by which others are judged. Münch studied violin at the Strasbourg Conservatory, where his father was a professor, and, from 1912, in Paris with Lucien Capet. As an Alsatian, he was conscripted into the German army at the outbreak of World War I. Gassed and wounded as an artillery sergeant, he nevertheless survived the war through sheer resiliency. In 1919, upon returning to Alsace-Lorraine (now back in French hands), he took French citizenship, and a violin professorship in Strasbourg. Nevertheless, his professional interests soon sent him to Germany; he studied violin with Carl Flesch in Berlin, then moved to Leipzig to take a violin professorship at the conservatory there, and then became concertmaster of the Leipzig Gewandhaus Orchestra from 1926 to 1933, during Furtwängler's tenure.
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Barber, Hillborg, Bjork - Distant Light - Renee Fleming, Royal Stockholm Philharmonic Orchestra, Sakari Oramo (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Samuel Barber (1910-1981), Anders Hillborg (b.1954), Sigurjon Birgir Sigurdsson, Björk Guðmundsdóttir
Artist: Renée Fleming, Royal Stockholm Philharmonic Orchestra, Sakari Oramo
Title: Barber, Hillborg, Bjork - Distant Light
Genre: Classical, Vocal Music
Label: © Decca is a Universal Music Company
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:53:49
Recorded: February 2016, Konserthuset, Stockholm, Sweden


‘Distant Light’ is Renée Fleming’s first foray into the hypnotic world of Scandinavian music. For her first new studio album in three years she has chosen to inspire and provoke with a daring mix of music.
The title comes from a poem in a new song cycle dedicated to Renée and here receiving its world premiere recording: Anders Hillborg’s ‘The Strand Settings’.
"At once atmospheric, elegiac and unsettling, the work was crafted with Ms. Fleming’s creamy voice in mind”, wrote the New York Times at its first performance in 2013. One of Sweden’s brightest star composers Hillborg has a close relationship with the Royal Stockholm Philharmonic where this recording was made in February 2016 with its principal conductor Sakari Oramo.
Renée couples this with three songs by Björk in specially commissioned orchestrations by the brilliant Swedish composer and arranger Hans Ek, recorded here for the first time.
Why Björk? Both she and Renée are recipients of Sweden’s Polar Music Prize. Both dare to be original. In the fascinating booklet interview Renée talks about her admiration for Björk: “Her originality is breathtaking. She just blazes her own path forward”. Renée chooses the songs which mean the most to her personally and musically.
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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 - Motets - Capella Cracoviensis, Fabio Bonizzoni (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Capella Cracoviensis, Fabio Bonizzoni
Title: Motets
Genre: Classical
Label: © Alpha Classics / Outhere Music France
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88.2kHz/24bit
Source: highresaudio.com
Duration: 01:06:21
Recorded: at The Krzysztof Penderecki European Centre for Music in Lusławice, Poland between March 25th – 29th 2014


Capella Cracoviensis, recently discovered on the Alpha release Te Deum, returns here under the direction of Fabio Bonizzoni. Together they present a highly vigorous reading of these monumental works - Their virtuosity brings out to the full the magnificent counterpoint while never neglecting the text, so vital in the motet genre.
Each of the motets on this programme –most of which for double chorus – was intended for highly reduced forces, most likely made up solely of soloists. The writing is indeed complex, woven in an extremely skilful counterpoint that requires great transparency in order for the interlacing to be experienced fully.
The ensemble and soloists of La Capella Cracoviensis give a reading of considerable vitality, both informed and removed from too exclusively a religious approach.
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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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