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Johann Sebastian Bach - Suites Anglaises No. 2 & 6, Concerto Italien - Pierre Hantai (2014) High-Fidelity FLAC Stereo 24bit/88.2kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Pierre Hantaï
Title: J.S. Bach - Suites Anglaises No. 2 & 6, Concerto Italien
Genre: Classical
Label: © Mirare | Harmonia Mundi Label Group
Quality: Studio Master FLAC Stereo 88,2kHz/24bit
Source: e|classical.com
Release Date: 2014
Recorded: janvier et avril 2014 à Haarlem (Pays-Bas)
Duration: 74:24

Keyboard virtuoso Pierre Hantai presents a superb recital recording featuring the music of J.S. Bach. The program, played on harpsichord, centers on two of the English Suites and the beloved Italian Concerto. These three major works are interspersed with keyboard transcriptions of famous Chorales and the Fantaisie BWV944.


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Johann Sebastian Bach - Christmas Oratorio, BWV 248 - The Netherlands Bach Society, Jos van Veldhoven (2003) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: The Netherlands Bach Society, Jos Van Veldhoven, Johannette Zomer, Annette Markert, Gerd Türk, Peter Harvey
Title: J.S. Bach - Christmas Oratorio, BWV 248
Genre: Classical, Choral
Label: © Channel Classics Records B.V.
Release Date: 2003/2009
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: channelclassics.com
Duration: 02:25:06
Recorded: Muziekcentrum Frits Philips, Eindhoven, the Netherlands, December 2002.

Bachs Christmas Oratorio Johann Sebastian Bachs Oratorium Tempore Nativitatis Christi, a cycle of six cantatas for the Christmas season, had its collective premiere from Christmas Day 1734 through Epiphany Sunday 1735 in Leipzig. One of Bachs reasons for these performances was his search for a more permanent home for the music of three large-scale occasional works. The music involved was that of the three cantatas (Drammae per Musica) for members of the princely house of Saxony: Hercules auf der Scheidewege BWV 213 (September 1733) (Hercules at the Crossroads), written for the eleventh birthday of Prince Friedrich Christian of Saxony; Tnet, ihr Pauken! Erschallet, Trompeten! BWV 214 (December 1733) (Sound, ye drums! Burst forth, ye trumpets!), written for the birthday of Maria Josepha, Crown Princess of Saxony and Queen of Poland, and mother of Friedrich Christian; and Preise dein Glcke, gesegnetes Sachsen BWV 215 (October 1734) (Praise thy good fortune, o blessed Saxony), written for the first anniversary of the accession of Augustus II, Crown Prince of Saxony and King of Poland. These cantatas provide the lions share of the arias and choruses for the first four cantatas of the Christmas Oratorio. The fifth cantata, in contrast, is almost completely composed of original material, and the sixth is based as a whole on a single church cantata, which has not survived in its original form. The choice may well have been due to the fact that BWV 213-215, in a sense, comprised a sort of cyclic whole, making use of similar styles of text and music. But the most important reason for this large-scale parody composition was, of course, the musical quality and festive atmosphere of the three Saxon cantatas, which could easily be translated to the Christmas story. Bach commissioned his (unknown) librettist to rewrite the chorus and aria texts in such a way that this music could essentially be re-used unaltered, but as might be expected, he could not resist the temptation to introduce numerous improvements to the original compositions as he rewrote them. Bachs surviving clean final copy of the 1734 full score provides fascinating documentation for this process. He also had a handsome libretto printed separately, above all to make it clear to his fellow citizens of Leipzig and the audience that this was a major Oratorio, in spite of its performance being spread out over the course of six Sundays and two weeks. In later years, some have been uncomfortable with the secular origins of the Christmas Oratorio: the concept that music from a group of princely birthday cantatas could also serve to celebrate the birth of Christ was difficult to accept. But in the period before the Enlightenment, reigning heads of state were seen in a theological context: their office was conferred by God and was seen as completely separate from their physical bodies and good (or bad) deeds. For this reason, music written for these Kings was by its very definition highly suitable for the birthday of that other King, Christ, and most fit to sing the praises of the Ruler of the Heavens. --Pieter Dirksen
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Freddie Hubbard - Hub-Tones (1962/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Freddie Hubbard
Title: Hub-Tones
Genre: Jazz, Hard Bop, Post Bop, Trumpet Jazz
Label: © Blue Note Records
Release Date: 1962 (BLP 4115/BST 84115)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 38:43
Recorded: October 10, 1962 at the Van Gelder Studio, Englewood Cliffs, New Jersey.

