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Collegium Vocale Gent & Philippe Herrewegh – Bach Leipzig Cantatas BWV 101, BWV 103 & BWV 115 (2017) [Official Digital Download 24bit/96kHz]

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Collegium Vocale Gent & Philippe Herrewegh – Bach Leipzig Cantatas BWV 101, BWV 103 & BWV 115 (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 01:02:10 minutes |  1,07 GB | Genre: Classical
Studio Master, Official Digital Download  – Source: Qobuz | Booklet, Front cover | © Phi

For the third time on the Phi label, Philippe Herreweghe gives us the opportunity to (re)discover three cantatas by Johann Sebastian Bach – Nimm von uns, Herr, du treuer Gott, BWV 101, Ihr werdet weinen und heulen, BWV 103 and Mache dich, mein Geist, bereit, BWV 115. After two albums of cantatas written during the composer’s first year in Leipzig, the Belgian conductor and his Collegium Vocale Gent, orchestra and choir, will be performing three cantatas he composed during his second year as Kantor at St Thomas’s. The choir and vocal soloists are once again challenged to produce performances of subtlety and refined virtuosity, and the instrumentarium is as rich and colourful as those heard previously in this series.

Tracklist

Johann Sebastian Bach (1685-1750)
01. Nimm von uns, Herr, du treuer Gott in D Minor, BWV 101: I. Coro “Nimm von uns, Herr, du treuer Gott”
02. Nimm von uns, Herr, du treuer Gott in D Minor, BWV 101: II. Aria “Handle nicht nach deinen Rechten”
03. Nimm von uns, Herr, du treuer Gott in D Minor, BWV 101: III. Recitativo e choral “Ach! Herr Gott, durch die Treue dein”
04. Nimm von uns, Herr, du treuer Gott in D Minor, BWV 101: IV. Aria “Warum willst du so zornig sein?”
05. Nimm von uns, Herr, du treuer Gott in D Minor, BWV 101: V. Recitativo e choral “Die Sünd hat uns verderbet sehr”
06. Nimm von uns, Herr, du treuer Gott in D Minor, BWV 101: VI. Aria “Gedenk an Jesu bittern Tod”
07. Nimm von uns, Herr, du treuer Gott in D Minor, BWV 101: VII. Choral “Leit uns mit deiner rechten Hand”
08. Mache dich, mein Geist, bereit in G Major, BWV 115: I. Coro “Mache dich, mein Geist, bereit”
09. Mache dich, mein Geist, bereit in G Major, BWV 115: II. Aria “Ach schläfrige Seele, wie? ruhest du noch?”
10. Mache dich, mein Geist, bereit in G Major, BWV 115: III. Recitativo ” Gott, so vor deine Seele wacht”
11. Mache dich, mein Geist, bereit in G Major, BWV 115: IV. Aria “Bete aber auch dabei”
12. Mache dich, mein Geist, bereit in G Major, BWV 115: V. Recitativo “Er sehnet sich nach unserm Schreien”
13. Mache dich, mein Geist, bereit in G Major, BWV 115: VI. Choral “Drum so laßt uns immerdar”
14. Ihr werdet weinen und heulen in B Minor, BWV 103: I. Coro e arioso “Ihr werdet weinen und heulen”
15. Ihr werdet weinen und heulen in B Minor, BWV 103: II. Recitativo “Wer sollte nicht in Klagen untergehn”
16. Ihr werdet weinen und heulen in B Minor, BWV 103: III. Aria “Kein Arzt ist außer dir zu finden”
17. Ihr werdet weinen und heulen in B Minor, BWV 103: IV. Recitativo “Du wirst mich nach der Angst auch wiederum erquicken”
18. Ihr werdet weinen und heulen in B Minor, BWV 103: V. Aria “Erholet euch, betrübte Sinnen”
19. Ihr werdet weinen und heulen in B Minor, BWV 103: VI. Choral “Ich hab dich einen Augenblick”

Personnel
Dorothee Mields, soprano
Damien Guillon, countertenor
Thomas Hobbs, tenor
Peter Kooij, bass
Collegium Vocale Gent
Philippe Herreweghe, direction

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Corinna Simon – Witold Lutoslawski: Complete Piano Works (2016) [Official Digital Download 24bit/48kHz]

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Corinna Simon – Witold Lutoslawski: Complete Piano Works (2016)
FLAC (tracks) 24-bit/48 kHz | Time – 01:03:36 minutes | 522 MB | Genre: Classical
Studio Master, Official Digital Download  – Source: Qobuz | Booklet, Front cover | © CAvi-music

Among all the solo piano works Lutoslawski must have composed up to the end of World War II, only the Sonata (1934) and the Two Etudes (1940/41) are still preserved today.

Lutoslawski was an excellent pianist, but after the war he only wrote a very small number of pieces for the instrument. They all pertain to his early post-war period, before he turned to twelve-tone pitch organization and aleatory technique.

What most impresses and thrills me in Lutoslawski’s piano output is his immense degree of creativity while heeding every detail with painstaking attention; his wonderful way of associating traditional forms with innovative, bold sonorities and structures, while managing to preserve a great degree of independence that makes this music sound effortless and lively.

Whereas Lutoslawski’s earliest compositions – the Sonata and the Two Etudes – are brimming with technical challenges for the pianist, the next pieces he wrote are cycles of brief miniatures in which he explores each note and each rest to attain a maximum degree of expression. (Excerpt from the liner notes by the soloist Corinna Simon)

Tracklist

Witold Lutoslawski (1913-1994)
01. Bukoliki: I. Allegro Vivace
02. Bukoliki: II. Allegro sostenuto
03. Bukoliki: III. Allegro molto
04. Bukoliki: IV. Andantino
05. Bukoliki: V. Allegro marciale
06. Two Studies for Piano: I. Allegro
07. Two Studies for Piano: II. Non troppo allegro
08. Melodie Ludowe: I. Ach, mój Jasieńko
09. Melodie Ludowe: II. Hej, od Krakowa jadę
10. Melodie Ludowe: Iiii. Jest Drożyna, Jest
11. Melodie Ludowe: IV. Pastereczka
12. Melodie Ludowe: V. Na jabloni jablko wisi
13. Melodie Ludowe: VI. Od Sieradza plynie rzeka
14. Melodie Ludowe: VII. Panie Michale
15. Melodie Ludowe: VIII. W Polu Lipeńka
16. Melodie Ludowe: IX. Zalotny
17. Melodie Ludowe: X. Gaik
18. Melodie Ludowe: XI. Gąsior
19. Melodie Ludowe: XII. Rektor
20. 3 Utwory dia mlodzieźy: I. Czteropalcówka
21. 3 Utwory dia mlodzieźy: II. Melodia
22. 3 Utwory dia mlodzieźy: III. Marsz
23. Inwencja
24. Zaslyszana melodyjka
25. Sonata for Piano: I. Allegro
26. Sonata for Piano: II. Adagio ma non troppo
27. Sonata for Piano: III. Andante

Personnel
Corinna Simon, piano

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Irene Duval & Pierre-Yves Hodique – Poemes (2016) [Official Digital Download 24bit/96kHz]

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Irène Duval & Pierre-Yves Hodique – Poèmes (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:13:15 minutes | 1,3 GB | Genre: Classical
Studio Master, Official Digital Download  – Source: Qobuz | Booklet, Front cover | ©  Mirare

