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Moritz Moszkowski - Piano Concerto Op. 3 - Ludmil Angelov, BBC Scottish Symphony Orchestra, Vladimir Kiradjiev (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Moritz Moszkowski (1854-1925), Adolf Schulz-Evler (1852-1905)
Artist: Ludmil Angelov, BBC Scottish Symphony Orchestra, Vladimir Kiradjiev
Title: Moszkowski - Piano Concerto Op. 3
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 65 minutes 4 seconds
Recorded: June 2015, City Halls, Candleriggs, Glasgow, Scotland

The first recording of Moritz Moszkowski’s long-lost—and eagerly awaited—early Piano Concerto makes for a particularly important addition to the Romantic Piano Concerto series. The coupling is another rarity (and recorded premiere): the Russian Rhapsody by Adolf Schulz-Evler.
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Mosalini Teruggi Cuarteto - Chamuyo (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Juanjo Mosalini, Leonardo Teruggi
Artist: Mosalini Teruggi Cuarteto
Title: Chamuyo
Genre: Classical, Tango
Label: © Aparté Music
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:00:28
Recorded: 12 au 15 septembre 2016 au CRD Edgar Varèse, Gennevilliers


Chamuyo is Argentinian sweet talk, the art of convincing and seducing the other. Subtle and mischievous, this practice can snare you in your own trap. It is in this sense that we have decided to go against the general trend of the period by proposing a unique approach far from the tango of yesteryear.'The force of our roots, the colours, accents, and expressive and rhythmic contrasts are distilled throughout the repertoire of the Quartetto Mosalini-Teruggi. Argentinian but resolutely cosmopolitan, the paths we have travelled are the inexhaustible source of our inspiration.' Juanjo Mosalini in his second release for the Aparté label, Juanjo Mosalini, the brilliant bandoneon player, leads the revolution in the Argentinian tango with his three accomplices.
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Felix Mendelssohn - Symphony No. 5 'Reformation' - London Symphony Orchestra, Sir John Eliot Gardiner (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Felix Mendelssohn (1809-1847)
Artist: London Symphony Orchestra, Sir John Eliot Gardiner
Title: Mendelssohn - Symphony No. 5 'Reformation'
Genre: Classical
Label: © LSO Live
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:47:09
Recorded live in DSD, 23 March 2014 and 2 October 2014 at the Barbican, London


Sir John Eliot Gardiner and the London Symphony Orchestra join forces once again in the latest instalment of their exploration of Mendelssohn’s symphonies.
Mendelssohn’s Symphony No 5, commonly known as the ‘Reformation’ Symphony, was written in 1830 to commemorate the 300th anniversary of the Augsberg confession – a seminal event in the Protestant Reformation. Allusions to the symphony’s title and inspiration can be heard throughout the music itself; the Dresden Amen is cited by the strings in the first movement whilst the finale is based on Martin Luther’s well-known chorale Ein feste Burg ist unser Gott (‘A Mighty Fortress is Our God’).
Coupled with this are two of Mendelssohn’s overtures, Calm Sea and Prosperous Voyage and Ruy Blas, both of which were inspired by literary works. Calm Sea and Prosperous Voyage, based on two short poems by Goethe, depicts the journey of sailors at sea with a still adagio opening ultimately giving way to a triumphant homecoming. Completing the album, the overture Ruy Blas was commissioned by the Leipzig Theatre as an overture to Victor Hugo’s tragic drama of the same name.
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Medtner, Rachmaninov - Piano Concertos - Marc-Andre Hamelin, London Philharmonic Orchestra, Vladimir Jurowski (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Nikolai Medtner (1880-1951), Sergei Rachmaninov (1873-1943)
Artist: Marc-André Hamelin, London Philharmonic Orchestra, Vladimir Jurowski
Title: Medtner & Rachmaninov: Piano Concertos
Genre: Classical
Label: © Hyperion Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 82 minutes 9 seconds
Recorded: Various dates Henry Wood Hall, London, United Kingdom


