Bob Marley & The Wailers – Live (1975) {Deluxe Edition 2016}
FLAC (tracks) 24 bit/192 kHz  | Time – 2:13:18 minutes | 5,67 GB | Genre: Reggae
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Tuff Gong

Bob Marley & the Wailers’ 1975 Live! album is to be reissued as deluxe package featuring the complete sets from both July ’75 shows at the London Lyceum. Both Lyceum gigs were recorded by The Rolling Stones mobile studio and the original album, as issued, featured just seven tracks from the second concert. Now the Deluxe edition set of Bob Marley & The Wailers – Live! features 22 tracks, with 14 of them previously unreleased.

As the title implies, this is indeed Bob Marley & the Wailers captured in performance at the Lyceum Ballroom in London during the final U.K. leg of the Natty Dread tour. Passionate and symbiotic energies constantly cycle between the band and audience, the net result of which is one of the most memorable concert recordings of the pop music era. With the addition of lead guitarist Al Anderson during the recording sessions for their previous long-player, Natty Dread, the Wailers took increasing strides toward a seamless transition into the consciousness of the rock music audience. Anderson’s bluesy guitar runs liberate “Burnin’ and Lootin'” as well as “Trench Town Rock,” the only new composition on Live! Anderson bobs and weaves his supple-toned fretwork among the somewhat staid rhythms common to reggae. The mutual affinity that binds Marley with his audience is evident in the roars of approval that greet the opening notes of “Them Belly Full (But We Hungry),” “I Shot the Sheriff,” and “Kinky Reggae.” Likewise, “No Woman, No Cry” elicits a group singalong as the sheer volume of the audience challenges that of the amplified musicians. With this evidence, there is no denying that Bob Marley & the Wailers were becoming the unlikeliest of pop music icons. Additionally, Live! underscores the underrated talents of the Wailers as musicians. Older works such as “Burnin’ and Lootin'” and “I Shot the Sheriff” benefit greatly from Tyrone Downie’s keyboard punctuation and the soulful backing vocals of the I-Threes.

Tracklist:
01 – Trenchtown Rock
02 – Burning And Looting
03 – Them Belly Full (But We Hungry)
04 – Rebel Music (3 O’Clock Roadblock)
05 – Stir It Up
06 – No Woman, No Cry
07 – Natty Dread
08 – Kinky Reggae
09 – I Shot The Sheriff
10 – Get Up Stand Up
11 – Trenchtown Rock
12 – Slave Driver
13 – Burning And Looting
14 – Them Belly Full (But We Hungry)
15 – Rebel Music (3 O’Clock Roadblock)
16 – No Woman, No Cry
17 – Kinky Reggae
18 – Natty Dread
19 – Stir It Up
20 – Lively Up Yourself
21 – I Shot The Sheriff
22 – Get Up Stand Up

Recorded on July 17-18, 1975 at the Lyceum Theatre, London.

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Cameron Avery – Ripe Dreams, Pipe Dreams {Deluxe Edition} (2017)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 51:31 minutes | 568 MB | Genre: Alternative
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Anti – Epitaph

“Ripe Dreams, Pipe Dreams” is the Singer/songwriter/multi-instrumentalist Cameron Avery’s debut solo album. Known for his work as the touring bassist for Tame Impala, Avery offers an ornate yet gritty sound driven by his soulful wit and sweeping arrangements. With his deep, husky baritone, Avery harnesses the dark power and humor of artists like Nick Cave, Scott Walker, and Tindersticks. On his self-produced album, Avery channels train-wreck romanticism into timeless music for the modern age.

An indie crooner with an eye to the mid-century vocal era of a thirty-something Frank Sinatra and Dean Martin, Cameron Avery makes a surprising solo debut with Ripe Dreams, Pipe Dreams. It’s a distinct break from the psych-rock of his former band Pond and association with Tame Impala as touring bassist, as well as from his noisier garage revival band, the Growl. The Australian instead embraces strings, piano, and, on occasion, impulsive electric guitar inspired by early rock and scenes of the ’60s. The album opens with the acoustic guitar serenade “A Time and Place,” backed lightly by double bass, brushed drum kit, and saxophone. Strings soon join the set’s tenderer arrangements, all led by Avery’s ripe baritone. While the track list opens with tunes that could pass as covers of the Rat Pack, he blends heavier drums, electric guitar, and strings into “Wasted on Fidelity,” which has a more modern sensibility, if an equally tuneful one. Trashy guitar tones à la the Beatles’ “Taxman” toughen up “The Cry of Captain Hollywood,” an interlude with dramatic strings, and he hits peak rock & roll on “Watch Me Take It Away,” a slinky, percussive romp with fat fuzz while Avery growls the song’s title with emphasis. Though Ripe Dreams, Pipe Dreams would never be mistaken for a 60-year-old recording, it has an undeniably theatrical quality that owes a debt to that era’s movie themes and composer-for-hire balladry. Avery himself has referenced Sinatra, Johnny Hartman, Elvis Presley, and Etta James among its inspirations. He throws the kitchen sink at the closer, “C’est Toi,” which incorporates slide guitar, soaring strings, dramatic starts and stops, and lyrics in the superlative. Like the whole album, it’s a hard sell that pays off with a lasting impression.

Tracklist:
01 – A Time and Place
02 – Do You Know Me By Heart
03 – Dance With Me
04 – Wasted On Fidelity
05 – Big Town Girl
06 – Disposable
07 – The Cry Of Captain Hollywood
08 – Watch Me Take It Away
09 – An Ever Jarring Moment
10 – C’est Toi (Extended)
11 – Whoever Said Gambling’s For Suckers
12 – C’est Toi

Produced by Cameron Avery except for “12”, Co-produced by Jonathan Wilson.
Mixed by Adam Round.

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Chick Corea – The Musician (Live) (2017)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 03:36:49 minutes | 2,29 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Stretch Records

Recorded live in 2011 at a series of all-star concerts in New York City to celebrate Chick Corea’s 70th birthday, the almost four hours of performances on this three album box set find Corea collaborating with 10 different bands and a total of 28 musicians, including Herbie Hancock, Wynton Marsalis, John McLaughlin, Stanley Clarke and Bobby McFerrin.

Over the course of an artist’s lifetime, especially one well into their fifth decade like Chick Corea, it’s not uncommon to see a great musician look back and take stock of what he’s done and who he’s worked with, and that’s exactly what Corea does on 2017’s The Musician. To mark his 75th birthday in 2016, the lauded pianist played a six-week stint of shows at the Blue Note in New York city. During the event, he was joined by a bevy of guests including many longtime friends and collaborators like Herbie Hancock, Bobby McFerrin, Wynton Marsalis, John McLaughlin, Stanley Clarke, and others. The shows were filmed, recorded, and released in 2017 as part of The Musician three-disc album and documentary project. It’s fascinating to hear Corea take this time-traveling odyssey through his career, and despite the epic nature of the six-week event, he never sounds anything less than engaged, always playing with his trademark intensity and playful spontaneity. His duets are particularly engaging; just listen to his enthralling interplay with singer Bobby McFerrin on “I’ve Got the World on a String” and “Spain” and you’ll be captivated. Similarly compelling are his head-to-head sparrings with pianist Herbie Hancock on “Hot House,” “Dolphin Dance,” and “Cantaloupe Island.” Elsewhere, Corea revisits one of his most popular ensembles, Return to Forever, with bassist Stanley Clarke, drummer Lenny White, and guitarist Frank Gambale. A pre-eminent fusion group, here they take an unexpected acoustic approach to several of their best-known tunes, “Captain Marvel” and “Light as a Feather.” We also get a taste of Corea’s trio with bassist Gary Peacock and drummer Brian Blade, who deliver a nuanced version of “I Hear a Rhapsody.” Other discs showcase equally compelling collaborations with luminaries like pianist Marcus Roberts and vibraphonist Gary Burton, and a reunion with his Elektrik Band featuring drummer Dave Weckl and bassist John Patitucci. We also get a thrilling homage to early Corea employer, jazz trumpet legend Miles Davis, with his From Miles band featuring trumpeter Wallace Roney, drummer Jack DeJohnette, and other Davis alum. Indeed, The Musician is a superb live document spotlighting Corea in settings that recall the best of his classic albums and proving how remarkably well both he and his music have aged.