Francis Poulenc owes his fame to his operatic works (Dialogues des Carmélites, Les Mamelles de Tirésias, La Voix humaine), his treasure-house of mélodies, his concertos and his sacred music, but his output for piano and small ensembles remains relatively little-known. Yet the catalogue of his chamber music comprises more than twenty works, including the Sonata for Violin and Piano composed in the dark years of the war, the only piece for these forces that he did not destroy. It was written in 1942-43 in memory of the Andalusian poet Federico García Lorca, murdered by the Francoists, and was premiered by an unforgettable duo, the outstanding young violinist Ginette Neveu with the composer at the piano. Poulenc struggled over its composition, refusing to produce, as he said himself, ‘prima donna violin over piano arpeggios’. Which goes to explain its originality, but also, perhaps, its reminiscences of other music, including a few tender borrowings from Tchaikovsky. The sonata unfolds in a sombre, tragic, sometimes sarcastic atmosphere, with moments of violence. The meditative Intermezzo was inspired by the opening line of Las seis cuerdas (The six strings) from Lorca’s Poema del cante jondo: ‘La guitarra / hace llorar a los sueños’ (The guitar / makes dreams weep). …

Tracklist

Francis Poulenc (1899 – 1963)
Sonate pour violon et piano
1 I. Allegro con fuoco 06:41
2 II. Intermezzo 06:11
3 III. Presto tragico 05:41

Karol Szymanowski (1882 – 1937)
4 Mythes, Op. 30: I. La Fontaine d’Arethuse (Extract) 06:14

Ernest Chausson (1855 – 1899)
5 Poème, Op. 25 16:49

Gabriel Fauré (1945 – 1924)
6 I. Allegro molto 09:39
7 II. Andante 07:31
8 IIIScherzo. Allegro vivo 04:12
9 IV. Finale. Allegro quasi presto 05:25

Heinrich Wilhelm Ernst (1812 – 1865)
10 Grand Caprice sur ‘Le Roi des Aulnes’ de Franz Schubert, Op. 26 04:52

Personnel
Irène Duval, violin
Pierre-Yves Hodique, piano

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Irvine Arditti – Caprices (2017) [Official Digital Download 24bit/96kHz]

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Irvine Arditti – Caprices (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 01:04:02 minutes | 1,07 GB | Genre: Classical
Studio Master, Official Digital Download  – Source: Qobuz | Booklet, Front cover | © Aeon

Legendary leader of the Arditti Quartet; Irvine Arditti has worked on many solo projects and is still today one of the foremost interpreters of the music of our time.

Over the past decade he has given the world premieres of a whole host of large-scale works written especially for him.

His approach to the contemporary violin is fascinating. The works by Salvatore Sciarrino, Elliott Carter, Emmanuel Nunes and Pierre Boulez assembled in this album are among the most widely known in the recent repertory for violin.

Irvine Arditti’s performance of them on this disc is masterly and already sets a benchmark.

Tracklist

Salvatore Sciarrino (b.1947)
1 Sei capricci: I. Vivace 01:29
2 Sei capricci: II. Andante 04:38
3 Sei capricci: III. Assai agitato 01:46
4 Sei capricci: IV. Volubile 03:18
5S ei capricci: V. Presto 03:17
6 Sei capricci: VI. Con brio 07:42

Elliott Carter (1908 – 2012)
7 4 Lauds: I. Statement – Remembering Aaron 03:14
8 4 Lauds: II. Riconoscenza per Goffredo Petrassi 05:06
9 4 Lauds: III. Rhapsodic Musing 02:37
10 4 Lauds: IV. Fantasy – Remembering Roger 03:53

Emmanuel Nunes (1941 – 2012)
11 Einspielung l 19:02

Pierre Boulez (1925 – 2016)
12 Anthems l 08:04

Personnel
Irvine Arditti, violin

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Robert Schumann – The Four Symphonies, Ouverture, Scherzo & Finale – Staatskapelle Dresden, Wolfgang Sawallisch (1973/2015) [Official Digital Download 24bit/96kHz]

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Robert Schumann – The Four Symphonies, Ouverture, Scherzo & Finale – Staatskapelle Dresden, Wolfgang Sawallisch (1973/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 02:28:15 minutes | 2,93 GB | Genre: Classical
Studio Master, Official Digital Download  – Source: Qobuz | Front cover | ©  Warner Classics
Recorded: 09/1972, Lukas Church, Dresden, Germany

Wolfgang Sawallisch and the Staatskapelle Dresden make fitting and eloquent interpreters of Schumann’s four symphonies, each a highly distinctive work. The city of Dresden was the composer’s home for six years, while Sawallisch was a keen advocate of his large-scale work. For all the energy and passion that Sawallisch communicates in these performances, he does not impose himself on the music; he is content to illuminate and reinforce Schumann’s inspired, if sometimes idiosyncratic arguments.

There are three (or four) indisputably great Schumann symphony cycles–Bernstein’s (Sony or DG), Szell’s, and this one. All three have one thing in common, however different their approaches in other respects: they take the outer movements of each symphony with tremendous excitement and verve, making sure that wind parts and contrapuntal lines sound clearly. The virtues of Wolfgang Sawallisch’s performances are well known and include his eruptive way with the “Spring” Symphony, the virtuosic scherzo of the Second and its brilliantly triumphant finale, the blazing energy he brings to the opening of the “Rhenish”, and the thrilling first-movement development of the Fourth (has its motto theme’s triumphant first appearance ever been better prepared and executed?). Of course, different listeners will have their own favorite passages, but uniting it all is the superb playing of the Staatskapelle Dresden. Toss in the best-ever version of the Overture, Scherzo and Finale (an unjustly neglected masterpiece if ever there was one), and you have a set that belongs in every serious record collection. A/B comparison with previous issues reveals very little sonic improvement in this new remastering, save for the higher-level transfer. On some systems these performances tend to sound overly bright, though I have always found them excellently balanced and, if not exactly mellow, never strident or shrill. A magnificent reissue. –David Hurwitz, Classics Today

Tracklist:

Robert Schumann (1810-1856)

Disc#1

Symphony No. 1 in B flat major, Op. 38, ‘Spring’
1 I. Andante poco maestoso – Allegro molto vivace 11:31
2 II. Larghetto 07:01
3 III. Scherzo (Molto vivace) – Trio I – Trio II 05:24
4 IV. Allegro animato e grazioso 08:22

Symphony No. 4 in D minor, Op. 120
5 I. Ziemlich langsam – Lebhaft 10:20
6 II. Romanze (Ziemlich langsam) 04:10
7 III. Scherzo (Lebhaft) & Trio 05:17
8 IV. Langsam – Lebhaft 07:57

Overture, Scherzo and Finale, Op. 52
9 Overture (Andante con moto – Allegro) 06:36
10 Scherzo (Vivo) 03:53
11 Finale (Allegro molto vivace) 06:36

Disc#2
Symphony No. 2 in C major, Op. 61
1 I. Sostenuto assai – Allegro ma non troppo 12:32
2 II. Scherzo (Allegro vivace) – Trio I – Trio II 06:42
3 III. Adagio espressivo 10:18
4 IV. Allegro molto vivace 08:07

Symphony No. 3 in E flat major, Op. 97, ‘Rhenish’
5 I. Lebhaft 08:55
6 II. Scherzo (Sehr mäßig) 06:42
7 III. Nicht schnell 05:30
8 IV. Feierlich 06:53
9 V. Lebhaft 05:29

Personnel:
Staatskapelle Dresden
Wolfgang Sawallisch, conductor

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Shostakovich Under Stalin’s Shadow: Symphonies Nos. 5, 8 & 9; Suite From Hamlet – Boston Symphony Orchestra, Andris Nelsons (2016) [Official Digital Download 24bit/96kHz]