Although their reputations could scarcely be more disparate, Sergei Rachmaninov and Nikolai Medtner make an exceptionally interesting, like-minded pairing. Both were renowned concert pianists, and both wrote superbly for their instrument, unleashing hordes of notes that nevertheless fall gratifyingly under the fingers—at least expert ones, after patient learning. As composers, both were trained in a strict academic tradition, not least under the champion of polyphony in Russia, Sergei Taneyev; yet both rebelled against that schooling and could count themselves as largely self-taught. Both expressed anxiety about the length of their works—Rachmaninov’s fourth piano concerto, dedicated to Medtner, prompted an interesting exchange of letters on the topic. Both remained faithful to the aesthetics and styles they had grown up with (Chopin, Schumann and Liszt being their most conspicuous shared influences), and as a consequence both were hostile to new musical currents around them, not least among their principal fellow-Russian émigrés, Stravinsky and Prokofiev. Neither could stand the Bolshevik regime that turned their world upside-down, yet both experienced intense longing for the homeland.
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Maurice Steger - Souvenirs d'Italie (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Various
Artist: Maurice Steger & Instrumental Ensemble
Title: Souvenirs d'Italie
Genre: Classical
Label: © harmonia mundi usa
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:12:38
Recorded: 16-18 avril 2016 et 16-18 mai 2016, Seewen, Suisse, römisch-katolische Kirche

“Naples is the capital of the musical world”, wrote Charles de Brosses in one of his letters from Italy from 1739/1740. He also wrote “Naples is the sole Italian city that seems truly a capital…” and this was not an exaggeration: it was the largest city in 17th century Europe and possessed four conservatories. Musicians trained there spent most of their lives in the service of sovereigns and aristocrats in other major European courts, such as Paris and Vienna. During their lifetime, they were internationally regarded among the finest exponents of their art. and their music adds an entirely new dimension to the history of Italian instrumental music. That variety of tastes and colours is the hallmark of this recording devoted to the staggeringly virtuosic music for recorder brought back from Italy by Count Harrach [the Austrian diplomat Aloys Thomas Raimund], who served as Hapsburg viceroy in Naples from 1728 to 1733. Hasse, Vinci, Sammartini, and the less familiar names of Antoni, Fiorenza, Leo and Sarro represent these souvenirs of a six-year gilded exile, which is preserved in his collection of precious manuscripts.
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Mastodon - Crack the Skye (2009) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Mastodon
Title: Crack the Skye
Genre: Rock, Heavy Metal, Progressive Metal, Alternative Metal, Sludge Metal
Label: © Reprise Records
Release Date: 2009/2017
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:50:04
Recorded: Southern Tracks Studios, Atlanta, Georgia


First off, a warning: the best way to encounter Mastodon's Crack the Skye for the first time is with headphones. Reported to be a mystical -- if crunchy -- concept record about Tsarist Russia, this is actually the most involved set of tracks, both in terms of music and production, the band has ever recorded. "Ambitious" is a word that regularly greets Mastodon -- after all, they did an entire album based on Moby Dick -- but until now, that adjective may have been an understatement. There is so much going on in these seven tracks that it's difficult to get it all in a listen or two (one of the reasons that close encounters of the headphone kind are recommended). It may seem strange that the band worked with Bruce Springsteen producer Brendan O'Brien this time out, but it turns out to be a boon for both parties: for the band because O'Brien is obsessive about sounds, textures, and finding spaces in just the right places; for O'Brien because in his work with the Boss he's all but forgotten what the sounds of big roaring electric guitars and overdriven thudding drums can sound like. The guitar arrangements on tracks like "Divinations" and "The Czar," while wildly different from one another, are the most intricate, melodically complex things the band has ever recorded. There are also more subtle moments such as the menacing, brooding, and ultimately downer cuts such as "The Last Baron," where tempos are slowed and keyboards enter the fray and stretch the time, adding a much more multidimensional sense of atmosphere and texture. Still, Crack the Skye rocks, and hard! Its shifting tempos and key structures are far more meaty and forceful than most prog metal, and menace and cosmological speculation exist in equal measure, providing for a spot-on sense of balance. Some of the hardcore death metal conservatives may have trouble with this set, but the album wasn't recorded for them -- or anybody else. Crack the Skye is the sound of a band stretching itself to its limits and exploring the depth of its collective musical identity as a series of possibilities rather than as signatures. And yes, that is a good thing. --AllMusic Review by Thom Jurek
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Mastodon - Blood Mountain (2006) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Mastodon
Title: Blood Mountain
Genre: Rock, Heavy Metal, Progressive Metal, Alternative Metal, Sludge Metal
Label: © Reprise Records
Release Date: 2006/2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:50:57
Recorded: December 2005 – April 2006 at Robert Lang Studios, Studio Litho, and EK Studios, Seattle, Washington

