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Wanderer: Songs by Schumann, Killmayer & Mahler - Christoph Pregardien, Ensemble Kontraste (2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Robert Schumann (1810-1856), Wilhelm Killmayer (b.1927), Gustav Mahler (1860-1911)
Artist: Christoph Prégardien, Ensemble Kontraste
Title: Wanderer: Songs by Schumann, Killmayer & Mahler
Genre: Classical
Label: © Challenge Records | Northstar Recordings
Release Date: 2011
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:06:53
Recorded: Galaxy Studios, Mol, Belgium, 14-18 September 2010

Not even our contemporary inclination towards ‘authenticity’ and ‘loyalty to the composer’s intentions’ has been able to stop the trend of adapting scores for a different instrumentation than what the composer originally had in mind. The rapidly growing number of smallish ensembles with combinations of instruments for which very little music is available has even proved to be an added incentive in this direction, leading towards a new development within classical music. Not infrequently, a particular interest is shown in lieder which were originally written for solo voice with piano accompaniment. Sometimes the composers themselves put a small instrumental ensemble or even a complete symphony orchestra in the place of the original piano part, but it is not unusual for others to undertake this task.
One of the composers who adapted a piano score for a complete orchestra was Gustav Mahler (1860-1911), and the orchestration for his Lieder eines fahrenden Gesellen (Songs of a Wayfarer, written in 1883-1885) followed the piano version so quickly that the very first performance in 1886 immediately featured the orchestra. In 1920, Arnold Schoenberg created a new version for flute, clarinet, harmonium, piano, string quintet and percussion, and this instrumentation was taken by the ensemble KONTRASTE as the starting point for a project called Wanderer, in collaboration with the tenor Christoph Prégardien. It revolves around Mahler’s Lieder eines fahrenden Gesellen as well as sixteen lieder by Robert Schumann, which were arranged for this project by Marcus Reiβenberger. The idea was to retain the liveliness heard in the piano accompaniment while at the same time creating an instrumental colour palette that far surpassed it. A sort of intermezzo is formed by four lieder by contemporary composer Wilhelm Killmayer, who wrote his own instrumentation to fit in with the idiom used in the lieder of Mahler and Schumann. (from the linernotes written by Paul Korenhof)
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Richard Wagner - Opera Excerpts - Petra Lang, Budapest Festival Orchestra, Ivan Fischer (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Richard Wagner (1813-1883)
Artist: Budapest Festival Orchestra, Iván Fischer
Title: Wagner: Götterdämmerung; Die Meistersinger von Nürnberg; Siegfried Idyll
Genre: Classical
Label: © Channel Classics Records B.V.
Release Date: 2013
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:04:22
Recorded: January 2012, Palace of Arts, Budapest

Wagner is the giant among composers because he created his own world. Whereas others interpreted ancient and familiar mythology, Wagner created his own myth. Whereas others composed to librettos by poets, Wagner wrote his own texts. He evenbuilt his own opera house, which had to be different and innovative. Wagner was the greatest creative genius of music history.And yet this superhuman giant also had a sense of humor, clearly audible in thewonderfully constructed Meistersinger Overture. And he had intimate, sensitive lyricism, which moves us deeply in his Siegfried-Idyll. This lyricism is the most important aspect of Wagner’s music; Brünnhilde’s beautiful, longing melody which shines through the huge flame that absorbs her and the collapsing world. --Iván Fischer
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Ralph Vaughan Williams - Job; Symphony No.9 - Alexander Kagan, Bergen Philharmonic, Andrew Davis (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Ralph Vaughan Williams (1872–1958)
Artist: Alexander Kagan, Bergen Philharmonic, Andrew Davis
Title: Williams: Job; Symphony No.9
Genre: Classical
Label: © Chandos Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: theCLASSICAL|shop
Duration: 01:17:29
Recorded: Grieghallen, Bergen, Norway: 2 – 4 and 6 May 2016; Domkirken, Bergen, Norway: 5 May 2016

The projected complete cycle of Vaughan Williams’s symphonies started by the late Richard Hickox has left a precious heritage in the discography of the composer. Now, conducting the Bergen Philharmonic Orchestra, that other expert in British repertoire, Sir Andrew Davis, takes on the challenge of completing the series with idiomatic interpretations of two masterpieces: the final Symphony (No. 9) and the ballet Job.

