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The Goo Goo Dolls - Boxes (2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: The Goo Goo Dolls
Title: Boxes
Genre: Rock, Alternative Rock
Label: © Warner Bros. Records Inc.
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: HDTracks
Duration: 42:04

The album art for Boxes, the 11th album by the Goo Goo Dolls and the first since drummer Mike Malinin left the band, suggests a ceaseless expansion of cardboard portals into the universe -- a heady metaphor for a record that finds the group boring into mundane earthly concerns. As part of this embrace of the present, the Goo Goo Dolls -- now merely a duo of John Rzeznik and Robby Takac -- unapologetically embrace their middle age, excising any remaining hints of the raucous rock band of yore and splitting their time between power ballads and insistent anthems. Hints of "Iris" and its aftermath are heard throughout but Rzeznik and Takac do pay attention to modern music, threading in portions of the gated hip-hop rhythms of Twenty One Pilots on occasion. Elsewhere, they have a tough time shaking remnants of the cavernous rallying calls of Mumford & Sons -- it's an affectation left over from 2013's Magnetic and feels past its sell-by date here -- but that only underscores how the Goo Goo Dolls have turned from energy and songs toward an enveloping mood. And, in that sense, the pseudo-new age art winds up fitting the album: this is a record that attempts to unfold but remains grounded within its own humble limitations. --AllMusic Review by Stephen Thomas Erlewine
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The German All Stars - Live At The Domicile (1971/2016) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: The German All Stars
Title: Live At The Domicile
Genre: Jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 01:13:59
Recorded live at Domicile, Munich, July 11th, 1971

From 1965 to 1981 Munich’s Domicile jazz club was a mecca for international jazz. This live 1971 album brings together that period’s ‘who’s who’ of the German jazz scene; Coda commented in 1974 that, “This band at best can blow most modern American big bands right off the stage”. At the center, trombonist Albert Mangelsdorff’s legendary quartet with Heinz Sauer (s), Günter Lenz (b), Ralf Hübner (dr). All originals, the pieces display the players’ compositional and improvisational strengths. On the freely-played Out of Reach Gerd Dudek’s soprano solo stretches out over a densely layered background; gripping solos by Mangelsdorff and Manfred Schoof (trp). Figures begins with a warm Latin pulse before a trumpet dialogue between Schoof and the great Dutch trumpeter Ack van Rooyen. Gebäude takes a couple of musical turns before setting on a powerful minor key groove with strong solos from Albert’s brother Emil on alto, followed by Ack. Hübner drives in Hammerkopp with a striking drum solo leading into a phantasmagoria of solo and ensemble play. The short, hard-swinging melody Epilog appropriately ends the first album. The big band sound and rock beat of Nuggis spurs on sterling solos by van Rooyen and Dudek on tenor, followed by keyboard giant Wolfgang Dauner on piano and synth. Sweet Lament features the virtuoso scatting of singer Willi Johanns, while on Hornsalut the hard-swinging drums and bass propel impressive solos by van Rooyen, Mangelsdorff, Schoof, and trombonist Rudi Feusers. Lenz’s furious walking bass brings the band back home. When Lights are High again features Johanns’ vocal pyrotechnics lit up by the swinging big band background. A fiery live recording, it displays a dynamic 70’s German jazz scene that was as inventive as any; the music sounds as fresh today as it did back then.
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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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Pyotr Ilyich Tchaikovsky - The Tchaikovsky Project Vol. 1 - Czech Philharmonic, Semyon Bychkov (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840-1893)
Artist: Czech Philharmonic, Semyon Bychkov
Title: The Tchaikovsky Project Vol. 1
Genre: Classical
Label: © Decca is a Universal Music Company
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: prestoclassical.co.uk
Duration: 1:03:53
Recorded: Dvorák Hall, Rudolfinum Prague, 17–19 August & 24–26 September 2015


“What is this music that we love so deeply if not our beloved friend? I’ve loved Tchaikovsky’s music ever since I can remember. Like all first loves this one never died”© Semyon Bychkov
Cementing their new relationship with Decca Classics, the Czech Philharmonic embark on a cycle of Tchaikovsky’s Symphonies under the baton of Semyon Bychkov.
This first release showcases Tchaikovsky’s greatest Symphony, the Pathétique. Tchaikovsky himself felt that his Sixth Symphony, a confident and dramatic work, was “the best thing I have composed”. This outstanding recording is paired with Tchaikovsky’s magical Fantasy Overture, Romeo & Juliet.
Volume 1 marks the start of Decca’s first Tchaikovsky cycle for nearly 40 years (and the first in high-definiton 96k/24bit sound). Future recordings – covering all Tchaikovsky’s Symphonies, Piano Concertos, and other orchestral works – will follow as Maestro Bychkov delves deeper into the composer’s life and music, supported by innovative concert programming in major cities across the world.
The first of three Tchaikovsky Project concerts takes place in London in October 2016. In January/February 2017, Bychkov takes the project to New York.
Bychkov will continue to champion Tchaikovsky’s music over the next few years, with further Tchaikovsky residencies planned in London, New York and Prague, plus Tchaikovsky Project concerts in Vienna and Paris.
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Pyotr Il’yich Tchaikovsky - Symphony No. 6 'Pathetique' - Czech Philharmonic Choir of Brno, Budapest Festival Orchestra, Ivan Fischer (2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Pyotr Il’yich Tchaikovsky (1840-1893), Alexander Borodin (1833-1887)
Artist: Czech Philharmonic Choir of Brno, Budapest Festival Orchestra, Iván Fischer
Title: Tchaikovsky - Symphony No. 6 'Pathétique'; Borodin - Polovtsian Dances
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2016
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:58:02
Recorded: Palace of Arts, Budapest, January 2014


