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Catherine Lara - Nil (1975/2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Catherine Lara
Title: Nil
Genre: Pop, Chanson française
Label: © CBS/Sony Music Entertainment
Release Date: 1975/2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 00:39:19
Recorded: Nova Sound Studios, London

Si sa carrière se poursuit, le succès de Catherine Lara reste relatif après les quelques cinquante mille exemplaires vendus du premier album, les suivants plafonnent à vingt ou trente mille. Ce n’est pas « NIL » - le premier à porter un titre– qui risque d’inverser la tendance, même si « Les lions vont boire quelque part » obtient un certain écho. Disque concept exotico-ésotérique, dû pour l’essentiel à l’auteur-chanteur Alain Lacaux (tragiquement disparu depuis), il s’ouvre et se termine sur un instrumental . Enregistré à Londres, arrangé par Del Newman (qui écrivait alors pour Elton John), son impact musical reste essentiel pour Catherine : « Là, je commence à amener rythmique et feeling. La motion de groove. Ca m’est venu grâce à un musicien fabuleux, le bassiste de Magma : Francis Moze. Il m’a donné cet amour du rythme et de ce qui se passe entre les temps… C’est vraiment quelqu’un qui m’a appris beaucoup de choses. J’adore les musiciens. J’ai toujours eu de la chance d’être accompagnée par des pointures ». Catherine Lara --Daniel Pantchenko CHORUS 1996
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Dario Castello - Sonate Concertate In Stil Moderno, Libro Primo - Academy of Ancient Music, Richard Egarr (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Dario Castello (c.1590–c.1658)
Artist: Academy of Ancient Music, Richard Egarr
Title: Castello - Sonate Concertate In Stil Moderno, Libro Primo
Genre: Classical
Label: © AAM Records (Academy of Ancient Music)
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 01:44:36
Recorded: St George’s Church, Cambridge on 25-28 January 2016

The Academy of Ancient Music explores a revolutionary period of Italian music through the work of Venetian man of mystery Dario Castello.
Working at the same time as Claudio Monteverdi, Dario Castello wrote innovative and ground-breaking sonatas that had a profound effect on generations of Italian composers. Very little is known about him today, but in the 17th century he was actually more widely published than Shakespeare.
AAM Music Director Richard Egarr is a lifelong advocate of Castello, and on this recording directs the composer’s first book of sonatas from the harpsichord and organ.Taking the form of a small chamber group, the AAM finds itself at its most adventurous and expressive, performing twelve fiercely virtuosic sonatas for violin, cornetto and dulcian that are full of imagination and colour.
This release – the fifth on AAM Records – follows the AAM’s critically-acclaimed series of JS Bach recordings. Their 2015 release of JS Bach’s St Matthew Passion (AAM004) was praised by BBC Music Magazine for Richard Egarr’s “compellingly original vision”, and was awarded BBC Radio 3’s Disc of the Week. JS Bach’s Orchestral Suites (AAM003) was awarded five stars by Fine Music Magazine and was described as “a feast of meaningfully understated musicianship” in an Editor’s Choice review in Gramophone magazine.
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Anton Bruckner - Symphony No. 8 - Berliner Philharmoniker, Eugen Jochum (1964/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Anton Bruckner (1824-1896)
Artist: Berliner Philharmoniker, Eugen Jochum
Title: Bruckner - Symphonie Nr. 8 C-Moll (Originalfassung)
Genre: Classical
Label: © Deutsche Grammophon GmbH, Berlin
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 01:14:06
Recorded: January 1964, Philharmonie, Berlin, Germany