Tracklist:
01 – Captain Marvel (feat. Return To Forever)
02 – Light As A Feather (feat. Return To Forever)
03 – I Hear A Rhapsody
04 – Spirit Rides (feat. John McLaughlin)
05 – Special Beings (feat. John McLaughlin)
06 – I’ve Got The World On A String (feat. Bobby McFerrin)
07 – Spain (feat. Bobby McFerrin)
08 – Overture (feat. Harlem Quartet)
09 – Your Eyes Speak To Me (feat. Harlem Quartet)
10 – If I Were A Bell
11 – Nefertiti
12 – Zyryab
13 – Mi Nina Lola
14 – CC’s Birthday Blues (feat. Wynton Marsalis)
15 – Caravan (feat. Marcus Roberts)
16 – Hot House (feat. Herbie Hancock)
17 – Dolphin Dance (feat. Herbie Hancock)
18 – Cantaloupe Island (feat. Herbie Hancock)
19 – Ritual (feat. Chick Corea Elektric Band)
20 – Silver Temple (feat. Chick Corea Elektric Band)

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Chihiro Yamanaka (山中千尋) – Because (2012/2017)
FLAC (tracks) 24-bit/192 kHz | Time – 58:51 minutes | 2,15 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: e-Onkyo | Digital Booklet | © Universal Classics and Jazz

Blue Note recording artist Chihiro Yamanaka is one of the most exciting jazz pianists and composers to come out of Japan. “Because” is her creative reworking of the Beatles classics.

Yamanaka played piano from the age of four, studying classical music and was eventually awarded the grand prize of Japan’s Gumma Fresh Talent competition. In the USA, she studied at the Berklee College Of Music, graduating in 2000. She was critically praised, winning DownBeat magazine’s award for Outstanding Performance and the IAJE (International Association of Jazz Educators) Sisters In Jazz competition, following which she toured Europe with other winners. Among many artists with whom she has performed are George Benson, Gary Burton, Terri Lyne Carrington, Curtis Fuller, George Russell and Ed Thigpen. In the early 00s she was a member of DIVA, the all-female big band led by drummer Sherrie Maricle, with which group she has played concerts and recorded. Yamanaka also played in the DIVA spin-off quintet, Five Play, with which group she played on Marlene VerPlanck’s 2003 album It’s How You Play The Game. Among musicians Yamanaka has used on her recording dates are bass players Ray Parker, Ben Street and Larry Grenadier and drummers Ben Perowsky, Rodney Green and Jeff Ballard.

Tracklist:
01 – Because
02 – Yesterday
03 – For No One
04 – Insight Foresight
05 – Here, There And Everywhere
06 – The Imprints / Drive My Car / The Word
07 – It Was A Beautiful 8 Minutes Of My Life
08 – Your Mother Should Know
09 – Honey Pie
10 – Michelle
11 – Yesterday (Alternate Version)

Musicians:
Chihiro Yamanaka – piano, synth, hammond B3, guitar, ukulele, harmonica
John Nolen – tabla
Kyoto Nakamura – bass
John Davis – drums

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Gorillaz – Plastic Beach (2010/2014)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 56:53 minutes | 690 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Parlophone UK

Plastic Beach is the third studio album by the British virtual band Gorillaz. Conceived from an unfinished Gorillaz project called Carousel, the album was recorded from June 2008 to November 2009, and was produced primarily by group co-creator Damon Albarn. It features guest appearances by several artists including Snoop Dogg, Gruff Rhys, De La Soul, Bobby Womack, Mos Def, Lou Reed, Mick Jones, Mark E. Smith, Paul Simonon, Bashy, Kano, Little Dragon and the Hypnotic Brass Ensemble. Plastic Beach debuted at number two on the UK Albums Chart, selling approximately 74,432 copies in its first week of sales. It debuted at number two on the US Billboard 200 chart with 112,000 copies in its first week of sales; it also charted within the top ten in several other countries. Plastic Beach received mostly positive reviews, and was named one of the year’s best albums by several critics.

Gorillaz began as a lark but turned serious once it became Damon Albarn’s primary creative outlet following the slow dissolve of Blur. Delivered five years after the delicate whimsical melancholy of 2005’s Demon Days, Plastic Beach is an explicit sequel to its predecessor, its story line roughly picking up in the dystopian future where the last album left off, its music offering a grand, big-budget expansion of Demon Days, spinning off its cameo-crammed blueprint. Traces of Albarn’s Monkey opera can be heard, particularly in the hypnotic Mideastern pulse of “White Flag,” but Damon’s painstaking pancultural pop junk-mining no longer surprises – when hip-hop juts up against Brit-pop, it’s expected – yet it still has the capacity to delight no matter which direction the Gorillaz may swing. Lou Reed’s crotchety croak on “Some Kind of Nature” has the same kind of gravitational pull as Mos Def leading the Hypnotic Brass Ensemble through the intensely circling “Sweepstakes,” while the group reaches new heights of sparkling pop on “Superfast Jellyfish,” aided by the return of De La Soul – the rappers who propelled “Feel Good Inc.” – and an appearance from Gruff Rhys, the Super Furry Animals frontman who is an ideal fit for Gorillaz (possibly because SFA’s genre-bending pop and Pete Fowler artwork clearly paved the way for Albarn and Jamie Hewlett’s collaboration). A common thread among all these tracks is that they find Albarn ceding the spotlight to his fellow musicians, preferring to be the puppetmaster behind the curtain, and Plastic Beach works best when he’s the composer and producer, finding hidden strengths within his guests – having Mick Jones and Paul Simonon for the elastic title track, coaxing some powerful performances out of Bobby Womack – but often when Albarn takes center stage his laconic drawl lets the air out of the balloon. Curiously, much of this arrives toward the beginning of the album, the record gaining momentum as it unspools, working toward its climax, but the overall album accentuates moody texture over pop hooks. This emphasis means Plastic Beach is the first Gorillaz album to play like a soundtrack to a cartoon – which isn’t entirely a bad thing, because as Albarn grows as a composer, he’s a master of subtly shifting moods and intricately threaded allusions, often creating richly detailed collages that are miniature marvels. Ironically, these individual pieces don’t add up to an overall masterpiece, possibly because the narrative is convoluted and strained, getting in the way of the pure musical flow, but also because it’s hard not to shake the feeling that this is a transitional effort, pointing toward a day when Damon Albarn will feel no need to front a band, not even in a cartoon guise.