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Shostakovich Under Stalin’s Shadow: Symphonies Nos. 5, 8 & 9; Suite From Hamlet – Boston Symphony Orchestra, Andris Nelsons (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 02:37:25 minutes | 2,55 GB | Genre: Classical
Studio Master, Official Digital Download  – Source: prestoclassical.co.uk | Booklet, Front cover | © Deutsche Grammophon
Recorded: Boston, Symphony Hall, 10/2015 (Symphony No. 9); 11/2015 (Symphony No. 5); 2/2016 (Suite from “Hamlet”); 3/2016 (Symphony No. 8)

Andris Nelsons is the Music Director of the Boston Symphony Orchestra and in fall 2015 he was announced as Gewandhauskapellmeister of the Gewandhausorchester Leipzig, commencing in the 2017/18 season. With both appointments, and in leading a pioneering alliance between these two esteemed institutions, Andris Nelsons is firmly underlined as one of the most renowned and innovative conductors on the international scene today.
Andris Nelsons even though he is only in his mid 30ies has had a long journey with Shostakovich. He is one of the last conductors of his generation who still grew up in the Russian and, more especially, the Soviet musical tradition ever since he started his training as a conductor. He studied in St Petersburg with Alexander Titov and also with Mariss Jansons. His new orchestra has had a great tradition in performing many of Shostakovich’s works in America for the first time.

This recording provides a kaleidoscope of Shostakovich’s struggle with historical events and political pressures. The pre-war eclectic but accessible and popular 5th, in which he would seem to bow to political pressure, ensured his temporary rehabilitation. The beautiful but dark and gloomy mid-war 8th provoked yet again his fall from favour and instead of providing the political authorities with a triumphant post-war 9th Symphony, Shostakovich wrote a light Haydnesque work which would not be performed until after Stalin’s death. Selections from the Hamlet Suite, possibly Shostakovich’s best film score, rounds out this 2 CD set.

Tracklist:

Dmitri Shostakovich (1906-1975)

Symphony No. 9 in E flat major op. 70
1. 1. Allegro 05:23
2. 2. Moderato 08:08
3. 3. Presto – 02:53
4. 4. Largo – 03:34
5. 5. Allegretto 06:43

Symphony No. 5 in D minor op. 47
6. 1. Moderato 16:35
7. 2. Allegretto 05:36
8. 3. Largo 15:25
9. 4. Allegro non troppo 12:26

Suite from the Incidental Music to Hamlet op. 32a
10. 1. Introduction And Night Patrol 02:45
11. 2. Funeral March 01:32
12. 3. Flourish And Dance Music 02:22
13. 4. The Hunt 01:58
14. 9. Ophelia’s Song 01:31
15. 10. Cradle Song 01:24
16. 11. Requiem 02:40

Symphony No. 8 in C minor op. 65
17. 1. Adagio 26:44
18. 2. Allegretto 06:32
19. 3. Allegro non troppo 06:38
20. 4. Largo 10:34
21. 5. Allegretto 16:12

Personnel:
Boston Symphony Orchestra
Andris Nelsons, conductor

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Dmitry Shostakovich – Symphony No. 4 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2013/2016) [Official Digital Download DSF DSD64/2.82MHz]

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Dmitry Shostakovich – Symphony No. 4 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2013/2016)
DSF Stereo DSD64/2.82MHz | Time – 01:04:52 minutes | 2,56 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © 2xHD
Recorded: Liverpool Philharmonic Hall, England, on 9th and 10th February, 2013

Completed in 1936 but withdrawn during rehearsal and not performed until 1961, the searing Fourth Symphony finds Shostakovich stretching his musical idiom to the limit in the search for a personal means of expression at a time of undoubted personal and professional crisis. The opening movement, a complex and unpredictable take on sonata form that teems with a dazzling profusion of varied motifs, is followed by a short, eerie central movement. The finale opens with a funeral march leading to a climax of seismic physical force that gives way to a bleak and harrowing minor key coda. The Symphony has since become one of the most highly regarded of the composer’s large-scale works.

There are perhaps fifty or so recordings already of Shostakovich’s Fourth Symphony, a number of them the subject of critical acclaim. The RLPO’s Shostakovich cycle under Vasily Petrenko for Naxos – this is volume nine already – has itself been highly praised. It is shaping up nicely as a contender among complete sets.
Reviews of most of the key players in competition for the Fourth can be perused here. Kondrashin, Rozhdestvensky, Barshai, Rattle, Wigglesworth, Järvi, Jansons, Gergiev – these are among the favoured elite. We should not forget the long-deleted accounts by Ormandy and Previn. Whether Petrenko will be admitted to this echelon depends on a number of factors. As far as the objective ones go – is the conductor keeping to the score, does the orchestra perform to a high standard, is audio quality first-rate, is the overall product good value for money even – all the omens are good. Others are a matter of personal preference and opinion – does the conductor get to the beating heart of the work, does he overcook this or under-emphasise that?

Like Petrenko’s cycle so far, the Fourth Symphony itself has been the subject of much discussion, sometimes leaning towards hagiography. One review of Simon Rattle’s recording in the 1990s referred to the work as “Revolution, October, the Winter of Discontent on the march. The shriek of the factory whistle, the piston-pumping roar of the Iron Foundry. Heroic workers unite. […] equally an angry, cynical, almost psychotically rebellious nature.” Most of that is nonsense. This is quintessential Shostakovich: not cataclysmic, shocking, savage – adjectives blithely applied to this work by melodramatic historians and ideologues – but proactive, sardonic, bombastic. Shostakovich wrote the Fourth in his late twenties, at a time when he pushed, like many young men, as hard as he dared against a bullying regime on the cusp of its murderous ‘Great Purge’. He was no revolutionary, however. The exact circumstances of his withdrawal of the work ante premiere are still unknown; likewise it is impossible to know just how angry, or frightened, Shostakovich was at the time – later post-Stalin accounts from him, acquaintances and speculators are subject to normal historiographic pressures: political revisionism, memory limitations, misunderstandings and mistranslations.

Though annotator Richard Whitehouse’s claim for the work’s ‘seminal’ status is hard to argue with, this cannot seriously be considered as one of the greatest symphonies of the 20th century, as is sometimes claimed – not by a long chalk, in fact. Shostakovich was clearly under the influence when he wrote the work – of Gustav Mahler, that is. The final movement is especially rife with Mahlerisms. No bad thing in itself but it dilutes any sense of originality. Petrenko’s somewhat cool, almost detached amble through the score, particularly in the first movement, does little to restore it. Russian conductors have a knack of making the Fourth Symphony sound exciting, almost viscerally so in places, but Petrenko, for all the well-observed detail, arguably does not quite have the measure of it yet. On the other hand, perhaps he does, and some conductors, like some musicologists, read more into the entirety of the work than it entirely merits.