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VA - Jazz Loves Disney (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Various
Title: Jazz Loves Disney
Genre: Jazz, Vocal Jazz, Jazz Pop
Label: © Decca Records France, under exclusive license to Verve Label Group, a Division of UMG Recordings, Inc
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: e-Onkyo
Duration: 00:47:39

We all have a Walt Disney cartoon tune or melody in mind, reminding us of magic afternoons spent with our parents when we were kids or with our own children now that we are grown-ups. It is a bit of this special feeling and pleasure that artists such as Gregory Porter, Melody Gardot, Stacey Kent, Jamie Cullum and other leading music stars share with us on the new project produced by Jay Newland and arranged and directed by Rob Mounsey, as they perform big band jazz covers of songs that are part of every kids heritage. Whether they come from Scandinavia, Andalusia, North Americas big cities or the Balkan plains, 21st century kids have the Disney magic in common, an imaginary world where both soft and wild tunes are closely linked to cult scenes from Uncle Walts animation classics. Walt Disney loved jazz and paid great attention to the writing of the music accompanying his heroes adventures. Teams wrote and played the songs that at some point acted as catalysts of the emotions and personalities of unique characters such as Jiminy Cricket, Baloo, Tinker Bell or Toy Storys cowboy Woody. Several of these tunes have either been nominated for or won Academy Awards, a true acknowledgment of the quality of such beloved and enchanting future standards, which many jazz and pop stars - Louis Armstrong, Peggy Lee, Johnny Mathis, Bette Middler, Linda Ronstadt, Los Lobos, Robbie Williams …- have covered at some point in their career. Jazz Loves Disney was recorded between Paris, London and Los Angeles by a dream cast. It is incredibly coherent, as if all participants had agreed to pay a rightful tribute to the most beautiful and symbolic tunes of Walt Disneys magic world, as if nothing was too good for the stars when they revisited the classics and the sweet childhood memories connected to them. This is the ultimate proof of the impact Disney has had on generations of jazz musicians, including the ones taking part in Jazz Loves Disney.
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Trio Los Panchos - Hey, Amigo! (1967/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: Trío Los Panchos
Title: Hey, Amigo!
Genre: Pop, Country Pop, Latin Pop, Bolero, Tejano, Easy Listening
Label: © Columbia Records, a division of Sony Music Entertainment
Release Date: 1967/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:26:24
Recorded: 1967

Los Panchos (also known as the Trío Los Panchos) was an internationally famous Latin trío romántico known for its romantic ballads and boleros. Los Panchos first met in 1944 in New York City. The three original members were Alfredo Gil and Chucho Navarro, both from Mexico, and Hernando Avilés from Puerto Rico. All three played guitar and contributed vocally. Los Panchos reached fame with their romantic songs, especially in Latin America where they are still regarded as one of the top trios of all time. They sold millions of records within a few years of being founded. They also appeared in around fifty movies mostly during the Golden Age of Mexican Cinema.
Los Panchos began touring internationally in 1946 and would relocate later that same year to Mexico City. They were welcomed with open arms and XEW-AM, the most popular radio station in Mexico City, reserved a time slot for their music. In 1951, Los Panchos launched another international tour across Latin America.
Julito Rodríguez joined the group in 1952; he was replaced by Johnny Albino in 1958. Johnny Albino & Chucho Navarro, (Miguel Poventud and Yomo Toro were studio musicians for CBS) famously worked with singer Eydie Gorme on a series of bestselling albums in the 1960s. The Albino era was one of the most prosperous ones for Los Panchos whose classic albums are very popular among Los Panchos fans still. His departure in 1968 was a tumultuous one, as he did not leave on good terms with the group's management.
In 1971, Ovidio Hernández joined the band as lead vocalist, a part he would fulfill until his untimely passing of complications of meningitis in 1976. Following him, Rafael Basurto Lara joined as lead singer. Alfredo Gil played with Los Panchos until his retirement in 1981 (he died in 1999) and Chucho Navarro played with the group until his death in 1993. A characteristic instrument of Los Panchos and many more bolero trios after them is the Requinto guitar, which is smaller and tuned higher than a standard guitar, and was invented[citation needed] by Alfredo Gil, founding member of Los Panchos. Requinto solos are typically part of a bolero song. Today, there are several trios claiming to be the rightful successors to the original trio. Another Trio Los Panchos also known as "Trio Los Panchos con Gabi Vargas" (Trio Los Panchos with Gabi Vargas) is currently under the musical direction of Gabriel Vargas Aguilar. , still continues to perform concerts across Mexico, Latin America, and the United States, with a newer cast of singers. Another trio using the Los Panchos name is the Trio Los Panchos de Chucho Navarro Fundador (Trio Los Panchos of Founder Chucho Navarro) under the direction of Chucho Navarro Jr. the son of original Los Panchos member Chucho Navarro, makes presentations worldwide. --wikipedia
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Tony Bennett - Tony Bennett Celebrates 90 (2016) High-Fidelity FLAC Stereo 24bit/44,1kHz