Tracklist:
01 – Orchestral Intro (feat. sinfonia ViVA)
02 – Welcome To the World of the Plastic Beach (feat. Snoop Dogg and Hypnotic Brass Ensemble)
03 – White Flag (feat. Bashy, Kano and the National Orchestra For Arabic Music)
04 – Rhinestone Eyes
05 – Stylo (feat. Mos Def and Bobby Womack)
06 – Superfast Jellyfish (feat. Gruff Rhys and De La Soul)
07 – Empire Ants (feat. Little Dragon)
08 – Glitter Freeze (feat. Mark E Smith)
09 – Some Kind of Nature (feat. Lou Reed)
10 – On Melancholy Hill
11 – Broken
12 – Sweepstakes (feat. Mos Def and Hypnotic Brass Ensemble)
13 – Plastic Beach (feat. Mick Jones and Paul Simonon)
14 – To Binge (feat. Little Dragon)
15 – Cloud of Unknowing (feat. Bobby Womack and sinfonia ViVA)
16 – Pirate Jet

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Ian Watson & Susanna Ogata – Beethoven: Sonatas for Fortepiano and Violin, Vol. 3 (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:09:37 minutes | 1,32 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © Coro

Ian Watson and Susanna Ogata’s acclaimed series on Coro Connections continues with the third album in their exploration of Beethoven’s Sonatas for fortepiano and violin. Written at a time when the composer was struggling to accept his growing deafness, the three sonatas on this volume were published together in 1803 as his Opus 30 and provide a remarkable trilogy – a collection of incredible variety and sophistication. The wide compositional range of this set demonstrates Beethoven’s prowess in creating bucolic, even humorous moments, contrasted with deep intensity, pathos and the truly sublime. Susanna Ogata has been praised for her ”totally convincing, spontaneous and free-flowing playing” (The Berkshire Review) and is a tenured member of the Handel and Haydn Society where she was appointed Assistant Concertmaster of the orchestra in 2014. Ian Watson has been described by the Frankfurter Allgemeine Zeitung as ”a conductor of formidable ability”, and by The Times in London as a keyboard performer with ”virtuosic panache and brilliantly articulated playing” and ”a world-class soloist.” He was appointed Associate Conductor of Boston’s Handel and Haydn Society in 2016.

Tracklist:

Ludwig van Beethoven (1770-1827)
01. Violin Sonata No.6 in A Major, Op. 30 No.1: I. Allegro
02. Violin Sonata No.6 in A Major, Op. 30 No.1: II. Adagio molto espressivo
03. Violin Sonata No.6 in A Major, Op. 30 No.1: III. Allegretto con variazioni
04. Violin Sonata No.7 in C Minor, Op. 30 No.2: I. Allegro con brio
05. Violin Sonata No.7 in C Minor, Op. 30 No.2: II. Adagio cantabile
06. Violin Sonata No.7 in C Minor, Op. 30 No.2: III. Scherzo
07. Violin Sonata No.7 in C Minor, Op. 30 No.2: IV. Finale. Allegro
08. Violin Sonata No.8 in G Major, Op. 30 No.3: I. Allegro assai
09. Violin Sonata No.8 in G Major, Op. 30 No.3: II. Tempo di menuetto ma molto moderato e grazioso
10. Violin Sonata No.8 in G Major, Op. 30 No.3: III. Allegro vivace

Personnel
Susanna Ogata (violin)
Ian Watson (fortepiano)

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Isabel Bayrakdarian – Mother of Light: Armenian hymns and chants in praise of Mary (2016)
FLAC (tracks) 24 bit/ 192 kHz  | Time – 01:01:56 minutes | 2,17 GB | Genre: Classical
Studio Masters, Official Digital Download  | Digital Booklet | © Delos

Soprano sorceress Isabel Bayrakdarian, acclaimed internationally for her glittering accomplishments on both stage and screen, presents – in this hypnotically alluring album of Armenian sacred music – a more spiritual aspect of her multifaceted musical persona.

Isabel conceived this project as a heartfelt gift to God for sparing the life of her mother, and the entire album is very much a “family affair.” Her husband arranged the pieces, her brother plays the ceremonial percussion instruments, and her two sisters join her to form a vocal trio in several tracks.

This spellbinding music – scored variously for solo and ensemble voices, cello and women’s choir – will take its fortunate listeners on a deeply spiritual and meditative journey of the soul.

Tracklist:
01. Pourvarov Tapor (Censer procession) (00:13)
02. Baghdasar Tbir (1683-1768). Zartir Nazeli (Arise, Graceful One) (for voice and cello) (04:27)
03. Anonymous (medieval). Khngi Dzarin (Frankincense Tree) (for voice and choir) (03:52)
04. Ara Bartevian (1902-1986). Mayr Yev Gouys (Immaculate Mother) (for voice, choir and cello) (02:58)
05. Hampartsoum Limondjian (1768-1839). Hamemad Kez (Incomparable One) (for voice and cello) (04:57)
06. Anonymous (medieval). Varaneem (Burdened with Sins) (for voice and choir) (04:36)
07. Avedis Kez Mariyam (Good Tidings to You, Mary) (for voice, choir and percussion) (04:35)
08. St. Gregory of Nareg (951- 1003). Aghers ar Diramayr (Plea to Mother of God) (for 3 voices, cello and percussion) (05:06)
09. Diramayrn (Mother of the Lord) (for voice and choir) (02:50)
10. Anonymous (medieval). Badjar yev Sgizpn (Cause and Origin) (for voice and percussion) (03:48)
11. Movses Khorenatsi (410-490). Zandjareli Looso Mayr (Mother of Light) (for voice, choir and percussion) (02:39)
12. Sharaganner (Sharagans from Holy Week) (for voice and choir) (02:47)
13. Gomidas Vartabed (1869-1935). Asdvadzadzin Yergnayin (Divine Mother of God) (for choir, cello and percussion) (01:30)
14. Anonymous (medieval). Zgousoutyount Ko (O Pure God Bearer) (for 3 voices and percussion) (01:26)
15. St. Nerses Shnorhali (1102-1173). Aysor Joghovyal (The Saints Are Gathered) (for voice and choir) (02:52)
16. Vartan Areveltsi (1198-1271). Antaram Dzaghig (Eternal Flower) (for voice, choir, cello and percussion) (02:57)
17. Anonymous. Panin Hor (Word of the Father) [18th-19th century] (for voice and cello) (04:10)
18. Oor es Mayr Im (Where Are You, My Mother?) [18th-19th century] (for 3 voices, choir and cello) (06:16)

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Javier Perianes – Schubert: Piano Sonatas, D. 960 & D. 664 (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:02:48 minutes | 989 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © harmonia mundi

The Sonata D664: an example of Schubert’s fine craftsmanship despite being in the shadow of the giant, Beethoven. Only nine years later, Schubert, just 31 years old, produced what was, already, his last sonata (D960), just a few weeks before his shockingly premature death. It would take many decades for these masterpieces to gain the same consideration as the late symphonies of Mozart or Beethoven’s Op.132 but this music is now cherished by today’s artists – among them Javier Perianes, who here returns to Schubert after a remarkable first volume that enjoyed great success with the public.

Tracklist:

Franz Schubert (1797-1828)

Piano sonata in B-Flat Major, D. 960
1 I. Molto moderato 20:24
2 II. Andante sostenuto 09:46
3 III. Scherzo. Allegro vivace con delicatezza – Trio 04:11
4 IV. Allegro, ma non troppo 08:18

Piano Sonata in in A Major, D. 664
5 I. Allegro moderato 07:23
6 II. Andante 05:33

Personnel
Javier Perianes, piano

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Jonian Kadesha & Nicholas Rimmer – Enescu, Ravel & Skalkottas: Violin & Piano (2017)
FLAC (tracks) 24 bit/48 kHz  | Time – 01:18:04 minutes | 717 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © CAvi-music

It would be wrong to classify Nikos Skalkottas as a National Romantic composer. However, only certain works such as the Greek Dances for orchestra or the Two Little Suites for violin and piano have kept his name from falling into oblivion. The Two Little Suites reflect a shift in his last creative years: while maintaining typically strict structural control, Skalkottas was nevertheless evolving toward a less complex style……

George Enescu was Romania’s true musical ambassador. He belonged to the first generation of composers born in the relatively young Kingdom of Romania, but left his native land as a seven-year-old child prodigy to study in Vienna, then in Paris: from then on, he led a cosmopolitan life. He would soon become a world-famed celebrity: first as a violinist, soon also as a composer, pianist and conductor. Yehudi Menuhin, his most renowned pupil, referred to Enescu as the most extraordinary human being he ever encountered. Several recordings of Enescu playing the violin have been preserved, including his own Third Violin Sonata with Dinu Lipatti, his godchild, as a sensitive accompanist on the piano……