The Naxos engineering on this occasion comes close to distortion in the loudest tutti sections, but manages to keep just the right side of it. In terms of clarity and detail, the recording is splendid – probably the best in the series to date. As usual, Richard Whitehouse’s notes are detailed and well written, providing both a cultural and a technical account of the work. –Dan Morgan, MusicWeb International

Tracklist:

Dmitry Shostakovich (1906-1975)
Symphony No. 4 in C minor, Op. 43 (1935-36)
1. I. Allegretto poco moderato – Presto 27:20
2. II. Moderato con moto 09:25
3. III. Largo – Allegro 28:14

Personnel:
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko, conductor

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Jean Sibelius – Symphonies 3, 6 & 7 – Minnesota Orchestra, Osmo Vanska (2016) [Official Digital Download 24bit/96kHz]

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Jean Sibelius – Symphonies 3, 6 & 7 – Minnesota Orchestra, Osmo Vanska (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:22:00 minutes | 1,24 GB | Genre: Classical
Studio Master, Official Digital Download  – Source: eClassical | Booklet, Front cover | © BIS Records
Recorded: May/June 2015 at Orchestra Hall, Minneapolis, USA

The first disc in the Sibelius cycle from Osmo Vänskä and Minnesota Orchestra made the reviewer in Gramophone speculate about a ‘benchmark cycle for the 21st century’ and the second instalment received a Grammy for ‘Best Orchestral Performance’. The long-awaited final disc of the cycle, with a playing time of 82 minutes, combines the Finnish master’s third symphony, completed in 1907, with his two final works in the genre, composed more or less in tandem between 1922 and 1924. Symphony No. 3 in C major is Sibelius’s most classical symphony, a radical change in direction after the opulence of its predecessor. It has been claimed that the mastery of form displayed in the first movement is comparable only to the greatest Viennese masters – and at the same time the conductor Koussevitzky, one of the composer’s strongest champions, spoke of it as ‘music far in advance of its time’. Fifteen years later, and after the heroic Fifth Symphony, Sibelius again presented a symphony which surprised those admirers who expected more of the same. Symphony No. 6 has a refined modal flavouring, and the composer avoided both virtuoso orchestral writing and massive climaxes, likening the work to an offering of ‘pure spring water’. This he followed up immediately with what would become his symphonic swan song – the stern and majestic Seventh Symphony. A one-movement work, it was billed as ‘Fantasia sinfonica’ at its first performance, but it is indeed a true symphony, its single movement portraying elements of all four movements of symphonic practice. Three highly individual and ground-breaking works thus, from a composer once described by Vaughan Williams as having the capacity to make a C major chord sound entirely new.

Tracklist:

Jean Sibelius (1865–1957)

Symphony No.3 in C major, Op.52
1 I. Allegro moderato 10’14
2 II. Andantino con moto, quasi allegretto 10’40
3 III. Moderato – Allegro (ma non tanto) 8’47

Symphony No.6 in D minor, Op. 104
4 I. Allegro molto moderato 9’06
5 II. Allegretto moderato 6’56
6 III. Poco vivace 3’47
7 IV. Allegro molto 9’00
8 Symphony No.7 in C major, Op. 105 22’01

Personnel:
Minnesota Orchestra
Osmo Vänskä conductor

Download:

https://subyshare.com/v8142qtsj24m/SibeliusSymph0nies367Minnes0ta0rchestra0sm0Vnsk2016eClassical2496.part1.rar.html
https://subyshare.com/e4nz1p313p5z/SibeliusSymph0nies367Minnes0ta0rchestra0sm0Vnsk2016eClassical2496.part2.rar.html


Jean Sibelius – Symphony No. 5 – New York Philharmonic Orchestra, Leonard Bernstein (1965/2015) [Official Digital Download 24bit/44,1kHz]

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Jean Sibelius – Symphony No. 5 – New York Philharmonic Orchestra, Leonard Bernstein (1965/2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 45:26 minutes | 452 MB | Genre: Classical
Studio Master, Official Digital Download  – Source: Qobuz | Front cover | © Columbia Records/Sony Music

Tracklist:
Jean Sibelius (1865-1957)
Symphony No. 5 in E-Flat Major, Op. 82
1 I. Molto moderato – Allegro moderato – Presto 13:16
2 II. Andante mosso, quasi allegretto 09:55
3 III. Allegro molto 09:38
4 Pohjola’s Daughter, Op. 49 12:37

Personnel:
New York Philharmonic Orchestra
Leonard Bernstein, conductor

Download:

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Sinikka Langeland – The Magical Forest (2016) [Official Digital Download 24bit/96kHz]

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Sinikka Langeland – The Magical Forest (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 00:47:33 minutes | 970 MB | Genre: Jazz
Studio Master, Official Digital Download  – Source: Qobuz | Booklet, Front cover | ©  ECM Records
Recorded: Rainbow Studio, Oslo in February 2015

The colours of The Magical Forest glow in this remarkable recording which brings together Sinikka Langeland’s Norwegian-Finnish-Swedish Starflowers quintet with the singers of the Trio Mediӕval. It’s an inspired concept: the Trio Mediӕval, with their affinity for folk music and their unique vocal blend, adapt themselves ideally to Sinikka’s sound-world, which is once archaic, timeless and contemporary. The quintet members, all bandleaders in their own right, are amongst the most characterful players in Scandinavia today, and Sinikka sets them free to improvise around her cycle of songs, built upon myths and legends of the world tree.

After the largely instrumental The Half-Finished Heaven was issued in 2015, composer, kantele player, and musicologist Sinikka Langeland returns with The Magical Forest, a vocal album. These songs continue her long study of Finnskogen (music from the “forest of the Finns”) lore based on fragments and traces she discovered in texts, stories, and songs about the axis mundi or “world tree.” For this date she reassembled her full Starflowers quintet (named for her 2006 ECM debut) of trumpeter Arve Henriksen, saxophonist Trygve Seim, bassist Anders Jormin, and percussionist Markku Ounaskari. The group also played on her 2010 offering This Land That Is Not and has backed her in concert settings for a decade. Langeland also enlisted the vocal ensemble Trio Medieval, setting this date apart from virtually everything else she’s done while retaining her musical character. The source material digs deep into the sense of place that the world tree represents, a pillar that connects not only earth to sky — literally and poetically — but the spiritual in pagan and Christian traditions.
Opener “Puun Loitsu” (“Prayer to the Tree Goddess”) is a 19th century rune song offered as a near tribal chant. Langeland’s voice and kantele are accompanied only by the bassline until two-thirds of the way through, when Trio Medieval adds a stunning modern polyphony. “Sammas,” one of several lyrics attributed to Finnskogen seeress Kaisa Vilhunen, weaves a spectral jazz interlude to a folk song, where the axis mundi is a pillar to heaven made of silver and invokes the Holy Trinity in its introduction. The engagement between the frontline improvisers and rhythm section creates a moody, spectral soundworld for the singers. After a spoken word intro, “Vargman” (“Wolfman”) becomes a haunting improvisational interplay between the quintet and Trio Medieval; Langeland’s contralto relates a sung narrative above it all. Perhaps the most endearing quality of The Magical Forest, its center, so to speak, is Langeland’s kantele playing. Her Finnish table harp bridges jazz improvisation and folk song in “Beaver,” and illustrates the reach of Finnskogen from Western Europe to its outlying connections in Siberia and even Japan in “Kamu,” and underscores the inseparable relationship in this music between vocalists and instrumentalists on “Pillar to Heaven.” Langeland takes chances on The Magical Forest. She allows improvisers a greater degree of freedom. In turn, they extend the reach of her songs from the historical past to the present without erasing their folklore. By involving Trio Medieval, she invites a more fluid yet constant relationship between the physical and metaphysical. Together they illustrate the universal aspects of Finnskogen culture in global symbolism and myth. –AllMusic Review by Thom Jurek

Tracklist:
1. Puun Loitsu 03:02
2. Sammas 04:28
3. Jacob’s Dream 07:40
4. The Wolfman 05:09
5. The Magical Forest 05:38
6. Køyri 05:49
7. Kamui 06:11
8. Karsikko 04:38
9. Pillar to Heaven 04:58

