Christian McBride, Hank Jones, Jimmy Cobb – West of 5th (2006)
FLAC (tracks) 24-bit/96 kHz | Time – 1:02:07 minutes | 1,25 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital booklet | © Chesky Records

Veteran pianist Hank Jones is hardly slowing down at the age of 87, as heard on this beautifully recorded session in early 2006. With drummer Jimmy Cobb (who sticks to brushes) and Christian McBride rounding out his potent trio, Jones keeps old warhorses like “On Green Dolphin Street” fresh, giving ample space to his partner and adding a humorous detour into Billy Strayhorn’s “Rain Check.” Other highlights include his elegant treatment of his late brother Thad’s timeless ballad “A Child Is Born” and a hard driving take of Charlie Parker’s “Confirmation.” McBride shows depth beyond his years with strong accompaniment and swinging solos. This Hybrid Super Audio CD, recorded without any gimmickry such as remixing or compression, enables the listener to enjoy these intimate performances as if sitting in the studio with the players. Highly recommended!

Tracklist:
01. On Green Dolphin Street
02. Mr. Walker
03. Speak Low
04. A Child is Born
05. If I Were a Bell
06. Billy’s Bounce
07. Lotus Blossom
08. Confirmation
09. We’ll Be Together Again
10. Stella By Starlight
11. Eleanor

Download:

https://subyshare.com/6xgz6a8bywu4/JonesMcBrideCobb06HD2496.part1.rar.html
https://subyshare.com/2e3vv9eklc3t/JonesMcBrideCobb06HD2496.part2.rar.html

SACD

http://hdmusic.pw/hank-jones-christian-mcbride-jimmy-cobb-west-of-5th-2006-2-0-4-0-ps3-iso-flac/

Tim McGraw & Faith Hill – The Rest of Our Life (2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 44:15 minutes | 523 MB | Genre: Country
Studio Master, Official Digital Download  – Source: Qobuz | Front Cover | © Arista Nashville

Tim McGraw & Faith Hill, Grammy-winning superstars, release their first album together, ‘The Rest of Our Life!’

The 11-song collection will be released by Sony Music Entertainment under the Arista Nashville/McGraw Music imprint on the heels of the title-track second single, penned by Ed Sheeran, Amy Wadge, Johnny McDaid, and Steve Mac.

Teaming with two of Nashville’s most accomplished producers, Hill and McGraw produced nine of the new album’s 11 songs with Byron Gallimore, and two tracks with Dann Huff.

A storybook example of a successful marriage, Tim McGraw and Faith Hill are no stranger to each other’s records — a year after the wedding, Hill appeared on McGraw’s 1997 single, “It’s Your Love” — but The Rest of Our Life is the first time they’ve recorded a full album together. Fittingly, the record is about being in a long-term relationship, and while the album is proudly soothing, neither singer shies away from the realities of advancing age. McGraw sings about his greying hair and expanding waistline on the title track — a song co-written by international sensation Ed Sheeran — and there are allusions to tough times on “Break First” and “Damn Good at Holding On,” but these are details that fade into the sumptuous production masterminded by the duo and Bryon Gallimore. All three have built The Rest of Our Life for comfort; it’s an album designed to be played on lazy Sunday afternoons, on long drives, and doing housework, a soundtrack to everyday life. As such, it can veer toward background music, but it’s enlivened by the chemistry between McGraw and Hill. After 20 years of marriage, they still seem smitten with each other, and that palpable affection is not only endearing, it sustains the album.