Begun before the Tzigane but only completed thereafter, the Violin Sonata in G Major was dedicated by Ravel to the above-mentioned Hélène Jourdan-Morhange, a violinist who was both his friend and advisor. In the meantime she had contracted rheumatism in her fingers and could no longer play the sonata in public. None other than George Enescu stepped in to ensure the work’s resounding success in its world première with Ravel at the piano. (Excerpts from the line notes by Johannes Jansen)

Tracklist:

George Ensecu (1881 – 1955)
Sonata for Violin and Piano in A Minor No. 3, Op. 25
1 I. Modearto malinconico 09:49
2 II. Andante sostenuto e misterioso 09:28
3 III. Allegro con brio, ma non troppo mosso 08:26

Maurice Ravel (1875 – 1937)
Sonata for Violin and Piano in G Major, M. 77
4 I. Allegretto 08:01
5 II. Blues. Moderato 05:26
6 III. Perpetuum mobile. Allegro 03:58

Nikos Skalkottas (1904 – 1949)
Little Suite No. 1, AK 51
7 No. 1 Dance – Prelude. Allegro marcato e ben ritmato 03:21
8 No. 2 Folk Song. Andante moderato 03:28
9 No. 3 Like a peasant dance. Allegro vivo 04:02
10 Little Suite No. 2, AK 52: No. 1 Poco lento 03:41
11 Little Suite No. 2, AK 52: No. 2 Andante 06:10
12 Little Suite No. 2, AK 52: No. 3 Allegro vivace 02:22

Maurice Ravel
13Tzigane, Rhapsodie de concert for Violin and Piano, M. 76 09:46

Personnel
Jonian-Ilias Kadesha, violin
Nicholas Rimmer, piano

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Herbie Nichols – Love, Gloom, Cash, Love (1958/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 41:42 minutes | 931 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: PrestoClassical | Front Cover | © Bethlehem Records

Love, Gloom, Cash, Love was the final album American jazz pianist Herbie Nichols recorded as a leader. Recorded in 1957, just six years before his death at 44 from leukemia, the album’s lyrical theme examines the complicated relationship between love and money. Nichols was accompanied by Mingus drummer Dannie Richmond and bassist George Duvivier on the album which includes the standards Too Close for Comfort and All the Way.

Recorded a year after his last landmark Blue Note dates, this album finds Nichols performing in the familiar trio setting again – this time with Mingus drummer Dannie Richmond and bassist George Duvivier. These performances may be less animated than Nichols’ earlier sides as a leader, but that’s not to suggest the pianist’s writing or playing had become pedestrian or predictable. The absence of the powerhouse drummers Art Blakey and Max Roach makes these ten tunes easier to appreciate upon first listen. Richmond’s characteristic bombast and humor are kept in check here. With the drummer maintaining straight, subdued rhythms, Nichols’ complex melodies and solos shine that much brighter – especially on such standout originals as the album’s title track, “Beyond Recall,” and “S’Crazy Pad.”

Tracklist:
01 – Too Close for Comfort: Too Close For Comfort
02 – Every Cloud
03 – Argumentative
04 – Love, Gloom, Cash, Love
05 – Portrait Of Ucha
06 – Beyond Recall
07 – All The Way
08 – 45′ Angle
09 – Infatuation Eyes
10 – S’Crazy Pad

Recorded on November 10, 1957 in NYC.
Remastered in 2013.

Musicians:
Herbie Nichols – piano
George Duvivier – bass (tracks 1-8 & 10)
Dannie Richmond – drums (tracks 1-8 & 10)

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Jean-Willy Kunz – Impressions (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 50:20 minutes | 989 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © ATMA Classique

Impressions featuring music by Coltrane, Bechet, and D’Rivera, among many others, is an album unlike any other. Organist Jean-Willy Kunz gathered a group of musician-friends from the realms of classical and contemporary music, pop and jazz. They embarked on a musical trip around the world, exploring an original and diverse repertoire of traditional Eastern European dance music, klezmer, and jazz. Listeners will discover a kaleidoscope of fascinating music ranging from Petite fleur by Sidney Bechet, to Impressions by John Coltrane, to Frank Sinatra’s hit Fly Me to the Moon. The organ as it’s never been heard before!

Tracklist:
01 – Grand od bora
02 – Shalom aleichem
03 – Fly Me to the Moon (In Other Words)
04 – Jazz Variations on a Theme of Paganini
05 – In Spirit / Impressions
06 – Pour mon ami Léon
07 – Guataca City
08 – Petite fleur

Musicians:
Jean-Willy Kunz – organ
Hélène Lemay – trombone
André Moisan – clarinets & saxophones
Frédéric Alarie – double bass
Paul Picard – percussion

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John Coltrane – Trane: The Atlantic Collection (Remastered) (2017)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 46:52 minutes | 501 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Rhino Atlantic

An introduction to John Coltrane’s revered Atlantic recordings. Trane: The Atlantic Collection includes the hit single ‘My Favorite Things,’ the iconic ‘Giant Steps, Naimi’ and more, from the ‘heavyweight champion’ of the jazz world. This release is newly remastered.

While there have been several John Coltrane Atlantic years compilations, the 2017 single-disc anthology Trane: The Atlantic Collection is one of the most concise and useful introductions to the legendary saxophonist. Focusing on the years 1959 to 1961, Trane: The Atlantic Collection offers up a thumbnail sketch of Coltrane just as he entered the first truly individualistic stage of his career. Previously, he had primarily made his mark as a sideman with trumpeter Miles Davis, with whom he had just recorded the landmark Kind of Blue, when he signed with Atlantic. Backed by a formidable cadre of musicians, at times including pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones, Coltrane embarked on a creatively fruitful period in which he recorded some of his most influential original pieces, including the innovative “Giant Steps,” the sun-dappled ballad “Naima,” and the groove-oriented “Cousin Mary.” It was also dichotomously the time in which he scored one of his biggest hits with his entrancing soprano sax-led reading of “My Favorite Things,” included here in its condensed 45-rpm version. We also get his expansive, bluesy, early attempt at spiritual jazz “Equinox” and musically thematic follow-up to “Giant Steps,” the languid “Central Park West.” Also useful are writer Ben Ratliff’s insightful liner notes, which help frame the moment and put Coltrane’s Atlantic years in context to what came before and after. Ultimately, while there are certainly more extensive Coltrane sets (The Heavyweight Champion: The Complete Atlantic Recordings comes to mind), Trane: The Atlantic Collection is a welcome primer highlighting one of the saxophonist’s most compelling periods.

Tracklist:
01 – My Favorite Things, Pt 1 (Single Version)
02 – Like Sonny
03 – Cousin Mary
04 – Giant Steps
05 – Central Park West
06 – Equinox
07 – Naima
08 – My Shining Hour
09 – Mr. Syms

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London Grammar – Truth Is A Beautiful Thing {Deluxe Edition} (2017)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 01:19:25 minutes | 850 MB | Genre: Indie Pop
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © Ministry of Sound Recordings

“Truth Is a Beautiful Thing” is the second studio album, written and conducted by British dream pop trio London Grammar. It follow the critically acclaimed, platinum selling debut ‘If You Wait’. New album features production from Tim Bran, Paul Epworth, Jon Hopkins, Roy Kerr and Greg Kurstin.