Artist: Tony Bennett
Title: Tony Bennett Celebrates 90
Genre: Traditional Pop, Vocal Jazz, Vocal Pop
Label: © Columbia Records, a Division of Sony Music Entertainment
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: HDTracks
Duration: 01:10:06
Recorded: September 15, 2016, Radio City Music Hall

Released in conjunction with an NBC-TV special, 2016's effusively delivered concert album Tony Bennett Celebrates 90 finds vocalist Tony Bennett marking his 90th birthday with an all-star concert at Radio City Music Hall in New York City. A lavish event, the concert showcased Bennett performing a handful of his most famous songs, with the legendary singer joined by a bevy of musical guests including Andrea Bocelli, Michael Bublé, Lady Gaga, k.d. lang, Kevin Spacey, Stevie Wonder, and many others. Generally speaking, the album is front-loaded with the guest performances and largely consists of each artist doing a rendition of a popular standard Bennett performed and/or recorded at one point or another. Oddly, despite all the guest artists on hand and in light of Bennett's own tradition of doing duet albums, the concert is noticeably bereft of such pairings save for a particularly poignant duet between Bennett and Billy Joel on Joel's "New York State of Mind." Instead, we get Bocelli doing "Ave Maria," lang doing "A Kiss to Build a Dream On," Bublé doing "The Good Life," and more. We also get Elton John delivering a thematically fitting version of his own classic "Can You Feel the Love Tonight." Particularly engaging are Lady Gaga's exuberant renditions of "The Lady Is a Tramp" and "La Vie en Rose." Given her history as a duet partner with Bennett (much like lang), Gaga displays her growing talent as a traditional pop vocalist and proves to be one of the highlights of the evening. Despite the high caliber of the guest performances, the real focus of the concert is saved for the latter half when Bennett himself takes the stage. Although well past the age that most of his contemporaries retired, Bennett remains a magnetic stage performer with a voice that's as robust and nuanced as in his prime -- and perhaps even more full of character. Every time Bennett sings, he delivers a veritable master class on how to sing a jazz standard, and this performance is no exception. Here, we get a handful of some of his best-known numbers, including "I Left My Heart in San Francisco," "The Best Is Yet to Come," and more. Ultimately, Tony Bennett Celebrates 90 is a joyful birthday fete to Bennett and a heartfelt tribute to his illustrious career. --AllMusic Review by Matt Collar
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Tomoko Kawada, Shin-ichi Fukuda - Mi Buenos Aires Querido (2013) High-Fidelity FLAC Stereo 24bit/192kHz

Сomposer: Various
Artist: Tomoko Kawada, Shin-ichi Fukuda
Title: Mi Buenos Aires Querido
Genre: Classical
Label: © Meister Music
Release Date: 2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-Onkyo
Duration: 00:56:51
Recorded: 17 and 20 June 2013, Yokohama Minatomirai Hall, Kanagawa, Japan