"In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you've set up your chaise lounge right in the middle of Rudy Van Gelder's studio!" - Blue Note President, Don Was.
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Frank Sinatra - Watertown (1970/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Frank Sinatra
Title: Watertown
Genre: Vocal Jazz, Easy Listening, Traditional Pop, Ballad
Label: © Reprise Records
Release Date: 1970/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 33:37
Recorded: July 14, 17, 1969 at Columbia Recording Studios, Voice overdubs August 25-27, 1969

Watertown is a later album by Frank Sinatra and tells a heartbreaking story in a series of soliloquies. It is the only album on which Sinatra sang over pre-recorded instrumental tracks. The songs were written by producer Bob Gaudio (of The Four Seasons) and Jake Holmes. Some of the songs from the album were later covered by artists such as Nina Simone ("For A While") and Cake ("What's Now Is Now").
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Gaetano Donizetti - Lucia di Lammermoor - Maria Callas, Philharmonia Orchestra, Tullio Serafin (1959/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Gaetano Donizetti 1797–1848
Artist: Maria Callas, Philharmonia Orchestra, Tullio Serafin
Title: Donizetti - Lucia di Lammermoor
Genre: Classical, Opera
Label: © Warner Classics
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 1:51:18
Recorded: 16–21.III.1959, Kingsway Hall, London

In the later 1950s EMI remade many items of their LP catalogue for stereo including Maria Callas’s Gioconda, Norma and Lucia. John Ardoin’s personal discography The Callas Legacy (Amadeus: 1995, fourth edition) opines that ‘in each instance, she was competing only against herself; the one bout she loses is Lucia’. This echoes the view of several Callas critics of this set, over-aware of both a few moments of vocal unsteadiness and the supposed after-effects of the singer’s eventful private life.
A more precise assessment is that Callas’s voice was changing again, becoming darker and lower-centred. As producer Walter Legge wrote (in On and Off The Record, Faber: 1982), ‘The centre of the voice was basically darkhued, her most expressive range, where she could pour out her smoothest legato.’ This is certainly audible on the second Lucia. The Mad Scene takes greater risks than her early 1950s recordings, feels more sinister and shows – in her colouring of its text – the influence of many more live performances. Callas appears also to have been in confident personal form at the time. The month before the new recording she attended the dress rehearsal of Joan Sutherland’s much-touted Covent Garden debut as Lucia and commented (to Legge): ‘She will have a great success tomorrow and make a big career if she can keep it up. But only we know how much greater I am.’
For the Lucia ‘remake’ in March 1959 Legge retained Callas and conductor Tullio Serafin but changed everything else from 1953. It was recorded in London (Kingsway Hall) not Florence, with a British orchestra and chorus (Legge’s own Philharmonia forces). Serafin had been working with the orchestra in the studio on a Verdi overtures disc and there is no lack of Italian feeling. Legge also departed from his long-term casting of Italian operas with a new mix of singers. They included the relative newcomer Piero Cappuccilli as Enrico and Ferruccio Tagliavini as Edgardo. --MIKE ASHMAN, 2014
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Gaetano Donizetti - Lucia di Lammermoor - Maria Callas, Orch del Maggio Musicale Fiorentino, Tullio Serafin (1953/2014) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Gaetano Donizetti 1797–1848
Artist: Maria Callas, Orch del Maggio Musicale Fiorentino, Tullio Serafin
Title: Donizetti - Lucia di Lammermoor
Genre: Classical, Opera
Label: © Warner Classics
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 1:50:24
Recorded: 29–30.I & 3, 4 & 6.II.1953, Teatro Comunale, Florence

Maria Callas’s first studio recording of Lucia is often nominated as one of the great sets in the history of recording. It was made in Florence in February 1953 following live performances at that city’s opera house (although with a largely different cast and conductor). It was the soprano’s first recording with Giuseppe di Stefano and Tito Gobbi – both to become regular and valued colleagues – and with Tullio Serafin (already a regular collaborator). It was also the first of producer Walter Legge’s projected series of major Italian operas under Callas’s recently agreed new contract with Columbia.
Following a successful Turin radio concert of part of the Mad Scene in 1952, Callas sang her first Lucias later that year in Mexico City. As with her Bellini roles (especially Norma, I puritani and La sonnambula) she returned vocal strength, weight and drama to a role that had become recently the preserve of lighter voices more interested in exhibiting mastery of tessitura than of characterisation. Vocal historian John Ardoin has noted that ‘in Callas’s voice and care, Lucia emerged as at once credible and with a previously unsuspected human dimension’. Lucia in the new recording would be much more than a put-upon soubrette with few opportunities to shine vocally until the wedding-night Mad Scene. While the men, notably Lucia’s brother Enrico, indulge their machismo games of instant love or hate, Callas’s Lucia has more layers, a woman fighting the tyranny of dynastic marriage and all-male family dictatorship. She is helped by Serafin’s symphonic, text-aware accompaniment. Her ‘mad’ scene is clearly reasoned – more observant than scared witless at ‘Ohimè, sorge il tremendo fantasma’ and using the coloratura and the instrumental imitation (here still a flute rather than the glass harmonica for which Donizetti scored it) as a sad picture of her longing for Edgardo rather than virtuosic note-spinning. Like Norma, Violetta and Tosca, Donizetti’s heroine became something of a Callas obsession and travelled with her throughout Europe and America. --MIKE ASHMAN, 2014
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Cecil Taylor - Conquistador! (1966/2014) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Cecil Taylor
Title: Conquistador!
Genre: Jazz, Avant-Garde, Free Jazz, Free Improvisation, Piano Jazz
Label: © Blue Note Records
Release Date: 1966 (BLP 4260/BST 84260)/2014
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 37:33
Recorded: October 6, 1966 at Van Gelder Studio, Englewood Cliffs, New Jersey