Personnel:
Sinikka Langeland, vocals, kantele
Arve Henriksen, trumpet
Trygve Seim, soprano and tenor saxophone
Anders Jormin, double bass
Markku Ounaskari, drums
Trio Medieaval (Anna Maria Friman, Berit Opheim, Linn Andrea Fuglseth), vocals

Download:

https://subyshare.com/aaqozfzfi8up/SinikkaLangelandTheMagicalF0rest2016Q0buz2496.rar.html

Sonic Youth – Murray Street (2002/2016) [Official Digital Download 24bit/192kHz]

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Sonic Youth – Murray Street (2002/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 45:41 minutes | 1,76 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © DGC/Geffen Records
Recorded: August 2001 – March 2002 at Echo Canyon, New York City

Considered one of the band’s best albums, Sonic Youth’s 2002 release Murray Street is named for the location of the group’s studio in New York City, only two blocks from the World Trade Center. The terrorist attacks of 9/11 occurred during the writing and recording of this album, which therefore reflects the turmoil and uncertainty of the times. Murray Street also marks the beginning of Grammy-winning producer and guitarist Jim O’Rourke’s six year stint as a member of Sonic Youth.

Virtually every album Sonic Youth has released since the underrated Goo has been hailed as a return to form. However, Murray Street, their second collaboration with Jim O’Rourke (and their first with him as a full member of the group), not only recalls their past glories but explores new territory. Freed from the trendy agendas that marred A Thousand Leaves and NYC Ghosts & Flowers, the group revisits the complex, transcendent guitar epics that made them underground rock heroes in the first place. But Murray Street doesn’t just rehash the sound of their late-’80s heyday, either; for the most part, epics like the ’60s-tinged “The Empty Page” and “Rain on Tin” — which sounds a bit like a rural cousin to Television’s “Marquee Moon” — are built on surprisingly clean, crisp guitar tones that only explode into occasional noise-storms. Indeed, the guitar work on the album’s first three tracks is both economical and sensual, a feast of textures and counterpoints that never sounds overdone. Murray Street’s wonderfully natural yet intricate sound is O’Rourke’s most distinctive contribution to the group; while his work with Smog and Wilco pushed those groups to be more experimental and eclectic, with Sonic Youth he seems to give those tendencies focus and balance. Even the hypnotic drones at the end of “Karen Revisited,” the album’s noisy, oddly romantic centerpiece, have a unique precision and clarity. Murray Street’s first four songs rank among the most consistent, and consistently exciting, work in Sonic Youth’s career, so much so that the album’s shorter, more rock-oriented songs feel a bit anticlimactic. “Plastic Sun,” a Kim Gordon-sung rant, feels particularly out of keeping with the rest of Murray Street’s warm, expansive tone; “Radical Adults Lick Godhead Style” is a typical Sonic Youth rocker that suffers merely from not being as good as the first half of the album. Closing with the serenely sexy “Sympathy for the Strawberry,” Murray Street reaffirms that at the group’s best, Sonic Youth manages to sound fresh and timeless all at once. –AllMusic Review by Heather Phares

Tracklist:
1. The Empty Page 04:21
2. Disconnection Notice 06:25
3. Karen Revisited 11:11
4. Rain On Tin 07:56
5. Radical Adults Lick Godhead Style 04:27
6. Plastic Sun 02:14
7. Sympathy For The Strawberry 09:07

Personnel:
Thurston Moore – vocals (1–3, 5), guitar, photography
Kim Gordon – vocals (6, 7), bass, backing vocals (5)
Lee Ranaldo – vocals (4), guitar, backing vocals (1), keyboards (7)
Jim O’Rourke – guitar, bass, recording, engineering, mixing
Steve Shelley – drums, percussion
Additional:
Jim Sauter – horns (5)
Don Dietrich – horns (5)

Download:

https://subyshare.com/3ll3sf0q7ba5/S0nicY0uthMurrayStreet20022016HDTracks24192.part1.rar.html
https://subyshare.com/4tc2n2yi8gbh/S0nicY0uthMurrayStreet20022016HDTracks24192.part2.rar.html

Sonic Youth – Rather Ripped (2006/2016) [Official Digital Download 24bit/192kHz]

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Sonic Youth – Rather Ripped (2006/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 51:49 minutes | 2,05 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © DGC/Geffen Records
Recorded: December 2005 – January 2006, Sear Sound in New York City

Rather Ripped contains some of Sonic Youth’s most poppy and accessible songs, co-produced by John Agnello working with the band for the first time. The 2006 release marked the end of Sonic Youth’s nine-album run on Geffen Records as well as the departure of guitarist and producer Jim O’Rourke, who joined the group in 1999.

Considering that Sonic Youth lost Jim O’Rourke and found the custom-tweaked, irreplaceable guitars that were stolen in 1999 before heading into the studio to make Rather Ripped, it seemed that the album could be a big departure from what they’d been doing on Murray Street and Sonic Nurse — possibly a return to the kind of music they could only make with those instruments, or perhaps an entirely different approach that reflected their revamped, old-is-new-again lineup. Rather Ripped ends up being of a piece with their previous two albums, and often plays like a stripped-down, slightly less-inspired Sonic Nurse. Once again, Kim Gordon contributes some of the best tracks here; “Reena” and “Jams Run Free” are equal parts dreamy and driving, while “The Neutral” is a sweet, low-key love song. Thurston Moore contributes a gently but powerfully political track à la Sonic Nurse’s “Peace Attack” with “Do You Believe in Rapture?,” a reflection on peace and apocalypse that’s mostly serene, even if the guitar harmonics throughout the song add shivers of doubt and tension. “Rats” is a standard-issue Lee Ranaldo song, freewheeling and poetic (and with lines like “Let me place you in my past/With other precious toys,” it has the sharpest lyrics on Rather Ripped), even if it’s not quite as amazing as the previous album’s “New Hampshire.” Rather Ripped’s rock songs are solid, but not amazing — the interplay of Moore’s and Ranaldo’s guitars and Steve Shelley’s drumming are the best things about “Sleepin’ Around” and “What a Waste.” Actually, the more atmospheric songs end up being some of the most compelling. “Lights Out” reeks of whispery, late-night cool, and the closing track, “Or,” is one of the sparest and most oddly unsettling songs Sonic Youth has done in a while (not to mention a reminder that quiet doesn’t always mean peaceful in this band’s world). Rather Ripped is also surprisingly lean, with the songs on its first half feeling so tightly structured that they seem like radio edits. Only “Turquoise Boy” and “Pink Steam” really open up and deliver Sonic Youth’s famously sprawling, jam-based sound. If Rather Ripped is a tiny bit disappointing, it’s only because the band’s playing outpaces their songwriting ever so slightly. It’s a solidly good album, and if taken as part of a trio of albums with Sonic Nurse and Murray Street, it shows that Sonic Youth is still in a comfortable yet creative groove, not a rut. –AllMusic Review by Heather Phares

Tracklist:
1. Reena 03:48
2. Incinerate 04:56
3. Do You Believe In Rapture? 03:11
4. Sleepin’ Around 03:42
5. What A Waste 03:34
6. Jams Runs Free 03:53
7. Rats 04:24
8. Turquoise Boy 06:14
9. Lights Out 03:32
10. The Neutral 04:09
11. Pink Steam 06:57
12. Or 03:29

Personnel:
Thurston Moore – vocals, guitar
Kim Gordon – vocals, bass
Lee Ranaldo – guitar, vocals
Steve Shelley – drums

