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Wolfgang Amadeus Mozart - Oboenspitze, vol.3 - Alexei Utkin, Hermitage Chamber Orchestra (2010) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.3
Genre: Classical
Label: © Essential Music/Caro Mitis
Release Date: 2010
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:46:16
Recorded: 2-4.10.2007 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

The concertos are… a happy medium between what is too easy and too difficult. They are very brilliant and pleasing to the ear, but naturally without being vapid. There are passages here and there which only connoisseurs can appreciate, yet the less learned cannot fail to be pleased, without knowing why.

Wolfgang Amadeus Mozart formulated his understanding of the concerto in a letter from Vienna sent to his father on December 28th, 1782. By then he had composed about 20 concertos for various solo instruments and orchestra. In total Mozart wrote nearly fifty concertos, a figure that matches the number of symphonies. He began his mastery of the genre by reworking keyboard sonatas by other composers (KV 37, 39–41) in 1767, after returning to Salzburg from a three-year grand tour of European countries. His last concerto was KV 622 for clarinet and orchestra, which was completed in October 1791 just two months before his death.
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Wolfgang Amadeus Mozart - Oboenspitze, vol.3 - Alexei Utkin, Hermitage Chamber Orchestra (2010) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.3
Genre: Classical
Label: © Essential Music/Caro Mitis
Release Date: 2010
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:46:16
Recorded: 2-4.10.2007 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

The concertos are… a happy medium between what is too easy and too difficult. They are very brilliant and pleasing to the ear, but naturally without being vapid. There are passages here and there which only connoisseurs can appreciate, yet the less learned cannot fail to be pleased, without knowing why.

Wolfgang Amadeus Mozart formulated his understanding of the concerto in a letter from Vienna sent to his father on December 28th, 1782. By then he had composed about 20 concertos for various solo instruments and orchestra. In total Mozart wrote nearly fifty concertos, a figure that matches the number of symphonies. He began his mastery of the genre by reworking keyboard sonatas by other composers (KV 37, 39–41) in 1767, after returning to Salzburg from a three-year grand tour of European countries. His last concerto was KV 622 for clarinet and orchestra, which was completed in October 1791 just two months before his death.
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Wolfgang Amadeus Mozart - Oboenspitze, vol.2 - Alexei Utkin, Hermitage Chamber Orchestra (2008) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.2
Genre: Classical
Label: © Essential Music/Caro Mitis
Release Date: 2008
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:54:18
Recorded: 8,10-12.10.2006 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

In the mid-18th century a composition bearing the name Sinfonia concertante captivated audiences at large public concerts in Paris, London and Mannheim. In many ways akin to a solo concerto, symphonies with the participation of a group of solo instruments were seen primarily as an alternative to the usual orchestral symphony – somewhat lighter in content, but far more virtuoso and showy by nature. The powerful, stirring sound of the orchestra (in which an important role was played by developed parts for wind instruments) was combined with sections that allowed the best European performers to demonstrate their mastery.
As things turned out, the wider public is familiar with only a few examples among many hundreds of 18th-century concertante symphonies. By a certain irony of fate, sometimes even the names of composers who were famous in their day for writing dozens of such symphonies have been practically forgotten, whereas Mozart’s sole surviving opus in this genre, the Sinfonia concertante in E flat major for violin and viola (KV 364), is traditionally an integral part of the classical repertoire. It sufficed for Mozart to make just one episodic application of the sinfonia concertante genre in order to eclipse his colleagues’ legacy for several centuries, although admittedly this work occupies an important place among his compositions.
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Wolfgang Amadeus Mozart - Oboenspitze, vol.2 - Alexei Utkin, Hermitage Chamber Orchestra (2008) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.2
Genre: Classical
Label: © Essential Music/Caro Mitis
Release Date: 2008
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 00:54:18
Recorded: 8,10-12.10.2006 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia

In the mid-18th century a composition bearing the name Sinfonia concertante captivated audiences at large public concerts in Paris, London and Mannheim. In many ways akin to a solo concerto, symphonies with the participation of a group of solo instruments were seen primarily as an alternative to the usual orchestral symphony – somewhat lighter in content, but far more virtuoso and showy by nature. The powerful, stirring sound of the orchestra (in which an important role was played by developed parts for wind instruments) was combined with sections that allowed the best European performers to demonstrate their mastery.
As things turned out, the wider public is familiar with only a few examples among many hundreds of 18th-century concertante symphonies. By a certain irony of fate, sometimes even the names of composers who were famous in their day for writing dozens of such symphonies have been practically forgotten, whereas Mozart’s sole surviving opus in this genre, the Sinfonia concertante in E flat major for violin and viola (KV 364), is traditionally an integral part of the classical repertoire. It sufficed for Mozart to make just one episodic application of the sinfonia concertante genre in order to eclipse his colleagues’ legacy for several centuries, although admittedly this work occupies an important place among his compositions.