Four years after their debut, English trio London Grammar returned with their sophomore set, Truth Is a Beautiful Thing, featuring production by Jon Hopkins (Imogen Heap, Coldplay), Paul Epworth (Florence + the Machine, Adele), and Greg Kurstin (Adele, Sia). Once again, vocalist Hannah Reid takes center stage with her powerful, angelic instrument, which can stir the soul at the smokiest depths before jolting everything to the heavens in a fashion much like Florence Welch or Annie Lennox. Dan Rothman and Dominic Major provide lush accompaniment to Reid’s voice, creating a gorgeous cinematic landscape that ranges from dreamlike wisps to fully enveloping grandeur. The first half of the album takes time to pick up, as Reid slowly eases listeners into “Wild Eyed,” an expansive moment that recalls 2013’s “Hey Now.” The thumping heartbeat of “Oh Woman, Oh Man” gives the band equal time to shine. Other highlights include the throbbing “Non Believer,” the uplifting Florence-esque “Bones of Ribbon,” and the sweeping “Leave the War with Me.” These tracks provide a much-needed jolt of energy to balance the album’s other quieter moments, which tend to lull the listener into a dreamlike haze. While it’s an overall relaxing experience, Truth Is a Beautiful Thing is never boring; it’s a comforting and often heartbreaking listen that really gets under the skin, especially with Reid’s emotive delivery.

Tracklist:
01 – Rooting for You
02 – Big Picture
03 – Wild Eyed
04 – Oh Woman Oh Man
05 – Hell To The Liars
06 – Everyone Else
07 – Non Believer
08 – Bones Of Ribbons
09 – Who I Am
10 – Leave The War With Me
11 – Truth Is a Beautiful Thing
12 – What A Day
13 – Different Breeds
14 – Control
15 – Trials (Demo)
16 – May The Best (Demo)
17 – Rooting For You (Demo)
18 – Bittersweet Symphony (Live at Maida Vale)

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London Grammar – If You Wait {Deluxe Edition} (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 66:04 minutes | 716 MB | Genre: Indie
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © Metal & Dust Recordings Ltd

Debut album by the British electronic music trio. Featuring ‘Hey Now’, the track that the band released onto the internet in 2012, ‘If You Wait’ debuted in the UK Albums Chart at #2.

It’s no understatement that London Grammar’s forthcoming album is one of the most highly anticipated debuts this year. Confirmed for release on September 9, the album is a result of 18 painstaking months spent writing and recording. Each of the 11 tracks is testament to the trio’s innate understanding of the roles that subtlety, contrast and restraint have played in the creation of memorable, timeless and transcendent music. “That’s how this all started,” says Dan, “and it’s always been our primary goal, to keep space in the music. The way that, say, the guitar and vocal interact is massively important to us.” Heavily involved in every decision made on the album, the band handpicked their team, working closely with producers Tim Bran (The Verve, Richard Ashcroft, La Roux) and Roy Kerr AKA The Freelance Hellraiser. Drafting in Roc Nation’s KD (Outkast, Beyoncé, Jay-Z) to mix the album, with Grammy-winning Tom Coyne (Adele’s 21), joining them to master. Tracks like If You Wait and Flickers possess that strange duality of lament and defiance, filled with textures, colours, shadings and interjections that are subtle yet deliver devastating power. The next single, Strong, out on September 1 is the final, killer blow. Building – as you would expect from London Grammar – from nothing, from the barest of bones, Hannah’s soaring vocals propels the song to its crashing climax. More than delivering on their promise, London Grammar’s electrifying debut solidifies them as being one of the most exciting and innovative bands to emerge in 2013.

English trio London Grammar have quietly amassed a body of atmospheric, electronic pop material since they first posted “Metal & Dust” on the internet in 2012. Partnered with an appearance on Disclosure’s Mercury-nominated album Settle, the Nottingham University alumni had set the internet hype machine in motion, less than a year after forming. With obvious nods to the unfussy, reverbed guitar motifs of The xx, alongside Hannah Reid’s beautiful, emotive vocal ability — which rises and falls with an alarmingly disarming effect — the album is a practice in refrain, where each song is pushed to the brink of an inevitable climax and achingly, no further. The percussive production, synths, and basslines provided by multi-instrumentalist Dot Major, build on this sense of drama and urgency and are displayed perfectly in one of the highlights of the record, “Wasting My Young Years.” Its throbbing chorus is chastened by the slow-burning synths and guitars that come together with stunning results when coupled with Reid’s vocal delivery. The obvious confidence Reid has in her own voice belies the apparent vulnerability in the words she sings throughout, and the piano ballad “Strong” is testament to the loneliness and heartbreak that encapsulates the brooding feel of the album, which conflicts with the almost upbeat, danceable moments scattered amongst “Flickers” and “Stay Awake.” They pay homage to their electronic influences mid-album with a rework of Kavinsky’s “Nightcall” that unfolds gently into one of the most boisterous cuts on the record. It’s no surprise that Reid’s strong vocals are at the forefront of London Grammar’s sound, and her voice dominates their music in much the same way as Florence Welch’s does in Florence + the Machine. However, although at times they come close to overshadowing the subtle instrumentation provided by Major and Dan Rothman, it’s actually the intrinsic balance between the contributions of all three that defines their sound.

Tracklist:
01 – Hey Now
02 – Stay Awake
03 – Shyer
04 – Wasting My Young Years
05 – Sights
06 – Strong
07 – Nightcall
08 – Metal & Dust
09 – Interlude (Live)
10 – Flickers
11 – If You Wait
12 – Help
13 – Darling Are You Gonna Leave Me
14 – Help Me Lose My Mind (feat. Disclosure)
15 – High Life
16 – Maybe
17 – When We Were Young

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Curios – Captive (2014)
FLAC (tracks) 24 bit/48 kHz | Time – 46:34 minutes | 477 MB | Genre: Jazz
Official Digital Download – Source: Bowers & Wilkins | Digital Booklet | © Real World Productions Ltd.

Hailed as “triumphant” in Mojo, “spellbinding” in The Independent, “dazzling” in Jazz UK and “pioneering” in Musician magazine, the album was nominated in the BBC Jazz Awards, and reached the top 5 in both the HMV and the Radio 3 Jazz Charts. Curios have toured internationally since they formed, to rave reviews and have appeared live on radio sessions including Jazz On 3.

Formed in 2006 by pianist and composer Tom Cawley, the distinctive sound of Curios owes all to the group’s chemistry and the unrivalled interplay between the musicians. Drawing on romantic classical music as much as modern jazz, Cawley’s compositions are melodic, fiery, serene and intense. Live, the band covers the whole spectrum – at times delicate, at times wildly percussive; flashing from a whisper to a roar. Described in Time Out as “state-of-the-art piano trio music”.

Tracklist:
1 Captive 6:24
2 Coanda 5:30
3 The Corridor of Uncertainty 3:20
4 Meat Semantics 4:33
5 Him 4:03
6 Mistakes Have Started to Creep Into My Game 4:20
7 Blues for Phineas 6:15
8 Calentura 4:14
9 My Brain 3:34
10 Bokeh 4:16

Personnel
Tom Cawley – piano,
Joshua Blackmore – drums
Sam Burgess – double bass

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Lili Kraus, The Vienna Festival Orchestra & Stephen Simon – Mozart: Piano Concertos Nos. 8 & 9 (1966/2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 50:25 minutes | 0,99 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Front Cover | © Sony Classical

Orchestra is not always the best, but the piano performances are first rate and individualistic. Everything that was written about her sound being special comes through on these performances. And that’s coming from a wind player!