Download:

https://subyshare.com/5wue507vnbmv/S0nicY0uthRatherRipped20062016HDTracks24192.part1.rar.html
https://subyshare.com/1dzg6e7zqcvb/S0nicY0uthRatherRipped20062016HDTracks24192.part2.rar.html
https://subyshare.com/qq4dju8bmr87/S0nicY0uthRatherRipped20062016HDTracks24192.part3.rar.html

Tchaikovsky, Mendelssohn – Violin Concertos – Fumiaki Miura, Deutsches Symphonie-Orchester Berlin, Hannu Lintu (2015) [Official Digital Download 24bit/96kHz]

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Tchaikovsky, Mendelssohn – Violin Concertos – Fumiaki Miura, Deutsches Symphonie-Orchester Berlin, Hannu Lintu (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 01:05:47 minutes | 1,16 GB | Genre:  Classical
Studio Master, Official Digital Download – Source: Ototoy.jp | Front Cover | © Avex Classics
Recorded: 2015, Teldex Studio, Berlin

It was quite by chance, or happy coincidence, that I came across the name of Fumiaki Miura. Browsing performances of the Saint-Saëns Introduction and Rondo Capriccioso on YouTube, I stumbled on a version with an unnamed orchestra accompanying a dazzling performance by a young violinist, who seemed to take the concert by storm. It was pretty evident that here was an exceptional talent.

Born in Japan in 1993, Miura and has been playing the violin since the age of three. His father is a concertmaster and gave Fumiaki his first lessons. In 2008 he was admitted to the Toho Gakuen School of Music in Tokyo, studying with Tsugio Tokunaga. Recently he has been working with Pavel Vernikov at the Vienna Conservatory. His big break came in 2009 when he became the youngest ever winner of the Joseph Joachim Hannover International Violin Competition, where he pocketed both the Music Critics’ and the Audience Prize. In November 2012, he gave the Polish premiere of Penderecki’s Concerto for Viola and Violin with Julian Rachlin. His violin is a J.B. Guadagnini (1748) on loan from the Yellow Angel Foundation, Japan.
The Tchaikovsky Concerto in Miura’s hands is not just a vehicle for virtuosic display. He invests the score with an affluence of fantasy and resourcefulness, applying his formidable musicianship to the service of the music. Take the second subject of the opening movement: excess emotion is reined in and the music doesn’t degenerate into syrupy affectation. I would guess that he has lived with this piece for a while, has a profound understanding of its structure, and approaches it holistically. The double-stop passages in the development section are clean and well articulated, with pristine intonation. The cadenza is technically flawless, but musically contoured. The slow movement is tastefully played, not over-sentimentalized, and there’s an instinctive sense of line. The finale bristles with energy and élan, with spiccato passages crisp and incisive. He does not employ Leopold Auer’s cuts.
Likewise, in the Mendelssohn Concerto there is a maturity of vision. It’s a leisurely approach, with the music unfolding as though freshly composed. The lyrical passages are heartfelt and expressive. In the slow movement, Miura caresses the phrases, savouring the moment, and proves master of nuance and inflection. Expressive slides and position changes are not overdone, but are executed with refinement and intelligence. In the finale the sun comes out, and I’m thankful that it isn’t rushed like some. Articulation is clean and metrically elastic. Striking throughout is Miura’s rich, warm tone, which is never monochrome, but suffused with tonal colour and shadings.

Hannu Lintu proves a sensitive collaborator, and the rapport between soloist and conductor is immediately tangible. The recording engineers have achieved a sterling sound picture, with the Teldex Studio providing a sympathetically warm acoustic. The balance between soloist and orchestra is effectively met. Orchestral detail, especially from the glorious woodwind section of Deutsches Symphonie-Orchester, set this recording apart and does so with distinction. Booklet notes are in Japanese only, with English track-listings and timings.
Apparently, this is the second recording the violinist has made. His debut release was a disc of Prokofiev’s Violin Sonatas with Itamar Golan for Sony Japan, which I have not been able to track down. This is a pity, as it doesn’t seem to be available in the West. Miura has taken a brave stance taking on these two warhorses of the violin repertoire, in what is an over-saturated market-place. My initial fears, however, have been allayed. This recording ranks as one of most satisfying accounts of this perennial pairing I have heard, and worthily has a place on the shelves next to my favourite versions. I am almost certain that we will be hearing a lot more of Fumiaki Miura in days to come. Such outstanding talent bodes well for his future career. –Stephen Greenbank, MusicWeb International

Tracklist:

Pyotr Ilyich Tchaikovsky (1840-1893)
Violin Concerto in D major, Op.35
I. Allegro moderato 19:05
II. Canzonetta (Andante) 06:41
III. Finale (Allegro vivacissimo) 11:02

Felix Mendelssohn (1809-1847)
Violin Concerto in E minor, Op.64
I. Allegro molto appassionato 13:32
II. Andante 08:12
III. Allegretto non troppo – Allegro molto vivace 07:16

Personnel:
Fumiaki Miura, violin
Deutsches Symphonie-Orchester Berlin
Hannu Lintu, conductor

Download:

https://subyshare.com/vjzf3c9cptjf/Tchaik0vskyMendelss0hnVi0linC0ncert0sFumiakiMiuraDS0BerlinHannuLintu20150t0t0y2496.part1.rar.html
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The Singers Unlimited – Easy to Love (1981/2014) [Official Digital Download 24bit/88,2kHz]

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The Singers Unlimited – Easy to Love (1981/2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 37:49 minutes | 672 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: highresaudio.com | Front cover | © MPS
Recorded: Ocean Way Recording, Hollywood (orchestral) and MPS-Studio, Villingen (vocal), September 1980. Mixing session in MPS-Studio, Villingen, May 1981.

The Singers Unlimited were a four-part jazz vocal group formed in 1971 by Gene Puerling. Members of the group included Len Dresslar (better known as the Jolly Green Giant in General Mills commercials), Bonnie Herman, Don Shelton and Puerling himself.

Gene Puerling and Don Shelton had formed part of Puerling’s successful all-male vocal group, The Hi-Lo’s, some years previously, though Shelton was a 1959 replacement for original HiLo Bob Strassen. The Singers Unlimited group were originally formed to record for commercials in the USA, but as time passed, they were persuaded to enter the recording studio to record a series of albums. On the recommendation of pianist Oscar Peterson (who was also signed to the label at the time), they gained a contract with German label MPS. They recorded two albums in 1971, the first a cappella, the second, In Tune with Peterson’s then-current trio.
The group produced 15 albums, of which arguably the most well-known is their Christmas album (which was actually recorded before the group’s association with MPS.) All of the 14 albums they recorded specifically for MPS (between the years 1971-1982) are collected in the 7-CD box set entitled Magic Voices.

Puerling’s Singers Unlimited arrangements earned him the reputation as one of the best vocal writers in the world. Members of the renowned jazz-gospel vocal group Take 6 often give credit to Puerling and the Singers Unlimited as innovators in the a cappella world, claiming that they “went to school” on Puerling’s arrangements.
Puerling took advantage of cutting-edge multitracking techniques of German studio engineer Hans Georg Brunner-Schwer to create his advanced harmonic concepts and the group’s signature sound. In the overdubbing process, baritone Puerling and tenor Shelton would often add two additional middle parts, after which all parts were “doubled” and “tripled.” Creating these extra tracks created the fuller, richer sound of the group’s recordings, and is now a common recording practice. Gene Puerling died on March 25, 2008.

