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Nuria Rial, Valer Sabadus - Sacred Duets (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Alessandro Scarlatti (1660–1725), Bernardo Pasquini (1637–1710), Giovanni Paolo Colonna (1637–1695), Domenico Gabrielli (1651–1690), Giovanni Bononcini (1670–1747), Giuseppe Torelli (1658–1709), Antonio Lotti (1667–1740), Antonio Caldara (1670–1736), Nicola Antonio Porpora (1686–1768)
Artist: Nuria Rial, Valer Sabadus
Title: Sacred Duets
Genre: Classical, Vocal Music
Label: © Sony Music Entertainment Germany GmbH
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 01:00:31
Recorded: Riehen, Landgasthof Riehen, 18–21/03/2016


Sony Classical present Italian duets and arias with baroque stars Nuria Rial and Valer Sabadus. The Spanish soprano Nuria Rial and the countertenor Valer Sabadus are both stars of the booming baroque music scene. Nuria Rial is a bright soprano with her “addictive timbre“ and Valer Sabadus's velvety "dramatic, crystal clear and lyric voice" (Süddeutsche Zeitung) are for the first time united in one recording. With the excellent Kammerorchester Basel they send the listener on a voyage of discovery to Italy, to lesser known music by Alessandro Scarlatti, Giovanni Paolo Colonna, Giovanni Gabrieli, Antonio Lotti, Giovanni Battista Bononcini, Bernardo Pasquini and Antonio Caldara. The arias and duets are mainly from oratorios, which have already fascinated many listeners.
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New Order - Low-Life (1985/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: New Order
Title: Low-Life
Genre: Rock, Electronic, Synth-Pop, Alternative Rock, Post Punk
Label: © Warner Bros. Records
Release Date: 1985/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: highresaudio.com
Duration: 00:40:03
Recorded: 1984, Jam and Britannia Row Studios, London


New Order's third LP, Low-life, was, in every way, the artistic equal of their breakout, 1983's Power, Corruption & Lies. The point where the band's fusion of rock and electronics became seamless, it showed the bandmembers having it every way they wanted: heavily sequenced and synthesized, but with bravura work from Bernard Sumner's guitar and Peter Hook's plaintive, melodic bass; filled with hummable pop songs, but still experimental as far as how the productions were achieved. The melodica-led pop song "Love Vigilantes" was the opener, nearly identical as a standout first track to "Age of Consent" from Power, Corruption & Lies. Next was "The Perfect Kiss," one of the first major New Order singles to appear on an album. (The band being newly signed to Warner Bros. in the United States, it made perfect sense to include such a sublime piece of dance-pop on the LP.) Even as more and more synth-heavy groups like Eurythmics and Pet Shop Boys began approaching New Order's expertise with the proper care of electronics in pop music, the band still sounded like none other. "This Time of Night" and "Elegia" evoked the dark, nocturnal mood of the album's title and artwork, but none could call them mopey when they pushed as hard as they did on "Sunrise." Only "Sub-Culture," tucked in at the end, has the feel of a lost opportunity; remixed for a single release, it became much better. But there was no mistaking that New Order had reached a peak, experimenting with their sound and their style, but keeping every moment wrapped in an unmistakable humanness. --AllMusic Review by John Bush
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Wolfgang Amadeus Mozart - Violin Sonatas K296, 306, 454 & 547 - Alina Ibragimova, Cedric Tiberghien (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alina Ibragimova, Cédric Tiberghien
Title: Mozart - Violin Sonatas K296, 306, 454 & 547
Genre: Classical
Label: © Hyperion Records
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 99 minutes 4 seconds
Recorded: May 2015 Concert Hall, Wyastone Estate, Monmouth, United Kingdom


Mozart’s earliest violin sonatas, written during the European tour that took him and his family to Paris, London and The Hague in 1763–66, were his first published compositions. They differ from his mature works of the kind not only stylistically, but also in being conceived very much as keyboard sonatas with violin accompaniment—a popular form of domestic music-making at the time. The first four sonatas (K6–9) appeared in Paris in February 1764, as Mozart’s Opp 1 & 2. The title-page of each volume proudly described their composer as ‘Agé de Sept ans’. The following year, in London, Mozart saw his Op 3 in print—a set of six sonatas (K10–15) for harpsichord with violin or flute; and a further half-dozen works of the same kind (K26–31) were published in Amsterdam, as his Op 4. It was when, on 11 March 1766, Mozart and his sister performed at the celebrations in The Hague to mark the eighteenth birthday of Prince William of Orange that ‘our little composer’, as Leopold Mozart called him, was invited to write this last series for Princess Caroline.
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Wolfgang Amadeus Mozart - Serenades - Die Kolner Akademie, Michael Alexander Willens (2017) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756–91)
Artist: Die Kölner Akademie, Michael Alexander Willens
Title: Mozart - Serenades, Vol. 1
Genre: Classical
Label: © BIS Records AB
Release Date: 2017
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: eClassical.com
Duration: 74:41
Recorded: December 2015 at the Deutschlandfunk Kammermusiksaal, Cologne, Germany


Die Kölner Akademie and Michael Willens have previously recorded Mozart’s complete piano concertos with Ronald Brautigam, earning praise for their fresh and colourful contributions to the series. The team now releases the first of four projected discs with further Mozart scores, beginning with two of the composer’s best-loved serenades. Serenades were a characteristic feature of Salzburg musical life: opening with a march and continuing with as many as eight or nine separate movements on an orchestral scale, such works will have been ringing in Mozart’s ears from childhood. Thirteen serenades of varying scope and scorings are included in Mozart’s catalogue of works, and of these the well-known ‘Posthorn Serenade’ is the ninth. It is also the last serenade that Mozart composed before leaving Salzburg for Vienna. The nickname stems from Mozart’s inclusion of a solo for post horn (‘cornodi posta’) in one of the movements, but the wind instruments play an important role throughout the serenade, with extended solos for flute and oboe.
In comparison, Eine kleine Nachtmusik – the last serenade Mozart wrote – is for strings only. It is also shorter than many of the other serenades, and was probably intended for a more intimate occasion. Mozart’s own thematic catalogue lists it as having five movements, but as the first minuet and trio (preceding the slow movement) have been lost, only four are typically performed today. In this recording a minuet from Mozart’s very first string quartet in G major, K. 80, is incorporated by way of completion of the five-movement arch.
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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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