ギタリスト 福田進一コメント(ライナーノーツより )
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Yann Tiersen - Pour Amelie, Piano Music - Jeroen van Veen (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Yann Tiersen (b.1970)
Artist: Jeroen van Veen
Title: Tiersen - Pour Amélie, Piano Music
Genre: Classical, Modern
Label: © Brilliant Classics
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:51:16
Recorded: November 4,5 2014, Van Veen Productions, Studio 1, Culemborg

The maestro of Minimalist piano music has done it again, with an album of gentle melodies and soothing sounds from Yann Tiersen (b.1970) a composer best known outside his native France for the soundtrack to the movie Amélie (2001): the soundtrack sold over 200,000 copies in his homeland, and became Platinum in the US and Germany.
Tiersen’s music helped to make the movie a hit, capturing its bittersweet mix of humour and sadness, and many of the best-known pieces from the soundtrack are included on this new album, such as the Satie-tinged ‘Waltz of Amélie’, but there is much more recent music here which Tiersen wrote in the wake of the film’s success, including extracts from his soundtracks to Goodbye Lenin (2003) and Tabarly (2008), which tells the tragic story of the French sailor Eric Tabarly, who won the Single-Handed Transatlantic Yacht Race twice before drowning in the Irish Sea.
Tiersen’s music is often melancholy and reflective, but there are many lighter and more uptempo numbers on this wide-ranging survey of his output, which is sure to share the popular success of Jeroen van Veen’s many other albums for Brilliant Classics such as his Minimalist Piano Collections (8551 and 9171) and compendiums of Ludovico Einaudi (94910 and 9452), Simeon ten Holt (9434 and 9453) and Jacob ter Veldhuis (94873). ‘The music needs to speak for itself, and that it does, in this consistently enjoyable collection, I have no reservations in recommending to anyone who enjoys minimalism’ (Fanfare).
French composer Yann Tiersen (born 1970) is one of the most popular and successful film music writers of today. His soulful and melancholic music finds its traces in folk music, French chansons, musette waltzes, street music, but also in the minimalism of Satie, Glass and Nyman.
His international breakthrough came with the music for the French blockbuster “Amélie”. Later followed “Goodbey Lenin” and others.
Dutch pianist, pioneer and champion of Minimalism Jeroen van Veen recorded Tiersen’s most popular melodies, playing the piano in his inimitable way: focussed, serene and hypnotising.
A worthy successor of Van Veen’s successful recordings for Brilliant Classics of piano music by Glass, Pärt, Yiruma and many others.
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Theo Bleckmann - Hello Earth! The Music of Kate Bush (2011) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Kate Bush
Artist: Theo Bleckmann
Title: Hello Earth! The Music of Kate Bush
Genre: Jazz, Vocal Jazz, Modern Jazz, Contemporary Jazz
Label: © Winter & Winter
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:00:40
Recorded: March 2011, Brooklyn Recording, NY