The two-year long-wait is over, and those Mastodon fans encouraged but leery of the slicker production of Leviathan over Remission will be even more bemused, or downright bewildered, by Blood Mountain, the band's first foray into major-label territory since signing with Warner Brothers' Reprise imprint (after all, this was the label conceded to Frank Sinatra as his own when he threatened to leave it). Blood Mountain is everything fans both hoped for and feared. Mastodon has dug even deeper in its foray into prog metal, but without losing an ounce of their power, literacy, or willingness to indulge in hardcore punk, doom, and death metal. Like Leviathan, Blood Mountain is both melodic and downright raging in places. Matt Bayles is in the producer's chair once more and he's encouraged this Georgia quartet -- Bränn Dailor (drums), Brent Hinds (guitar and vocals), Bill Kelliher (guitar and vocals), and Troy Sanders (bass and vocals) -- to take it to the limit. And they have. Blood Mountain indulges and goes deep into the territory of prog metal beats and quests and spiritual revelations that have less to do with Tolkein-ism and more to do with Conan-ism. There are utterly beautiful melodic passages woven into the heaviness that are reminiscent of Thin Lizzy's dual guitar lyricism -- and the band has confessed to digging Phil Lynott and company. The vocals -- with guest spots from Neurosis' Scott Kelly, the Mars Volta's Cedric Bixler-Zavala, and Queens of the Stone Age's Josh Homme -- are mixed way upfront and the number of sheer stylistic changes is dizzying.
No, Mastodon should not lose their street cred over this. For every old fan alienated, a new one will step into the gap and there will be throngs of new ones, more than likely. Why? Simply because this band does the technical thing as well or better than Meshuggah without sacrificing a bit of the black blood which courses through their veins toward their dark thrash metal hearts. The set opens with the completely in-the-red thrashcore metal of "The Wolf Is Loose," complete with a chanted chorus. As the guitars twin and scream, bass and drums chop away at convention. Tempo changes, from fast to faster to a refrain that gives the listener time to shout along. The doubled leads and repetition in the verse are countered by the swelling, pulsating thud from the drum kit. Lyrically, it appears that Mastodon is trying to create a new mythological present. But the bridge goes into the netherworld with actual sung vocals and angular, elliptical phrases that defy elucidation. The echoey sound effects on the drums at the opening of "Crystal Skull" quickly give way to a plodding power metal riff. "Sleeping Giant" comes out of the gate, slowly, dreamily, seductively, there are digital delays on the guitars that gather tension as they (relatively) whisper by, and create an ambience that crosses early Black Sabbath and Opeth. It's the vocals that are most remarkable, however, sung cleanly to a slow tempo, each word is distinct and the effect is nearly hypnotic as the strange, self-created cultic myth is further woven into a web of dislocation, epic ambivalence, mystery, and power. Prog metal is made plain on "Capillarian Quest," where intricate patterns and bludgeoning guitar riffs vie for dominance but are authoritatively held in Mastodon's deafening balance. "Circle Cysquatch," with its bloodcurdling extreme thrash and burn, tips it toward a virtual creation idea born of pagan rites, blood sacrifice, the spirits of extinct species, and the hollow ring of organized religion, all given their freedom here to drift back to prehistory and the days of fire and rage in the rough and tumble founding of "civilization."
On it goes. Mastodon seeks no easy answers but poses dozens of questions about origin, and "culture." Forget "thinking man's metal," this is metal, period, and the guys that make it think. The music, as varied and tumultuous and, in places utterly beautiful as it is, place the band beyond the pale -- check the intro to "Bladecatcher" before it falls apart into pure chaos and cacophony where lyrics and themes are barely articulated in the hammering thunder of apocalyptic noise. Sound effects that perhaps are the voices of the spirits themselves make themselves heard in the din -- but indecipherably. "Colony of Birchmen" and "Hunters of the Sky" are both prototypically metal and act as the album's hinge pieces, where Mastodon completes its achievement and establish a new heavy metal. "This Mortal Soul," with its elongated beginning and utter lyricism may alienate those who live for heaviness alone, but it will attract those who can see outside the genre's subgenres. The set closes with "Pendulous Skin," a track that amounts to a densely populated power ballad with gorgeous guitar soloing, and a major/minor key chord progression (instead of riffs and a Hammond B-3) played by Bayles followed by a long silence, where at the very end, a "fan" letter is read and responded to. What does it add up to? Something old and something new, a heavy metal that's utterly gargantuan to wrestle with because it actually moves the style into brand new territory, an unfamiliar terrain which will accord it much name calling and crying of "sellout" by the unwashed masses who are more conservative about their steely brand of "folk music" than the Newport crowd was about Dylan going electric. Yet, for those daring enough to take this in, there are true bloody treasures to behold and receive. If Leviathan was a masterpiece, then this is too -- only more so. --AllMusic Review by Thom Jurek
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Jules Massenet - Don Quichotte - Mariinsky Orchestra, Valery Gergiev (2012) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Jules Massenet (1842-1912)
Artist: Mariinsky Orchestra, Valery Gergiev
Title: Massenet - Don Quichotte
Genre: Classical
Label: © Mariinsky
Release Date: 2012
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:51:21
Recorded: 27 – 29 May 2011 in the Concert Hall of the Mariinsky Theatre, St Petersburg, Russia