Bass singer Len Dresslar (1924–2005) was known as the voice of the Jolly Green Giant (“Ho, Ho, Ho!”) for over 40 years, as well as the voice behind countless other jingles from Chicago. He had also been the President of the Chicago branch of the American Federation of Television and Radio Artists (AFTRA) for several years in the mid-to-late 1980s.

Bonnie Herman was the singer of the original “Like a Good Neighbor, State Farm Is There” commercial jingle, which ran for several years. She is the daughter of Lawrence Welk original Champagne Lady Lois Best, and Jules Herman, who was a trumpet player in the Welk orchestra. She is the niece of big band leader Woody Herman. –wikipedia

Tracklist:
1. Easy to Love 03:14
2. Where or When 04:14
3. Close Enough for Love 04:42
4. Mountain Greenery 04:17
5. Lullaby of Birdland 04:11
6. Falling in Love With Love 03:55
7. Nina Never Knew 04:38
8. Bass-Ically Speaking 03:10
9. Willow Weep for Me 05:27

Personnel:
Acoustic Bass – Bob Magnusson
Alto Saxophone – Bud Shank
Arranged By [Orchestra], Conductor, Electric Piano [Rhodes], Piano – Les Hooper
Arranged By [Vocals] – Gene Puerling
Baritone Saxophone – Bob Tricarice
Bass [Fender] – Bob Magnusson
Bass Clarinet – Bob Tricarice
Clarinet – Pete Christlieb
Drums – Tom Radtke
Flugelhorn – Chuck Findley, Warren Luening
Flute, Flute [Alto] – Bud Shank, Don Shelton
French Horn – Vince DeRosa
Percussion – Tom Radtke
Tenor Saxophone – Don Shelton, Pete Christlieb
Trombone – Bill Watrous
Trumpet – Chuck Findley, Warren Luening
Vocals – Bonnie Herman, Don Shelton, Gene Puerling, Len Dresslar

Download:

https://subyshare.com/55fr2pzyj10b/TheSingersUnlimitedEasyt0L0ve19812014HRA2488.2.rar.html

The Singers Unlimited – Eventide (1978/2014) [Official Digital Download 24bit/88,2kHz]

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The Singers Unlimited – Eventide (1978/2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 44:50 minutes | 816 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: highresaudio.com | Front cover | © MPS
Recorded: May, 1976, MPS Studio Villingen

Tracklist:
1. Deep Purple 03:46
2. Air (From the Suite in D) 04:11
3. Put Your Dreams Away 03:44
4. I Loved You 03:31
5. In the Still of the Night 03:44
6. Mona Lisa 03:56
7. Feelings 04:59
8. Gymnopedies I 04:18
9. Yours Truly Rosa 03:12
10. Marlies 02:51
11. How Beautiful Is Night 03:27
12. Eventide 03:13

Personnel:
Arranged By [Orchestra], Conductor – Robert Farnon
Vocals – Bonnie Herman, Don Shelton, Len Dresslar
Vocals, Arranged By [Vocal Arrangements] – Gene Puerling

Download:

https://subyshare.com/4e3z88rnbhhv/TheSingersUnlimitedEventide19782014HRA2488.2.rar.html


The Singers Unlimited – Four of Us (1973/2014) [Official Digital Download 24bit/88,2kHz]

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The Singers Unlimited – Four of Us (1973/2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 33:27 minutes | 614 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: highresaudio.com | Front cover | © MPS
Recorded: MPS-Studio, Villingen, June ’73

Tracklist:
1. We’ve Only Just Begun 03:56
2. It Could Happen to You 02:44
3. Soon It’s Gonna Rain 02:55
4. Where Is Love 02:56
5. My Ship 03:53
6. You’ve Got a Friend 04:03
7. Jennifer’s Rabbit 02:03
8. Look Around 03:41
9. Snowfall 03:14
10. If 04:02

Personnel:
Arranged By [Vocals] – Gene Puerling
Bass, Electric Bass – Jim Atlas
Drums – Jerry Coleman
Guitar, Electric Guitar – Pat Ferreri
Orchestrated By – Les Hooper
Vocals – Bonnie Herman, Don Shelton, Gene Puerling, Len Dresslar

Download:

https://subyshare.com/ekyxlexpbdov/TheSingersUnlimitedF0ur0fUs19732014HRA2488.2.rar.html

The Singers Unlimited – Friends (1977/2014) [Official Digital Download 24bit/88,2kHz]

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The Singers Unlimited – Friends (1977/2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 38:13 minutes | 724 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: highresaudio.com | Front cover | © MPS
Recorded: vocals recorded Oct. 25-29, 1976 in Villingen, Germany at MPS Recording Studios; instrumental recorded Sept. 22, 23, 1976 in Los Angeles at A&M Studios

Tracklist:
1. Sweet Georgia Brown 03:12
2. When April Comes Again 03:26
3. Just Friends 03:37
4. The Trouble With Hello Is Good-Bye 03:44
5. I Got Rhythm 04:13
6. Don’t Get Around Much Anymore 04:09
7. When the Sun Comes Out 03:44
8. Eleanor Rigby 05:22
9. She Was Too Good to Me 03:56
10. I’m Gonna Go Fishin’ 03:36

Personnel:
Arranged By [Orchestra], Conductor [Orchestra] – Patrick Williams
Drums – Steve Schaeffer
Electric Bass [Fender Bass] – Chuck Berghofer, Chuck Raney, Jim Hughart
Electric Piano – Clare Fischer
Electric Piano [Rhodes] – Dave Grusin
French Horn – David Duke, Bob Henderson, Vince DeRosa
Guitar – Dan Ferguson
Percussion – Larry Bunker
Trombone – Bill Watrous, Chauncy Welch, Don Waldrop, George Roberts
Trumpet – Buddy Childers, Danny Stiles, Gary Grant, Malcom Mc Nab
Tuba – Tommy Johnson
Vocals – Bonnie Herman, Don Shelton, Len Dresslar
Vocals, Arranged By [Vocal Arrangements], Producer – Gene Puerling
Woodwind – Tom Scott

Download:

https://subyshare.com/b3jnlxkdkgl3/TheSingersUnlimitedFriends19772014HRA2488.2.rar.html

The Singers Unlimited with Rob McConnell and the Boss Brass (1979/2014) [Official Digital Download 24bit/88,2kHz]

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The Singers Unlimited with Rob McConnell and the Boss Brass (1979/2014)
FLAC (tracks) 24 bit/88,2 kHz | Time – 38:39 minutes | 693 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: highresaudio.com | Front cover | © MPS
Recorded: Instrumental tracks recorded in June, 1978 at (Nimbus 9) Sound Stage Studios, Toronto, Ontario, Canada. Vocal tracks recorded in August, 1978 at MPS Studio, Villingen. Mixed Dec. 4-8, 78.