Like Bruckner, Eugen Jochum was a devout Catholic, and in his recordings of this master’s music there is a tenderness, spirituality, and quality of love that is unique in the discography. Though he refused to rank Bruckner the symphonist as highly as Brahms, Jochum clearly saw a world of meaning in these works, and his two integral recordings of the nine symphonies deserve a place in any serious collection. – Ted Libbey
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Anton Bruckner - Symphony No. 9; Te Deum - Berliner Philharmoniker, Eugen Jochum (1966/2017) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Anton Bruckner (1824-1896)
Artist: Berliner Philharmoniker, Eugen Jochum
Title: Bruckner - Symphony No. 9; Te Deum
Genre: Classical
Label: © Deutsche Grammophon GmbH, Berlin
Release Date: 1966/2017
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 01:22:50
Recorded: July 1965, Jesus-Christus-Kirche, Berlin, Germany


German conductor Eugen Jochum is considered by many to have been the foremost Bruckner conductor of the mid- to late twentieth century; he producing many outstanding recordings of Bruckner's symphonies (as well as worthy interpretations of a great many other composers). He also left to posterity a number of written articles on the interpretation of that composer.
Musical studies began in early childhood (both of Eugen's brothers, Otto Jochum and Georg Ludwig Jochum, went on to become successful musicians in their own right), and Jochum attended the Augsburg Conservatory until he was 20 years of age. He enrolled in the Munich Academy of Music as a composition student of Hermann von Waltershausen, but soon diverted his energies to conducting (working with Siegmund von Hausegger). He worked as a rehearsal assistant at the Munich National Theater, and, after a successful Munich debut in 1926, was invited to join the conducting staff at the Kiel opera. In 1926, having developed a sizable operatic repertory, he moved to Mannheim (1929-1930) and then to Duisburg (1930-1932). Although relatively young, he was asked to serve as music director for Berlin Radio in 1932, and while in that city built an association with the Berlin Philharmonic Orchestra which would led to many guest conductor appearances in the following decades.
Jochum became music director of the Hamburg opera (and, along with that title, principal conductor of the Hamburg Philharmonic) in 1934, remaining at that post until 1949 -- effectively avoiding Nazi interference with his musical activities. During the 1930s, Jochum continued to champion a number of contemporary composers who had been officially banned by the Nazi party (such as Hindemith and Bartók), though his great love remained the late Romantic repertory.
After forming the Bavarian Radio Symphony Orchestra in 1949, Jochum spent the 1950s developing that organization (in conjunction with his new role as music director for Bavarian radio) and building his stature as a guest conductor around Europe; his Bayreuth debut was in 1953, and he took partial charge of the Concertgebouw Orchestra in Amsterdam from 1961-1964. He conducted the Bamburg Symphony orchestra from 1969 to 1973, and was appointed conductor laureate of the London Symphony Orchestra for the 1978-1979 season. From 1950 on Jochum served as the president of the German chapter of the International Bruckner Society.
Jochum's conducting was marked by a fluent, lyric approach (which nevertheless proved capable of drawing tempestuous results from his players when necessary). Above all else he valued a rich, warm sound perfectly suited to the music of Bruckner and Wagner, though recordings show a wealth of insight into the music of other German masters, notably Beethoven, Bach, and Haydn. Jochum died in 1987, after a decade of semi-retirement. --Artist Biography by Blair Johnston
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Johannes Brahms - The Symphonies - Boston Symphony Orchestra, Andris Nelsons (2017) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johannes Brahms (1833-1897)
Artist: Boston Symphony Orchestra, Andris Nelsons
Title: Brahms: The Symphonies
Genre: Classical
Label: © BSO Classics
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: BSO
Duration: 02:48:39
Recorded: Live recordings Symphony Hall, Boston November 8-19, 2016