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Wolfgang Amadeus Mozart - Oboenspitze, vol.1 - Alexei Utkin, Hermitage Chamber Orchestra (2004) DSF Stereo DSD64/2.82MHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alexei Utkin, Hermitage Chamber Orchestra
Title: Mozart: Oboenspitze, vol.1
Genre: Classical
Label: © Caro Mitis/Essential Music
Release Date: 2004
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:04:25
Recorded: 30.01-6.02.2004 5th Studio of The Russian Television and Radio Broadcasting Company (RTR) Moscow, Russia


Little is known about Giuseppe Ferlendis who was appointed oboist at the court of Archbishop of Salzburg Prince Hieronymus Colloredo on April 1, 1777. But irrespective of whether Ferlendis was a profound or average musician, his appearance in Salzburg orchestra inspired young Wolfgang Amadeus Mozart to create one of his rare compositions with solo oboe: Concerto in C major KV 314. Did the successful composer create this work out of boredom, having to spend months and years of his youth in the Austrian province he felt aversion for?
Whatever it might be but when at the end of September of same year (1777) Wolfgang set out for an important musical tour of Europe in search of the worthy application of his talent (for the first time without his father, accompanied only by his mother), he took the manuscript of the new Concerto with him – as a kind of business card, one of spectacular samples of his composing accomplishment.
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Gustav Mahler - Symphony No. 9 - Tokyo Metropolitan Symphony Orchestra, Eliahu Inbal (2014) DSF Stereo DSD64/2.82MHz

Сomposer: Gustav Mahler (1860-1911)
Artist: Tokyo Metropolitan Symphony Orchestra, Eliahu Inbal
Title: Mahler: Symphony No. 9 (One point Microphone Version)
Label: © Exton | Octavia Records Inc., Japan
Release Date: 2014
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:20:40
Recorded: 15-17 Mar. 2014, Tokyo Metropolitan Theatre, Yokohama Minato-Mirai Hall, Suntry Hall, Tokyo

Exton Laboratory Gold Line SACD! :: Eliahu Inbal conducts the Tokyo Metropolitan Symphony Orchestra for this one point microphone recording of Mahler's Ninth Symphony. The work was premiered on 26 June 1912, at the Vienna Festival by the Vienna Philharmonic Orchestra conducted by Bruno Walter.
This Exton Laboratory Gold Line Hybrid Stereo disc is a high quality non-compressed Japanese SACD. Recorded on a custom Sony DSD recorder, this audiophile SACD is packaged in an XRCD-like luxury digipak. Superior quality Japanese SACD, manufactured in Yokohama, Japan. Only the best recordings - technically and artistically!
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Gustav Mahler - Symphony No. 6 'Tragic' - Tokyo Metropolitan Symphony Orchestra, Eliahu Inbal (2014) DSF Stereo DSD64/2.82MHz

Сomposer: Gustav Mahler (1860-1911)
Artist: Tokyo Metropolitan Symphony Orchestra, Eliahu Inbal
Title: Mahler: Symphony No. 6 'Tragic' (One point Microphone Version)
Label: © Exton | Octavia Records Inc., Japan
Release Date: 2014
Quality: DSF Stereo DSD64/2.82MHz
Source: SACD ISO
Duration: 01:20:50
Recorded: 2,3 Nov. 2014, Tokyo Metropolitan Theatre, Yokohama Minato-Mirai Hall, Tokyo


Exton Laboratory Gold Line SACD! :: Eliahu Inbal conducts the Tokyo Metropolitan Symphony Orchestra for this one point microphone recording of Mahler's Sixth Symphony. Mahler composed the Sixth Symphony between 1903 and 1904. He conducted the work's first performance at the Saalbau concert hall in Essen on May 27, 1906.
This Exton Laboratory Gold Line Hybrid Stereo disc is a high quality non-compressed Japanese SACD. Recorded on a custom Sony DSD recorder, this audiophile SACD is packaged in an XRCD-like luxury digipak. Superior quality Japanese SACD, manufactured in Yokohama, Japan. Only the best recordings - technically and artistically!
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Pietro Antonio Locatelli - L'Arte del Violino, opera omnia III - Sandrine Cantoreggi (2003) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Pietro Antonio Locatelli (1695-1764)
Artist: Sandrine Cantoreggi, Latvian Philharmonic Chamber Orchestra, Carlo Jens
Title: Locatelli: L'Arte del Violino, opera omnia III
Genre: Classical
Label: © Turtle Records
Release Date: 2003
Quality: DSF Stereo DSD64/2.82MHz
Source: spiritofturtle.com
Duration: 01:00:29
Recording dates: September 22-24, 2003 in Galaxy Studios Belgium


A century before the demonically inspired caricatures of Paganini appeared, Pietro Locatelli was already pushing the boundaries on what was possible on the violin. His landmark Opus 3 publication, subtitled “The Art of the Violin,” includes 12 concertos and 24 caprices that continue to test the mettle of all who would dare perform them. This Turtle Records album features violinist Sandrine Cantoreggi with the Latvian Philharmonic Chamber Orchestra under Carlo Jans in performances of the Fifth, Eleventh, and Twelfth concertos of Op. 3.