Tracklist:
1. Tangerine 03:13
2. Laura 03:58
3. Lullaby of the Leaves 04:13
4. You Are My Sunshine 02:30
5. Sophisticated Lady 05:05
6. A Beautiful Friendship 02:19
7. It Might as Well Be Spring 06:06
8. Chelsea Morning 03:31
9. Dindi 03:20
10. Peaces of Dreams 04:24

Personnel:
Acoustic Bass, Electric Bass – Don Thompson
Acoustic Guitar, Electric Guitar – Ed Bickert
Arranged By [Instrumental] – Rob McConnell
Bass Trombone – Ron Hughes
Clarinet, Bass Clarinet, Baritone Saxophone – Gary Morgan
Clarinet, Tenor Saxophone – Rick Wilkins
Drums – Terry Clarke
Flute, Clarinet, Alto Saxophone – Jerry Toth
Flute, Clarinet, Tenor Saxophone – Eugene Amaro
French Horn – Brad Warnaar, George Stimpson
Percussion – Marty Morell
Piano, Electric Piano – James Dale
Piccolo Flute, Soprano Saxophone, Alto Saxophone – Moe Koffman
Trombone – Dave McMurdo
Trombone [Lead] – Bob Livingston, Ian McDougall
Trumpet [Lead], Flugelhorn – Arnie Chycoski, Erich Traugott
Trumpet, Flugelhorn – Bruce Cassidy, Guido Basso, Sam Noto
Vocals – Bonnie Herman, Don Shelton, Len Dresslar
Vocals, Producer, Arranged By [Vocals] – Gene Puerling

Download:

https://subyshare.com/kb2vwfsdl9ut/TheSingersUnlimitedwithR0bMcC0nnellandtheB0ssBrass19792014HRA2488.2.rar.html

Wilson Pickett – In The Midnight Hour (1965/2012) [Official Digital Download 24bit/192kHz]

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Wilson Pickett – In The Midnight Hour (1965/2012)
FLAC (tracks) 24-bit/192 kHz | Time – 30:58  minutes | 1,06 GB | Genre: R&B, Soul
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Atlantic Records

In The Midnight Hour was Wilson Pickett’s first album for Atlantic Records. The work is a compilation of early singles recorded from 1961 to 1965. An excellent sampler of Pickett’s gospel-trained vocals and raw power, the album includes one of Pickett’s biggest hits, “In The Midnight Hour.” The song would be listed on the Rock and Roll Hall of Fame’s “500 Songs that Shaped Rock and Roll” and Rolling Stone’s “500 Greatest Songs of All Time.” Also included are the gems, “I’m Not Tired” and “Don’t Fight It.” This is an absolute essential recording!

Wilson Pickett’s first album, from 1965, was a bit of a hodgepodge, including singles from as far back as 1962. Three of these tracks were actually issued as singles by The Falcons (for whom Pickett sang lead) before he started his solo career; others were issued as singles before Pickett broke through as a national star with the title track. This 12-track album doesn’t really suffer as a result, however. Besides the all-time classic “In the Midnight Hour,” it includes the Mann/Weil-penned single “Come Home Baby,” covered by several rock and soul artists; “Don’t Fight It,” which reached the R&B Top Ten in late 1965; “I’m Gonna Cry,” a 1964 single Pickett wrote with fellow soul legend Don Covay; and “I Found a Love,” the Falcons single that made the R&B Top Ten in 1962. Working with several collaborators (including Steve Cropper), Pickett himself wrote most of the tunes on this album. The record also featured the first recordings he made with the Stax rhythm section in Memphis — a combination that would yield much fine soul music throughout the rest of the ’60s. The 1993 CD reissue of this album features extensive liner notes and session details. –AllMusic Review by Richie Unterberger

Tracklist:
1 In The Midnight Hour 2:30
2 Teardrops Will Fall 2:27
3 Take A Little Love 2:18
4 For Better Or Worse 2:45
5 I Found A Love 2:25
6 That’s A Man’s Way 2:19
7 I’m Gonna Cry 2:19
8 Don’t Fight It 2:30
9 Take This Love I’ve Got 2:12
10 Come Home Baby 2:34
11 I’m Not Tired 2:45
12 Let’s Kiss And Make Up 2:30

Personnel:
Wilson Pickett – Vocals
Charles “Packy” Axton, Joseph Grimaldi, Andrew Love – Sax (Tenor)
Jack Cortner, Wayne Jackson, Ernie Royal, Clark Terry – Trumpet
Steve Cropper, Cornell Dupree, Wally Richardson, Robert Ward – Guitar
Donald “Duck” Dunn, Jimmy Lewis – Bass
The Falcons, Eddie Floyd, Cissy Houston, Ben Night, Sir Mack Rice, Joe Stubbs – Vocals
Lance Finnie – Guitar
Panama Francis, Al Jackson, Jr., Todd Sommer – Drums
Paul Griffin, Joe Hall, Ivory Joe Hunter – Piano
Haywood Henry, Floyd Newman – Sax (Baritone)
Tony Studd – Trombone (Bass)

Download:

https://subyshare.com/kyk9gihvqf8c/Wils0nPickettTheMidnightM0ver19682012HDTracks24192.part1.rar.html
https://subyshare.com/8j4j1wsynoy4/Wils0nPickettTheMidnightM0ver19682012HDTracks24192.part2.rar.html

Wynton Kelly Trio, Wes Montgomery – Smokin’ At The Half Note (1965/2013) [Official Digital Download DSF DSD64/2.82MHz]

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Wynton Kelly Trio, Wes Montgomery – Smokin’ At The Half Note (1965/2013)
DSF Stereo DSD64/2.82MHz | Time – 41:10 minutes | 1,62 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: AcousticSounds | Front Cover | © Verve Music
Recorded: Recorded June 1965 at the Half Note, New York City; and September 22, 1965 at Van Gelder Studio, Englewood Cliffs, New Jersey.

Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

A Tremendously Important Historic Jazz Record That Pairs Guitar Virtuoso Wes Montgomery With Miles Davis’ Rhythm Section – Paul Chambers and Jimmy Cobb

This is timeless music that has inspired innumerable jazz guitarists and aficionados. In fact, jazz guitar great Pat Metheny has said, “I learned to play listening to Wes Montgomery’s Smokin’ At The Half Note.” Metheny additionally said that the solo on “If You Could See Me Now” is his favorite of all time.

This legendary session was recorded at a New York nightclub. It captures Montgomery at the height of his improvisational powers. Many consider it the best performance on record by one of the most inventive guitarists in jazz history.

Highlights include the Miles Davis opener, “No Blues” and the following track, Tadd Dameron’s “If You Could See Me Now.” And the album’s versions of “Unit 7” and “Four On Six” have helped to establish these songs as jazz standards.

Smokin’ at the Half Note is essential listening for anyone who wants to hear why Montgomery’s dynamic live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. Pat Metheny calls this “the absolute greatest jazz guitar album ever made,” and with performances of this caliber (“Unit 7” boasts one of the greatest guitar solos ever recorded) his statement is easily validated. Montgomery never played with more drive and confidence, and he’s supported every step of the way by a genuinely smokin’ Wynton Kelly Trio. In 1998, Verve reissued the complete show on disc two of Impressions: The Verve Jazz Sides, although the scrambled track order and some non-essential cuts don’t diminish the appeal of the original album. –Jim Smith

Tracklist:
1 No Blues 13:00
2 If You Could See Me Now 6:45
3 Unit 7 7:30
4 Four On Six 6:45
5 What’s New 6:00

Personnel:
Wes Montgomery – guitar
Wynton Kelly – piano
Paul Chambers – bass
Jimmy Cobb – drums

Download:

https://subyshare.com/kei7x2m1axb4/Wynt0nKellyTri0WesM0ntg0merySm0kinAtTheHalfN0te19652013Ac0usticS0undsDSD64.part1.rar.html
https://subyshare.com/hhyc1llc5852/Wynt0nKellyTri0WesM0ntg0merySm0kinAtTheHalfN0te19652013Ac0usticS0undsDSD64.part2.rar.html

FLAC 24-192

http://hdmusic.pw/wes-montgomery-wynton-kelly-trio-smokin-at-the-half-note-19652014-official-digital-download-24bit192khz/

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