The Boston Symphony Orchestra and Andris Nelsons are pleased to announce the release of their latest recordings on BSO Classics-a three-disc set of the four Brahms symphonies, recorded live during concert performances at Symphony Hall this past November, engineered by the same in-house team that produced the BSO's recent Grammy-winning Shostakovich recordings under Maestro Nelsons on Deutsche Grammophon. This new Brahms symphony cycle follows two others recorded previously by the BSO, under Erich Leinsdorf in the mid-1960s and Bernard Haitink in the early 1990s. "It makes me so proud and happy," observes Andris Nelsons, "that the Boston Symphony Orchestra of today, filled with so many great musicians, will now have its own place in recorded history with this amazing music."
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Johannes Brahms - String Sextets Nos. 1 & 2 - Renaud Capucon, Christoph Koncz, Gerard Causse, Marie Chilemme, Gautier Capucon, Clemens Hagen (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833–1897)
Artist: Renaud Capuçon, Christoph Koncz, Gérard Caussé, Marie Chilemme, Gautier Capuçon, Clemens Hagen
Title: Brahms - String Sextets Nos. 1 & 2
Genre: Classical
Label: © Parlophone Records Limited, a Warner Music Group Company
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:16:46
Recorded Live from Aix Easter Festival 2016, March 24, 2016, Conservatoire Darius Milhaud, Aix en Provence, France

For the first time since their recording of Saint-Saëns La Muse et le Poète in 2013, the French brothers reunite for a recording of two of the great pillars of Romantic chamber music – Brahms’ string sextets.
At the peak of the musical powers, they both appear regularly throughout the world on all the major concert hall platforms. Alongside their solo careers, performing chamber music with friends has always been an important part of their lives, and here they are joined by Austrian violinist Christoph Koncz, French violists Marie Chilemme and Gérard Caussé, and Austrian cellist Clemens Hagen.
The sextets are amongst the most joyful and skilfully-written works of the Romantic chamber music canon. While his own voice as a composer can clearly be heard, outside influences from the great Classical era composers such as Schubert and Beethoven are also in evidence.
The second sextet was written around the time Brahms became close to a young singer called Agathe von Siebold, so close in fact that many of their acquaintances thought they would eventually marry. Brahms however refused to be tied down and Agathe broke off the relationship.
Near the end of the exposition of the first movement, the first and second violins together spell "Agathe" by playing the notes A-G-A-D-H-E, leading many to deem this work as dedicated to her. After completing the work Brahms wrote to a friend, "Here I have freed myself from my last love."
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Johannes Brahms - Piano Concerto No. 2; Piano Sonata No. 1 - Norman Krieger, London Symphony Orchestra, Philip Ryan Mann (2017) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Johannes Brahms (1833–1897)
Artist: Norman Krieger, London Symphony Orchestra, Philip Ryan Mann
Title: Brahms - Piano Concerto No. 2; Piano Sonata No. 1
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 01:20:12

Pianist Norman Krieger is accompanied by the London Symphony Orchestra under Philip Ryan Mann on this Brahms programme featuring the Piano Concerto No. 2 and the Piano Sonata No. 1. A native of Los Angeles, Krieger is one of the most acclaimed pianists of his generation, highly regarded as an artist of depth, sensitivity and virtuosic flair.
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Johannes Brahms - Ein Deutsches Requiem, Op. 45 - Royal Concertgebouw Orchestra, Mariss Jansons (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Johannes Brahms (1833–1897)
Artist: Royal Concertgebouw Orchestra, Mariss Jansons
Title: Brahms - Ein Deutsches Requiem, Op. 45
Genre: Classical
Label: © RCO Live
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:07:25
Recorded Live at Concertgebouw Amsterdam on 20-21 September 2012

Following the requiem masses of Dvorák and Mozart in previous seasons, this performance of Brahms's German Requiem would have been the third in a long series of Requiems conducted by Mariss Jansons. Unfortunately the 'new tradition' was cut short by Jansons's departure as the RCO's chief conductor during the 2014/2015 season. The performance was dedicated to Kurt Sanderling, one of the orchestra's most beloved guest conductors. He passed away the year before and would have turned 100 that very month. It proved to be a very moving performance, a fitting salute to a great conductor.