Surprisingly enough, it is the orchestra — not the soloist — that is of primary enjoyment on this CD. The Latvian ensemble proves that though its name may be relatively unknown to U.S. audiences, it certainly should be. Its playing is extremely precise in every domain possible — articulation, intonation, dynamics — and the recorded sound quality is exceptionally warm and full. Cantoreggi’s playing is two-sided. While playing lower in her instrument’s range and in combination with the orchestra, her sound is pleasing enough and intonation is as solid as the orchestra’s.

The solo cadenzas and capriccios, which find the violin in the stratosphere of its range, show a more strained, shrill, and out-of-tune side to Cantoreggi’s playing. Since it is this bravura demonstration that is supposed to enthrall listeners, Cantoreggi’s struggles with it to make this album a less-than-ideal choice. Others (most notably Carmignola) have shown us that it is possible to play Locatelli’s fiendish masterworks with ease and warmth.
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Keith Jarrett - The Koln Concert (1975/2017) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Keith Jarrett
Title: The Köln Concert
Genre: Jazz, Post Bop, Free Improvisation, Modern Creative, Piano Jazz
Label: © ECM Records GmbH | ECM Reviews
Release Date: 1975/2017
Quality: DSF Stereo DSD64/2.82MHz
Source: e-Onkyo
Duration: 01:06:19
Recorded: January 24, 1975 at the Opera in Köln, Germany

On Friday, January 24, 1975, legendary composer, pianist, soprano saxophonist and bandleader Keith Jarrett gave his famous, freely improvised solo concert at the Köln Opera House in Germany on a Bösendorfer baby grand. The captivating four-part set clocked in at 67 minutes and has since become the bestselling solo piano and jazz solo record of all time.
“Again and again it’s like stepping onstage naked. The most important thing in a solo concert is the first note I play, or the first four notes. If they have enough tension, the rest of the concert follows almost as a matter of course. Solo concerts are about the most revealing psychological self-analysis imaginable.” --Keith Jarrett
"From the glistening, patiently developed opening melody, through sustained passages of roaring riffs and folksy, country-song exuberance, the pianist is utterly inside his ongoing vision of the performance's developing shape – a fusion of the freshness of an improvisation with the symmetries of a composition that's central to the album's communicative power." --John Fordham, The Guardian / 50 Great Moments in Jazz
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Jimmie Lee Robinson - Remember Me (1998/2016) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Jimmie Lee Robinson
Title: Remember Me
Genre: Blues, Chicago Blues, Acoustic Blues
Label: © APO Records
Release Date: 1998/2016
Quality: DSF Stereo DSD64/2.82MHz
Source: AcousticSounds
Duration: 00:52:07
Recorded by David Baker at Blue Heaven Studios, Salina, KS, on February 14, 1998; Mastered by Kevin Gray at Acous-Tech Mastering, Camarillo, CA


Jimmie Lee Robinson doesn't dance for the approval of others nor does he thin his music to seduce a wider audience. The self-proclaimed Lonely Traveller's work is an artistic achievement that illustrates why enduring reputations are earned slowly, over time, not swiftly via shrewdly orchestrated media blitzes. His music, honest and unspoiled, comes as a welcome and refreshing alternative in an age of crowd-mesmerizing pyrotechnics, outlandish tempos, and incendiary solos. Remember Me, Robinson's first effort for the APO label and the first album recorded at Blue Heaven Studios, is an adventure deep into the blues of Mr. Robinson's Maxwell Street neighborhood, a neighborhood that has included residencies with musicians such as Little Walter, Howlin Wolf, Freddie King, Elmore James, Luther Tucker, Eddie Taylor, Magic Sam, Jimmy Reed, Shakey Jake, St. Louis Jimmy, Eddy Clearwater, Sunnyland Slim and more.
On Remember Me, Robinson accompanies himself on acoustic guitar to create The Lonely Traveller's distinctive brand of blues, which he says represents a lifetime of work, the trials and tribulations of growing up on and experiencing Maxwell Street. If you listen closely, you'll also hear Jimmy D. Lane (son of the late blues legend Jimmy Rogers) accompanying on one tune.
Robinson sings in the powerful and sometimes piercing voice that inspired the Lonesome Lee sobriquet when he began recording for Bandera Records in the 1950s. Boot-stomping, spur-jangling highlights include a rousing performance of "Wait For Me", Jimmy Reed-inspired "Boss Man" and a spirited rendition of "Wagon Wheels".
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