Tracklist:

Wolfgang Amadeus Mozart (1756-1791)
1 Concerto No. 8 in C Major for Piano and Orchestra, K. 246: I. Allegro aperto 00:06:46
2 Concerto No. 8 in C Major for Piano and Orchestra, K. 246: II. Andante 00:06:54
3 Concerto No. 8 in C Major for Piano and Orchestra, K. 246: III. Rondo – Tempo di menuetto 00:07:13
4 Concerto No. 9 in E-Flat Major for Piano and Orchestra, K. 271: I. Allegro 00:09:53
5 Concerto No. 9 in E-Flat Major for Piano and Orchestra, K. 271: II. Andantino 00:09:21
6 Concerto No. 9 in E-Flat Major for Piano and Orchestra, K. 271: III. Rondo – Presto 00:10:18

Personnel
Lili Kraus (piano)
The Vienna Festival Orchestra
Stephen Simon (conductor)

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Louis-Noel Bestion de Camboulas – Bach and Friends (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:14:16 minutes | 1,4 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © Ambronay

For his first recital, Louis-Noël Bestion de Camboulas invites us on a fascinating exploration of the keyboard music of J. S. Bach and his mentors. In the hands of this talented musician, the intimate tones of the harpsichord and the sumptuous strains of the great organ ring out by turns. Until the middle of the eighteenth century, the organ and the harpsichord were the two principal faces of a generic ‘keyboard’ repertory that was often played without discrimination on a number of instruments, which might also include the clavichord, the spinet and the virginal. Professional musicians trained on both instruments with the aim of acquiring not only a solo or concertante technique, but also proficiency in performing basso continuo and the rudiments of improvisation and composition. This complementarity between the organ and the harpsichord may be observed in the numerous books of keyboard music that were printed or copied everywhere in Europe between 1600 and 1750. They often mixed pieces intended for the harpsichord and others intended for the organ, with the line of demarcation between the two not always clear, since many pieces can be played on both instruments. Scheidt’s Tabulatura nova of 1624 mingles works for organ and/or harpsichord, as does Johann Krieger’s much later Anmuthige Clavier-Übung (1699). Manuscript compilations for the keyboard – particularly widespread in the German-speaking territories – also generally include pieces for the two instruments. Notable among these are two famous manuscripts deriving from the inner circle of Johann Sebastian Bach, the Andreas-Bach-Buch and the Möllersche Handschrift, which feature a wide range of pieces offering a useful insight into the different genres and styles that could be practised on one instrument or the other, or indeed on both. …

The harpsichord used for this recording is a copy of an instrument made by Johann Heinrich Gräbner in Dresden in 1722. It is now in the Villa Bertramka in Prague, from which it has not moved since 1787, when Mozart used it while composing his opera Don Giovanni!

J. H. Gräbner ‘the Elder’ (1665-1739) was the first in a great dynasty of organ builders, organists and harpsichord makers, which lasted until the middle of the nineteenth century, by which time its members were making pianos. His son Heinrich Christian, an organist, was a pupil of J. S. Bach in 1725 and 1726, and a surviving document by him tells us that this ‘cost his father a great deal’! Gräbner ‘the Elder’ therefore often had the opportunity of frequenting J.S. Bach on the composer’s trips to Dresden and of discussing music and instruments with him. It is impossible to copy such historic harpsichords without bearing in mind the atmosphere surrounding them. Dresden in the early eighteenth century was the bene ciary of the tastes of the Elector of Saxony, August the Strong, who turned his capital into ‘the Florence of the Elbe’. Numerous architects, painters and craftsmen worked there, and the Dresden court orchestra was famed all over Europe. The monarch’s Italophile tastes are also re ected in the style of the harpsichords built in the region. The cases, constructed around the bottom, are framed almost like Italian harpsichords. The soundboards are conceived to produce a colour very rich in harmonics, which facilitates clarity of polyphonic discourse.

Tracklist:

Dietrich Buxtehude (1637-1707)
1 Praeludium in G Minor, BuxWV 163 07:56

Heinrich Scheidemann (1595-1663)
2 Pavane Lachrimae 06:19

Johann Caspar Ferdinand Fischer (1656-1746)
3 Suite No. VIII: Praeludium & Chaconne 06:51

Johann Pachelbel (1653-1706)
4 Aria Sebaldina 10:10

Johann Sebastian Bach (1685-1750)
5 Toccata in G Minor, BWV 915 10:11

Georg Muffat (1653-1704)
6 Toccata Nona in E 07:27

Georg Böhm (1661-1733)
7 Vater unser im Himmelreich Versus 1 02:23
8 Vater unser im Himmelreich Versus 2 04:46
9V ater unser im Himmelreich (choral orné) 05:35

Johann Sebastian Bach
10Fantasia and Fugue in G Minor, BWV 54212:32

Personnel
Louis-Noël Bestion de Camboulas, organ

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Max Emanuel Cencic, George Petrou, Il Pomo d’Oro, Lauren Snouffer – Handel: Ottone, HWV 15 (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 03:23:07 minutes | 3,65 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © Decca

One should not think that at the time when Handel was around, an opera was a finished product, etched in stone, the score of which was some kind of Holy Grail that would not suffer any tampering with, be it so benign. From that point of view, Handel’s Ottone is a case in point. Some extensive adjustments probably arose from Handel’s collaboration with the famous prima donna Francesca Cuzzoni, who had arrived in London in December 1722, but a fortnight before the first performance, and immediately threw a tantrum. Several of her arias she rejected and had had Handel substitute with entirely different new music. According to Mainwaring’s Memoirs of the Life of the Late George Frederic Handel (1760), having one day some words with Cuzzoni on her refusing to sing the aria Falsa imagine, the composer had shouted, in French: “I know very well that you are a veritable she-devil: but I will show you that I am Beelzebub the Chief of the Devils ” and with this he took her up by the waist, and, if she uttered another word, swore that he would fling her out of the window. This being said, many of the modifications he made during the rehearsal period had nothing to do with Cuzzoni. All in all, eleven arias and one duet were finished but then discarded and replaced before the first performance, and several other arias were considerably revised . It is impossible to determine which changes were instigated by Handel himself on artistic grounds and which were compromises in order to satisfy his singers’ whims and overblown egos. In addition to rejections, redrafts of scenes and wholesale substitutions by Handel during the opera’s composition and preparation, further amendments were also made during its first run . Moreover, he replaced and also added several extra arias for the twelfth performance, which took place on 26 March 1723 after a break of several weeks because of Lent. So: what does “the real” Ottone look like? This recording presents a reconstruction of the complete first performance version, but it also incorporates Handel’s expansions to two scenes reworked especially for Cuzzoni. As an appendix, there are three bonus tracks of new arias composed for the title-role in Handel’s 1726 revival, making it an Ottone as complete as possible. All this extra music will allow the listener to enjoy even more the great voices of the recording, to begin with the countertenor Max Cencic, but also the soprano Lauren Snouffer – who sings the part initially held by the infamous Cuzzoni –, accompanied by the ensemble Il pomo d’oro playing on period instruments and conducted by George Petrou.

Tracklist:

George Frideric Handel (1685-1759)