When Pyotr Il’yich Tchaikovsky stepped onto the stage in Saint Petersburg on 28 October 1893 to introduce his Sixth Symphony to the public, he was received with a roar of applause. Less than an hour later the astonished audience was left dumbfounded. How could a symphony begin so softly and end even softer? And what about the second movement, with its undanceable waltz, and the third one with its unstoppable march? Nine days after the premiere, Tchaikovsky died in a city ravaged by cholera. Tchaikovsky himself considered the symphony to be the best he had ever written, and with it he said farewell to music, indeed to life itself. Rumours have never ceased to circulate about this unexpected end. For example, according to a controversial theory of the Russian musicologist Alexandra Orlova, the composer was forced to commit suicide. A secret council of honour is said to have sentenced Tchaikovsky thus because of a scandalous relationship with his young nephew; that he was reported to have died of cholera was no more than a pretence to conceal the true course of events. This theory has since been refuted. When the composer drunk a glass of unboiled water in the company of his brother Modest and nephew Vladimir Davidov, who warned him of the dangers, he replied “I am not afraid of cholera.” Did he know what he was doing? Is this the import of the dark, deathly sound of the menacing bassoons at the beginning of the symphony? Was the Pathétique indeed his message of farewell? And especially the final movement, Adagio, with its downward pull, in which all that holds on to life is swallowed up as if by a morass? Depressions overshadowed not only Tchaikovsky’s final years, but much of his life as well. Among the reasons for this was his homosexuality. In his younger years he was very nearly driven to suicide by an unhappy marriage, which was dissolved on medical advice. In his last symphony, the tragedy of the composer’s life seems to be captured in music.
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Peter Ilyich Tchaikovsky - Symphony No. 3 - Russian National Orchestra, Mikhail Pletnev (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Peter Ilyich Tchaikovsky (1840–1893)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Tchaikovsky - Symphony No. 3
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:52:06
Recorded: DZZ Studio 5, Moscow, April 2011

Nowadays, Tchaikovsky’s first three sym- phonies seldom appear on the concert programmes, whereas his symphonies four to six – in other words, the symphonies generally recognized as masterpieces – are regularly included. And thus the three early symphonies share a fate that none of them have necessarily earned. After all, each in its own individual way is a worthwhile symphony: the composer certainly did not consider them to be preliminary works, a type of precursor to the later symphonies. From 1866 to 1878, Tchaikovsky taught harmony at the Moscow Conservatoire and during this period, he composed – among other works – his first three symphonies, namely in 1866, 1872, and 1875. And for Tchaikovsky, the journey leading to the symphony was not an easy one: on the con- trary, he trod a painful path before tapping into this high-end genre. This is proven, on the one hand, by the amount of time and energy he put into the creation of his sym- phonies, which was characterized by serious doubts about their quality; or, on the other hand, by the fundamental reworking of his second symphony, despite the success of its première. However, Tchaikovsky had a much easier time with his Symphony No. 3 in D.
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Peter Ilyich Tchaikovsky - Symphony No. 2 'Little Russian' - Russian National Orchestra, Mikhail Pletnev (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Peter Ilyich Tchaikovsky (1840–1893)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Tchaikovsky - Symphony No. 2 'Little Russian'
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:48:10
Recorded: DZZ Studio 5, Moscow, April 2011


Following the long and rocky road to the First Symphony, on which, due to his teaching duties at the Moscow Conservatory, Tchaikovsky had been forced to work at night, the Second Symphony was composed mainly in the summer of 1872, hot on the heels of his second opera, The Oprichnik. At this time, Tchaikovsky was once again tak- ing a holiday on the country estate of his sister Aleksandra, located near the Ukrainian town of Kamianka, in the Kiev Governerate. Numerous anecdotes report Tchaikovsky’s touching assertion that he was not the true creator of the work, but rather, that it actually had been composed by one Pyotr Gerasimovich, one of the older servants in the household of his sister and her husband, Lev Davydov, for it was Pyotr Gerasimovich who had sung the folksong, The Crane, to him, which provided the basis for the work’s finale. Regardless of the story’s veracity, there is no other work in Tchaikovsky’s symphonic oeuvre that contains such a wealth of authentic folksong themes beside freely composed folksong-like creations. The work’s unofficial title, Little Russian Symphony, is indeed attributable to the fact that so many Ukrainian folksongs are employed in it, ‘Little Russia’ having been the standard term for the central and northern portions of today’s Ukraine in Tsarist times.