The 1980s possessed an incongruous hope for the future against a backdrop of possible nuclear annihilation, as if in the darkest of times, society retreated to a naive state. This is a generalization that doesn't, obviously, represent the entire gamut of human experience, yet it was there all the same. The majority of singer and composer Kate Bush's music came from that decade, and there was always something about her music that seemed representative of that cloak of innocence; a touch of fairy tale magic, even when singing about loss, heartbreak or the cost of war. Since then, cynicism has been adopted by much of society as the interface with the human experience, and so it's supremely refreshing that singer Theo Bleckmann embraced the magic and optimism from which the source material for Hello Earth! The Music of Kate Bush sprang. Of the fourteen album tracks, all but two were recorded in the 1980s, half of which were released on Bush's Hounds Of Love (EMI, 2000).
An appealing aspect of Bush's music has always been her lack of self-consciousness in baring her heart and soul through her music. It's the kind of thing that is easy to mock, but the correct reaction is to respect the hell out of it. Bleckmann shows the same courage Bush displayed when recording the original versions.
The best example of Bleckmann's outstanding treatment of the Bush songbook is in opening track, "Running Up That Hill," which rings with sincerity and beauty, not to mention the glassine shimmer of the Fairlight CMI digital effects that grew in popularity on many pop and rock albums of the 1980s. Bleckmann's version is an astounding facsimile of the original, a feat outshone by the song's immaculate tunefulness.
In addition to unabashed sincerity, Bush also had a predisposition to drama bordering on the theatrical. In the hands of a less talented artist, this is the kind of thing that can quickly devolve into the comical. Bleckmann, however, displays the same uncanny knack for making it so easy to buy in, to accept the drama as genuine tension and the theater as the song's reality.
Another delicious example of Bleckmann taking ownership of the Bush songbook is his transformation of "Army Dreamers," from Bush's stately waltz into an a catchy anthem more akin to shouting up at tavern ceilings than spoken elegantly in formal dancehalls. But Bleckmann doesn't execute full-on costume changes for every Bush composition. Comparing Bush and Bleckmann versions, sometimes the before and after pictures carry a striking resemblance. The details hidden within the differences, however, are often quite breathtaking, as evidenced in how Bleckmann tweaks Bush's conventional piano solo tune "And Dream of Sheep" into a little lullaby bobbing away on an open sea of ambient effects and vocal looping, or on "Hello Earth!," in which Bleckmann gains an emotional impact greater than that of the original by adopting a restraint that trades in on some of the sensationalism the Bush's recording.
The highlight of the album, arguably, is "Cloudbusting," with its rhythmic marching formations juxtaposed against the piano exuberance of notes scrambling up a flight of stairs, and Bleckmann's vocal bounce a pleasant fusion of the two extremes. The end result is that "Cloudbusting" is as complex as it is catchy.
The best of tribute albums possess all the soul of the original, while the heartbeat and blood flow is purely that of the music's adopter. Bleckmann must understand this on some level, because the music he presents makes it easy to fall in love with Bush's music all over again, while presenting facets so divergent as for Bleckmann's album to stand on its own two legs, requiring no knowledge or love of the source of the music's inspiration. In this, Hello Earth! is an unqualified success. --Dave Sumner, All About Jazz
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The Supremes - More Hits By The Supremes (1965/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: The Supremes
Title: More Hits By The Supremes
Genre: R&B, Soul, Pop Soul, Doo-Wop, Uptown Soul, AM Pop
Label: © Motown Records, a Division of UMG Recordings, Inc.
Release Date: 1965/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:30:52
Recorded: 1964–1965

Its title might lead one to think this was a compilation, but it wasn't -- rather, More Hits by the Supremes is merely a valid presumption of its worth. It was also the original group's third highest charting album of their five years on Motown, and came not a moment too soon. The Supremes were doing incredibly well as a singles act, but not since Where Did Our Love Go had any of their LPs done particularly well on the pop charts; even a well-intentioned Sam Cooke-tribute album recorded early in 1965, which ought to have done better, had only reached number 75 (though it had gotten to number five on the R&B LP charts). "Stop! In the Name of Love" and "Back in My Arms Again" helped drive the sales, but those singles had been out six and three months earlier at the time this album surfaced -- listeners were delighted to find those singles surrounded by their ethereal rendition of the ballad "Whisper You Love Me Boy" with its exquisitely harmonized middle chorus; the gently soulful, sing-song-y "The Only Time I'm Happy"; and the sweetly dramatic "He Holds His Own" (with a gorgeous and very prominent piano accompaniment). The material dated across six months of work, from late 1964 through the spring of 1965 (apart from "Ask Any Girl," the B-side of "Baby Love," which was cut in the spring of 1964), and showed that Motown could put a Supremes album together piecemeal around the Holland-Dozier-Holland songwriting team and place the trio right up at the top reaches of the charts, in the company of the Beatles, the Rolling Stones, et al. Its release also opened a floodgate of killer albums by the trio -- overlooking their 1965 LP of Christmas songs, they were destined to issue three more long-players that delighted audiences a dozen songs at a time over the next two years, which was a lot of good work. --AllMusic Review by Bruce Eder
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