Don Quichotte, Massenet's comedie-heroique, is a tale of heroism, adventure and unrequited love. The action relates more closely to the play Le Chevalier de la longue figure by Jacques de Lorrain, than the great novel by Miguel de Cervantes.
Italian bass Ferruccio Furlanetto is one of the most sought-after interpreters of French, Italian and Russian repertoire. Here he joins Valery Gergiev and the Mariinsky Orchestra for a sumptuous recording of Massenet's final great opera.
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Malu - Caos (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Malú
Title: Caos
Genre: Pop, Pop Rock, Latin Pop
Label: © Sony Music Entertainment España, S.L.
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:43:32
Recorded: 2015

Caos es el décimo álbum de estudio de la cantante Malú. Un álbum que salió a la venta el 27 de noviembre de 2015, y que ha creado mucha expectación, convirtiéndolo en número 1 a él, y a las dos primeras canciones, Quiero y Cenizas.
El primer sencillo del décimo álbum de estudio (Caos) fue Quiero, que fue publicado el 25 de septiembre de 2015. Su videoclip se lanzó el 6 de Noviembre y fue dirigido por Pedro B. Abreu y producido por Zapping Produccions.
El segundo sencillo fue Encadenada a tí, que fue publicado a principios de enero de 2016. Este sencillo ha tenidos dos videoclips, el primero es un lyric video donde junto a la canción se ven a los fans con sus manos juntas, fotos que la discográfica pidió para hacer el video. El segundo videoclip estás protagonizado por la propia cantante por la zona de Madrid, donde Malu nos enseña que está "Encadenada a la música y encadenada a la vida".
El tercer sencillo es "Caos", canción que pone título al disco, que ha sido publicado a finales del mes de Abril, justo cuando empieza la gira de conciertos que hará por toda España con su "Tour Caos".
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Gustav Mahler - Symphonies Nos. 1, 5, 9 - Moscow Philharmonic Orchestra, Kirill Kondrashin, Tatarstan National Symphony Orchestra, Alexander Sladkovsky (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Composer: Gustav Mahler (1860–1911)
Artist: Moscow Philharmonic Orchestra, Kirill Kondrashin, Tatarstan National Symphony Orchestra, Alexander Sladkovsky
Title: Mahler: Symphonies Nos. 1, 5, 9
Genre: Classical
Label: © Melodiya
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44.1kHz/24bit
Source: Qobuz
Duration: 06:35:46


Melodiya presents a set of selected symphonies by Gustav Mahler interpreted by Kirill Kondrashin and Alexander Sladkovsky. Almost fifty years separate the recording of these interpretations. The name of Kirill Kondrashin is linked with the everlasting glory of the Moscow philharmonics the orchestra that became one of the best collectives of the former Soviet Union under his leadership. Kondrashin not only resumed the tradition of Russian Mahleriana that had been interrupted by the Soviet ideologists of music for three decades - he actually rediscovered the world of Mahlers music for the domestic audience. Peoples Artist of Russia Alexander Sladkovsky is among the best known conductors of modern Russia. He was the one who resuscitated the State Symphony Orchestra of the Republic of Tatarstan (former Tatar ASSR) and won the recognition in this country and overseas during his six-year leadership. Just as Kondrashin did, Sladkovsky possesses an extensive repertoire, devotes much attention to contemporary music and achieves the highest technique and combination of emotional uplift with academic strictness in his interpretations. Mahler and Shostakovich take a special place in the modern maestros music pantheon. While Mahlers First, Fifth and Ninth symphonies recorded by Sladkovsky and his orchestra in 2016 preserve the traits of Kondrashins tradition, they also capture the conductors distinction as his art is addressed to todays listeners.
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