CD1
01. Handel: Ottone, HWV 15 / Overture-a) Lentement-Allegro – George Petrou & Il Pomo d’Oro
02. Handel: Ottone, HWV 15 / Overture-b) Gavotte – George Petrou & Il Pomo d’Oro
03. Handel: Ottone, HWV 15 / Act 1-“Pur che regni il figlio amato” – Ann Hallenberg & Il Pomo d’Oro & George Petrou
04. Handel: Ottone, HWV 15 / Act 1-“Chi più lieto è di me” – Ann Hallenberg & Xavier Sabata & George Petrou & Il Pomo d’Oro
05. Handel: Ottone, HWV 15 / Act 1-“La speranza è giunta in porto” – George Petrou & Il Pomo d’Oro & Ann Hallenberg
06. Handel: Ottone, HWV 15 / Act 1-“Vien di Romano inclita figlia” – Il Pomo d’Oro & Lauren Snouffer & Xavier Sabata & George Petrou
07. Handel: Ottone, HWV 15 / Act 1-“Bel labbro formato per farmi beato” – Xavier Sabata & Il Pomo d’Oro & George Petrou
08. Handel: Ottone, HWV 15 / Act 1-“È tale Otton?” – Il Pomo d’Oro & Lauren Snouffer & George Petrou
09. Handel: Ottone, HWV 15 / Act 1-“Falsa imagine, m’ingannasti” – George Petrou & Lauren Snouffer & Il Pomo d’Oro
10. Handel: Ottone, HWV 15 / Act 1-Concerto – George Petrou & Il Pomo d’Oro
11. Handel: Ottone, HWV 15 / Act 1-“Te, che assalir le nostre navi osasti” – Max Cencic & George Petrou & Il Pomo d’Oro & Pavel Kudinov
12. Handel: Ottone, HWV 15 / Act 1-“Del minacciar del vento si ride” – Pavel Kudinov & Il Pomo d’Oro & George Petrou
13. Handel: Ottone, HWV 15 / Act 1-“Tutto a più liete cure” – Max Cencic & Anna Starushkevych & Il Pomo d’Oro & George Petrou
14. Handel: Ottone, HWV 15 / Act 1-“Ritorna, o dolce amore, conforta questo sen” – Il Pomo d’Oro & George Petrou & Max Cencic
15. Handel: Ottone, HWV 15 / Act 1-“Anch’io sperai” – Il Pomo d’Oro & George Petrou & Anna Starushkevych
16. Handel: Ottone, HWV 15 / Act 1-“Di resti pui così” – Il Pomo d’Oro & George Petrou & Anna Starushkevych
17. Handel: Ottone, HWV 15 / Act 1-“Tu la madre d’Otton?” – Ann Hallenberg & Il Pomo d’Oro & George Petrou & Lauren Snouffer
18. Handel: Ottone, HWV 15 / Act 1-“Pensa ad amare” – Ann Hallenberg & George Petrou & Il Pomo d’Oro
19. Handel: Ottone, HWV 15 / Act 1-“Adelaide, di cui con tanta lode; Indietro, indietro” – Xavier Sabata & Lauren Snouffer & Il Pomo d’Oro & George Petrou
20. Handel: Ottone, HWV 15 / Act 1-“Stenti la Bianca mano” – Il Pomo d’Oro & Ann Hallenberg & George Petrou & Lauren Snouffer & Xavier Sabata
21. Handel: Ottone, HWV 15 / Act 1-“Giunge Otton?” – Lauren Snouffer & Il Pomo d’Oro & George Petrou
22. Handel: Ottone, HWV 15 / Act 1-“Affanni del pensier, un sol momento” – Il Pomo d’Oro & Lauren Snouffer & George Petrou
23. Handel: Ottone, HWV 15 / Act 1-Sinfonia – Il Pomo d’Oro & George Petrou
24. Handel: Ottone, HWV 15 / Act 1-“Cedi il ferro, o la vita” – Xavier Sabata & George Petrou & Max Cencic & Il Pomo d’Oro
25. Handel: Ottone, HWV 15 / Act 1-“Tu puoi straziarmi” – Xavier Sabata & George Petrou & Il Pomo d’Oro
26. Handel: Ottone, HWV 15 / Act 1-“È di più mio rival?” – Il Pomo d’Oro & Max Cencic & George Petrou
27. Handel: Ottone, HWV 15 / Act 1-“Dell’onda ai fieri moti” – George Petrou & Il Pomo d’Oro & Max Cencic

CD2
01. Handel: Ottone, HWV 15 / Act 2-Sinfonia – George Petrou & Il Pomo d’Oro
02. Handel: Ottone, HWV 15 / Act 2-“Per breve spazio a me colui ” – Il Pomo d’Oro & Xavier Sabata & George Petrou & Anna Starushkevych
03. Handel: Ottone, HWV 15 / Act 2-“Lascia, che nel suo viso” – Il Pomo d’Oro & George Petrou & Xavier Sabata
04. Handel: Ottone, HWV 15 / Act 2-“Ah! che più non resisto” – Anna Starushkevych & George Petrou & Il Pomo d’Oro
05. Handel: Ottone, HWV 15 / Act 2-“Ah! tu non sai quant’il mio cor sospira” – Il Pomo d’Oro & George Petrou & Anna Starushkevych
06. Handel: Ottone, HWV 15 / Act 2-“Ben a ragion Matilda” – Il Pomo d’Oro & George Petrou & Ann Hallenberg
07. Handel: Ottone, HWV 15 / Act 2-“Veni, o figlio” – Il Pomo d’Oro & George Petrou & Ann Hallenberg
08. Handel: Ottone, HWV 15 / Act 2-“Spera simi dice” – Il Pomo d’Oro & George Petrou & Lauren Snouffer
09. Handel: Ottone, HWV 15 / Act 2-“Quegli, è certo il mio sposo” – Lauren Snouffer & George Petrou & Max Cencic & Anna Starushkevych & Il Pomo d’Oro
10. Handel: Ottone, HWV 15 / Act 2-“All’orror d’un duolo eterno il mio amore” – George Petrou & Anna Starushkevych & Il Pomo d’Oro
11. Handel: Ottone, HWV 15 / Act 2-“O illustre Teofane” – George Petrou & Max Cencic & Lauren Snouffer & Il Pomo d’Oro
12. Handel: Ottone, HWV 15 / Act 2-“Alla fama, dimmi il vero” – Lauren Snouffer & George Petrou & Il Pomo d’Oro
13. Handel: Ottone, HWV 15 / Act 2-“Con gelosi sospetti” – Max Cencic & Il Pomo d’Oro & George Petrou
14. Handel: Ottone, HWV 15 / Act 2-“Dopo l’orrore” – Il Pomo d’Oro & George Petrou & Max Cencic
15. Handel: Ottone, HWV 15 / Act 2-“O grati orrori” – Il Pomo d’Oro & Lauren Snouffer & George Petrou
16. Handel: Ottone, HWV 15 / Act 2-“S’io dir potessi al mio crudele” – Il Pomo d’Oro & Lauren Snouffer & George Petrou
17. Handel: Ottone, HWV 15 / Act 2-“Del gran sasso” – Il Pomo d’Oro & George Petrou & Xavier Sabata & Pavel Kudinov
18. Handel: Ottone, HWV 15 / Act 2-“Le profonde vie dell’onde” – George Petrou & Pavel Kudinov & Il Pomo d’Oro
19. Handel: Ottone, HWV 15 / Act 2-“Odo gente” – Anna Starushkevych & Lauren Snouffer & Il Pomo d’Oro & Max Cencic & Xavier Sabata & George Petrou
20. Handel: Ottone, HWV 15 / Act 2-“Deh! non dir, che molle amante” – George Petrou & Il Pomo d’Oro & Max Cencic
21. Handel: Ottone, HWV 15 / Act 2-“Già d’ogni interno” – Xavier Sabata & Il Pomo d’Oro & Lauren Snouffer & Pavel Kudinov & George Petrou
22. Handel: Ottone, HWV 15 / Act 2-“Odo il suono” – Ann Hallenberg & Il Pomo d’Oro & George Petrou & Anna Starushkevych
23. Handel: Ottone, HWV 15 / Act 2-“Notte cara” – Anna Starushkevych & George Petrou & Ann Hallenberg & Il Pomo d’Oro