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Peter Ilyich Tchaikovsky - Symphony No. 1 'Winter Daydreams' - Russian National Orchestra, Mikhail Pletnev (2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Peter Ilyich Tchaikovsky (1840–1893)
Artist: Russian National Orchestra, Mikhail Pletnev
Title: Tchaikovsky - Symphony No. 1 'Winter Daydreams'
Genre: Classical
Label: © Pentatone Music B.V.
Release Date: 2011
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:55:16
Recorded: DZZ Studio 5, Moscow, 4/2011

The genre of the symphony played a major role throughout the creative life of Pyotr Tchaikovsky. He composed his first symphony at the age of 26, and his sixth and last symphony – the Pathétique – in 1893, the year in which he died. Whereas his three last symphonies have remained an integral part of the concert repertoire, performances of his first three symphonies are still quite rare. Unfairly so, as they are unique indi- vidual works, artistic expressions of a high quality. Tchaikovsky defined the symphony as “the most lyrical of musical forms. After all, is it not meant to express that for which there are no words, but which forces itself out of the soul, impatiently waiting to be uttered?”. With these words, Tchaikovsky makes us aware of the special nature of his symphonies. Primarily, they provided him with a musical outlet for the elaboration of his emotions, his mental and spiritual pro- cesses. Probably the greatest error as far as the reception of Tchaikovsky’s symphonies is concerned, is that the subjectivity of his symphonic sound world, the sweet melliflu- ousness of one melody or another confused and irritated the judgment of the academics to the same degree in which these musical characteristics met, by contrast, with euphoric approval from a wide-ranging audience. After all, especially in German- speaking countries, his music was unjustly stamped as follows: “Beware! Sensitive, sloppy sentiment!”. But Tchaikovsky absolutely did not want to get involved in an academic game with empty notes. And rightly so.
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Pyotr Ilych Tchaikovsky - Symphony No. 1 'Winter Dreams' & The Tempest - Orchestra of St Luke's, Pablo Heras-Casado (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Pyotr Ilych Tchaikovsky (1840-1893)
Artist: Orchestra of St Luke's, Pablo Heras-Casado
Title: Tchaikovsky: Symphony No. 1 'Winter Dreams' & The Tempest
Genre: Classical
Label: © Harmonia Mundi
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 01:08:21
Recorded: 7 novembre 2014 et 30-31 octobre 2015, DiMenna Center, New York


Pablo Heras-Casado enjoys an unusually varied conducting career—encompassing the great symphonic and operatic repertoire, historically informed performance and cutting-edge contemporary scores. He has served as Principal Conductor of Orchestra of St. Luke’s since 2011, now extended to September 2017. OSL began as a chamber ensemble based at The Church of St. Luke in the Fields in Greenwich Village. Today, St. Luke’s Chamber Ensemble consists of 21 virtuoso artists who perform a diverse repertoire and make up OSL’s artistic core. harmonia mundi are proud to release OSL's debut album for the label featuring two of Tchaikovsky's earliest notable works, both of which are dramatic and vibrant: Symphony No. 1, 'Winter Dreams' and 'The Tempest', a sprawling and turbulent seascape.
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Pyotr Ilyich Tchaikovsky - Symphonies Nos. 1-3 - London Symphony Orchestra, Valery Gergiev (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Pyotr Ilyich Tchaikovsky (1840–1893)
Artist: London Symphony Orchestra, Valery Gergiev
Title: Tchaikovsky - Symphonies Nos. 1-3
Genre: Classical
Label: © London Symphony Orchestra
Release Date: 2012
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 02:05:56
Recorded live 18 and 23 January 2011, 23–24 March 2011 at the Barbican, London, and 20 May 2011 at the Tonhalle Zürich, Switzerland.


Tchaikovsky was well into his twenties when he abandoned an unpromising career as a civil servant in the Russian Ministry of Justice and began to study music seriously, at first privately and then at the newly-established St Petersburg Conservatory. Immediately after graduating, he was offered a teaching post at the even newer Moscow Conservatory, and it was during his early months there that he composed the First Symphony. Its birth was accompanied by the anxiety and self-doubt that Tchaikovsky was never to overcome, even as a mature and established master.
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