Originally released as Blue Note BLP 4260 (mono) and BST 84260 (stereo)

"In preparing these hi def remasters, we were very conscientious about maintaining the feel of the original releases while adding a previously unattainable transparency and depth. It now sounds like you've set up your chaise lounge right in the middle of Rudy Van Gelder's studio!" - Blue Note President, Don Was.

Conquistador! is the second of Cecil Taylor's two Blue Note albums ("Unit Structures" is also available from HDTracks.com). For this 1966 session, the pianist used an unusual sextet configuration with two bass players, and laid down two side-length pieces described by Allmusic reviewer Scott Yanow as "unremittingly intense." Taylor would not appear on a studio recording again until 1973.
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Bill Frisell - Guitar in the Space Age! (2014) High-Fidelity FLAC Stereo 24bit/88.2kHz

Artist: Bill Frisell
Title: Guitar in the Space Age!
Genre: Jazz, Fusion, Jazz Rock, Surf Rock, Modern Jazz, Guitar Virtuoso, Instrumental Rock
Label: © Songtone LLC, under exclusive license to Sony Music Entertainment
Release Date: 2014
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 00:55:08
Recorded: 2014, st Side Sound, NYC

Guitar in the Space Age! finds guitarist Bill Frisell going back in time to the guitar music of the country, surf, blues, and early rock & roll of the late 1950s through the mid-'60s: the music that initially inspired him. His band -- Greg Leisz on guitar and pedal steel, drummer /vibraphonist Kenny Wollesen, and bassist Tony Scherr -- are all longtime associates. Though most of these songs are classics -- there are two originals -- Frisell reimagines them in a jazzman's context while remaining faithful to familiar presentations.
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Tom Petty and the Heartbreakers - Hypnotic Eye (2014) [High Fidelity Pure Audio Blu-Ray Disc]

Artist: Tom Petty & The Heartbreakers
Title: Hypnotic Eye
Genre: Rock
Label: © Reprise Records
Release Date: 2014
Recorded: 2011–2014
Quality: Blu-ray Audio
Duration: 00:44:50 + 00:04:08
Video: MPEG-4 AVC 669 kbps / 1080p / 23,976 fps / 16:9 / High Profile 4.1
Audio#1: English LPCM 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio#2: English DTS-HD MA 5.1 / 48 kHz / 5551 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)

Hypnotic Eye will be the 13th studio album from Tom Petty & The Heartbreakers. Released on July 29th, 2014, Hypnotic Eye is the first album from the band in four years. “I knew I wanted to do a rock & roll record,” Petty told Rolling Stone in April. “We hadn’t made a straight hard-rockin’ record, from beginning to end, in a long time.”
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The Who - Quadrophenia (1973/2014) [High Fidelity Pure Audio Blu-Ray Disc]

Genre: Rock, Hard Rock
Year of the album’s release: 1973
Year of publication: 2014
Duration: 1:21:50

Quality: Blu-ray Disc
Container: BDMV
Video Codec: MPEG-4 AVC
Audio Codec: LPCM | DTS-HD Master Audio | Dolby TrueHD

The 5.1 remix of the original Quadrophenia (1973) will be released as a single-disc Blu-Ray Pure Audio™ for the first time ever in its entirety. Based around the story of Jimmy – double-album masterpiece Quadrophenia tells the tale of a young mod and his struggle to come of age in the mid-1960s. The project was intended to reflect the four characters of The Who and features some of Townshend’s most inspired, personal song-writing – way ahead of its time in scope and purpose and is one of the most widely recognized albums of The Who’s career because of its classic depiction of mod culture, its renowned imagery and the magnificent music and powerful performances. Newly envisioned by Roger Daltrey, the concert film combines archival footage of The Who and images of historical events that have rocked Jimmy’s world over the past 40 years giving this magnum opus an enlightened modern twist.
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