CD3
01. Handel: Ottone, HWV 15 / Act 3-“Dove sei? Dolce mia vita!” – Max Cencic & Il Pomo d’Oro & George Petrou
02. Handel: Ottone, HWV 15 / Act 3-“Già t’invola” – Ann Hallenberg & Il Pomo d’Oro & Max Cencic & George Petrou
03. Handel: Ottone, HWV 15 / Act 3-“Trema, tiranno” – Il Pomo d’Oro & George Petrou & Ann Hallenberg
04. Handel: Ottone, HWV 15 / Act 3-“lo son tradito” – George Petrou & Max Cencic & Il Pomo d’Oro
05. Handel: Ottone, HWV 15 / Act 3-“Tanti affanni” – George Petrou & Il Pomo d’Oro & Max Cencic
06. Handel: Ottone, HWV 15 / Act 3-“Empi, al vostro attentato” – Il Pomo d’Oro & George Petrou & Lauren Snouffer
07. Handel: Ottone, HWV 15 / Act 3-“D’inalzar i flutti” – Il Pomo d’Oro & Xavier Sabata & George Petrou
08. Handel: Ottone, HWV 15 / Act 3-“Perchè in vita tornai” – George Petrou & Lauren Snouffer & Il Pomo d’Oro & Pavel Kudinov
09. Handel: Ottone, HWV 15 / Act 3-“Temerario pirata” – Lauren Snouffer & Xavier Sabata & George Petrou & Il Pomo d’Oro & Pavel Kudinov
10. Handel: Ottone, HWV 15 / Act 3-“Si, mi traete alme” – George Petrou & Lauren Snouffer & Il Pomo d’Oro
11. Handel: Ottone, HWV 15 / Act 3-“Benchè mi sia crudele” – Lauren Snouffer & George Petrou & Il Pomo d’Oro
12. Handel: Ottone, HWV 15 / Act 3-“Deh! ti trattiene” – Pavel Kudinov & Il Pomo d’Oro & George Petrou
13. Handel: Ottone, HWV 15 / Act 3-“Nò, non temere, o bella!” – George Petrou & Pavel Kudinov & Il Pomo d’Oro
14. Handel: Ottone, HWV 15 / Act 3-“Pur cangiasti alla fin” – Il Pomo d’Oro & George Petrou & Lauren Snouffer
15. Handel: Ottone, HWV 15 / Act 3-“Gode l’alma consolata” – Lauren Snouffer & George Petrou & Il Pomo d’Oro
16. Handel: Ottone, HWV 15 / Act 3-“Uno de’ servi miei” – George Petrou & Ann Hallenberg & Max Cencic & Anna Starushkevych & Il Pomo d’Oro
17. Handel: Ottone, HWV 15 / Act 3-“Nel suo sangue, e nel tuo pianto” – Anna Starushkevych & George Petrou & Il Pomo d’Oro
18. Handel: Ottone, HWV 15 / Act 3-“Matilda, arresta si piede” – Ann Hallenberg & Xavier Sabata & Anna Starushkevych & Il Pomo d’Oro & George Petrou & Pavel Kudinov & Max Cencic
19. Handel: Ottone, HWV 15 / Act 3-“Frena, crudel” – Max Cencic & Il Pomo d’Oro & Lauren Snouffer & George Petrou
20. Handel: Ottone, HWV 15 / Act 3-“A’ teneri affetti” – George Petrou & Il Pomo d’Oro & Lauren Snouffer & Max Cencic
21. Handel: Ottone, HWV 15 / Act 3-“Ma qual caso” – Il Pomo d’Oro & Ann Hallenberg & George Petrou & Pavel Kudinov & Anna Starushkevych & Max Cencic & Xavier Sabata & Lauren Snouffer
22. Handel: Ottone, HWV 15 / Act 3-“Faccia ritorno l’antica pace” – Lauren Snouffer & Max Cencic & George Petrou & Anna Starushkevych & Xavier Sabata & Il Pomo d’Oro & Ann Hallenberg & Pavel Kudinov
23. Handel: Ottone, HWV 15 / Act 1-“Cervo altier” – Max Cencic & Il Pomo d’Oro & George Petrou
24. Handel: Ottone, HWV 15 / Act 1-“Io sperai trovar riposo” – Max Cencic & George Petrou & Il Pomo d’Oro
25. Handel: Ottone, HWV 15 / Act 3-“Un disprezzato affetto” – Il Pomo d’Oro & George Petrou & Max Cencic

Personnel
Max Emanuel Cenčić (Ottone)
Lauren Snouffer (Teofane)
Pavel Kudinov (Emireno)
Ann Hallenberg (Gismonda)
Xavier Sabata (Adalberto)
Anna Starushkevych (Matilda)
Il Pomo d’Oro
George Petrou

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Metamorphosen Berlin – Tchaikovsky: Serenade (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:21:33 minutes | 1,43 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © Sony Classical

Ensemble Metamorphosen Berlin follow up on the success of their debut album with works by arguably the most well-known composer to come out of Russia; Tchaikovsky. Their debut album “Inspiration” earned 5* reviews from Cencerto Music Magazine as well as Berlin Broadcaster rbb Kulurradio. This new album includes Tchaikovsky’s “Souvenir de Florence” and his “Serenade in C Major”. Op. 48. A particular highlight of this new release are NEW ARRANGEMENTS by cellist/ director Wolfgang Emanuel Schmidt of “Valse Sentimentale” – recorded for the FIRST TIME for cello and string orchestra. The Ensemble Metamorphosen Berlin is a merger of outstanding chamber musicians and young international awardees of the International Tchaikovsky Competition in Moscow and others. Led by conductor Wolfgang Emanuel Schmidt, the Ensemble delights with solistic brilliance, emotional pleasure in playing and tonal sensitivity. Founded by the idea of transfering a Cellist strengths to a Chamber Orchestra, Wolfgang Emanuel Schmidt and his Ensemble developed their own playing culture and tonal perfection shaped by dynamics and sensuality.

Tracklist:

Pyotr Ilyich Tchaikovsky (1840-1893)

Souvenir de Florence, Op. 70
1 I. Allegro con spirito 11:17
2 II. Adagio cantabile e con moto 11:24
3 III. Allegretto moderato 06:23
4 IV. Allegro vivace 07:02
Valse sentimentale, Op. 51, No. 6
5 Valse sentimentale, Op. 51, No. 6 02:38
The Seasons, Op. 37a
6 X. October 05:19
Nocturne, Op. 19, No. 4
7 Nocturne, Op. 19, No. 4 04:47
Serenade for String Orchestra in C Major, Op. 48
8 I. Pezzo in forma di Sonatina. Andante non troppo – Allegro moderato 09:58
9 II. Valse. Moderato – Tempo di Valse 04:03
10 III. Élégie. Larghetto elegiaco 10:43
11 IV. Finale. Tema russo. Andante – Allegro con spirito 07:58

Personnel
Metamorphosen Berlin
Wolfgang Emanuel Schmidt, direction, cello

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Michel Dalberto – Gabriel Fauré: Piano Works (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:13:47 minutes | 948 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © Aparté

Disciple of Vlado Perlemuter and Jean Hubeau, Michel Dalberto has stood out as a master and ardent defender of French music in the course of a forty-year career. His signature for the Aparté label of a series of recordings devoted to Debussy, Fauré, Ravel, and Franck marks his awaited return to discs. Each episode will be recorded live and accompanied by a video. This second release, recorded on a Bechstein piano at the Conservatoire d’Art Dramatique-Paris on 7 January 2017, honours Gabriel Fauré.

Tracklist:

Gabriel Fauré (1845-1924)

1 Ballade en Fa Dièse Majeur, Op. 19 15:32
2 Impromptu No. 3 en La Bémol Majeur, Op. 34 05:15
3 Nocturne No. 6 en Ré Bémol Majeur, Op. 63 09:21
4 Nocturne No. 7 en Ut Dièse Mineur, Op. 74 09:20
5 Thème et variations en Ut Dièse Mineur, Op. 73 15:47
6 Nocturne No. 9 en Si Mineur, Op. 97 05:06
7 Nocturne No. 11 en Fa Dièse Mineur, Op. 104, No. 1 05:01
8 Nocturne No. 13 en Si Mineur, Op. 119 08:22

Personnel
Michel Dalberto, piano

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