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Dmytro Bortniansky, Alfred Schnittke - Confessions of Faith - Choir Concertos - MDR Rundfunkchor, Risto Joost (2017) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Dmytro Stepanovych Bortniansky (1751-1825), Alfred Schnittke (1934-1998)
Artist: MDR Rundfunkchor, Risto Joost
Title: Confessions of Faith - Choral Concertos by Bortniansky and Schnittke
Genre: Classical
Label: © GENUIN Classics
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: prestoclassical.co.uk
Duration: 54:54
Recorded: at Paul-Gerhardt-Kirche, Leipzig, Germany; January 26–February 02 (tr. 04–07), June 27–30 (tr. 01–03), 2016



Revered by his contemporaries as the “Orpheus of the Neva”, Dmitry Stepanovych Bortniansky is today regarded as one of the leading representatives of the classical period in Russia. He was born in 1751 in Glukhov (Hlukhiv), Ukraine, where he started vocal training at the age of six and was one year later, due to his unusual talent, accepted into the St. Petersburg Imperial Chapel Choir founded by Tsar Peter I. The young musician’s most influential teacher was Baldassare Galuppi, highly respected at the time, whom Catherine II in 1763 had brought to St. Petersburg as her court conductor. With him Bortniansky studied harpsichord and musical theory as well as perfecting his vocal technique. When Galuppi returned to Venice in 1768 the aspiring musician was allowed to accompany his teacher in order to continue and complete his studies. During his subsequent ten-year sojourn in Italy Bortniansky also wrote some “Italian” opere serie such as Cretone (1776), Alcide (1778) and Quinto Fabio (1778) which were premiered in Venice and Modena respectively.
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Boots Randolph - Boots with Strings (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Boots Randolph
Title: Boots with Strings
Genre: Jazz Pop, Easy Listening
Label: © Monument Records | Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:36:44
Recorded: 1966, Fred Foster Sound Studio; Western Recorders

Tenor saxophonist Boots Randolph was an important contributor to the Nashville sound, the set of pop-flavored textures that dominated country music in the late '50s and early '60s. He was born in Paducah, KY, but grew up in small-town Cadiz, in Trigg County. Born Homer Louis Randolph III, he acquired the nickname "Boots" in childhood from his brother Bob. Randolph began playing the trombone in school and learned several other instruments, but by the time he was 16 he had begun to focus seriously on the sax. He honed his chops as a member of the U.S. Army Band during World War II.
After the war, Randolph returned home and performed semi-professionally for some years around Indiana, Kentucky, and Illinois. In the late '50s, Jethro Burns heard him play and suggested he move to Nashville. Burns introduced Randolph to Chet Atkins, who signed him to the RCA label. Randolph also quickly made the acquaintance of Atkins rival Owen Bradley and performed on many recordings Bradley helmed as producer. Nashville's new corps of session musicians spent its leisure time in the Printer's Alley section of the city's downtown, an actual alley (between First and Second avenues) that offered entrance to various basement barrooms, and Randolph became one of the group. Like other Nashville players, he took enthusiastically to jazz and rock & roll in addition to country music.
One single, the 1963 instrumental "Yakety Sax," showed Randolph putting all these influences together and delivering an extremely catchy tune; it became his only real hit. But Randolph was a consistent seller of LP albums (with 13 charted releases) in the 1960s and 1970s; offering pleasant saxophone covers of material from various genres of music, he became a counterpart to Atkins on guitar and Floyd Cramer on piano. He moved from RCA to the Monument label in 1966. For well over a decade, in addition, he averaged 200-300 studio sessions a year on recordings made by others. The saxophone heard on Elvis Presley's later records is likely to be Randolph's.
In 1977, Randolph opened a successful club of his own in Printer's Alley; it endured into the 1990s and spawned another club in the Opryland U.S.A. area. Randolph remained active as an entertainer into the 2000s, and in 1994 the original Yakety Sax album was admitted into the unofficial country canon; it was reissued by Germany's Bear Family label. Randolph suffered a brain hemorrhage in late June 2007 and remained in a coma until his passing at the age of 80 on July 3, 2007. --Artist Biography by James Manheim
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