Tracklist:
1. The Rest of Our Life
2. Telluride
3. The Bed We Made
4. Cowboy Lullaby
5. Break First
6. Love Me to Lie
7. Sleeping in the Stars
8. Damn Good at Holding On
9. Devil Callin’ Me Back
10. Speak to a Girl
11. Roll the Dice

Download:

https://subyshare.com/qo3nt7b2l5zw/TimMcGrawFaithHillTheRest0f0urLife20172444.1Q0buz.rar.html

Feist – Metals (2011/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 49:59 minutes | 1,02 GB | Genre: Alternative, Indie
Studio Masters, Official Digital Download | Booklet, Front Cover | © Polydor

With Metals, Feist responds to the surprise success of 2007’s The Reminder with a whisper, not a bang. She treads lightly through a series of disjointed torch songs and smoky pop/rock numbers, singing most of the songs in a soft, gauzy alto, as though she’s afraid of waking some sort of slumbering beast. Whenever the tempo picks up, so does Feist’s desire to keep things weird, with songs like “A Commotion” pitting pizzicato strings against a half-chanted, half-shouted refrain performed by an army of male singers. But Metals does its best work at a slower speed, where Feist can stretch her vocals across fingerplucked guitar arpeggios and piano chords like cotton. “Cicadas and Gulls,” with its simple melodies and pastoral ambience, rides the same summer breeze as Iron & Wine, and “Anti-Pioneer” breaks down the blues into its sparsest parts, retaining little more than a sparse drumbeat and guitar until the second half, where strings briefly swoon into the picture like an Ennio Morricone movie soundtrack. They’re gone after 30 seconds, though, leaving things as quiet as they began. Like the rest of the subdued track list, “Anti-Pioneer” is unlikely to find itself featured in an iPod commercial, meaning Feist’s days as a provider of hip, trendy TV jingles may be over. Still, there’s a soft-spoken power to Metals, even if its songs are more liquid and atmospheric than the title suggests.

Tracklist:
01. The Bad In Each Other
02. Graveyard
03. Caught A Long Wind
04. How Come You Never Go There
05. A Commotion
06. The Circle Married The Line
07. Bittersweet Melodies
08. Anti-Pioneer
09. Undiscovered First
10. Cicadas And Gulls
11. Comfort Me
12. Get It Wrong, Get It Right

Download:

https://subyshare.com/87tl9hcoq72x/FeistMetals20132496.part1.rar.html
https://subyshare.com/l0qy8q7qj70i/FeistMetals20132496.part2.rar.html

Flavia Coelho – Sonho real (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 49:55 minutes | 573 MB | Genre: Bossa Nova
Studio Masters, Official Digital Download | Front Cover | © [PIAS] Le Label

Sonho Real glows with the colours of the butterfly. There are hints of forro and ragga, frenzied ska rhythms and a dub nonchalance. The 14 tracks on the album stand alone as individual statements but work in sequence and flow as one. Brass section, guitars, keyboards, percussion, drums, bass and accordion blend into a consistent whole enhanced by the subtle mixing skills of Victor-Attila who provides a modern gloss with a vintage feel, all the while showcasing Flavia’s voice and harmonies: sensual, joyous with the innocence of childhood.

Tracklist:
01. Se ligue
02. Pura vida
03. Paraiso
04. Na favela
05. Bom bom
06. Quer vadiar
07. Nada perdi
08. Geral
09. Leidi
10. Mulher
11. Meu cabelo
12. Sem você
13. Cê inventa
14. Temontou

Download:

https://subyshare.com/eu0rhpk6u12o/FlaviaC0elh0S0nh0real20162444.1.rar.html

Fleetwood Mac – Fleetwood Mac (1975) {Deluxe Edition 2018}
FLAC (tracks) 24 bit/96 kHz | Time – 03:26:44 minutes | 3,96 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Rhino – Warner Bros.

FLEETWOOD MAC : EXPANDED EDITION features a newly remastered version of the original album along with single mixes for “Over My Head,” “Rhiannon,” “Say You Love Me.” Also included is a second disc with an alternate version of the complete album comprised of unreleased outtakes for each album track, plus several unreleased live performances from 1976.

It’s unfair to say that Fleetwood Mac had no pop pretensions prior to the addition of Lindsey Buckingham and Stevie Nicks to the lineup in 1975. When they were led by Bob Welch they often flirted with pop, even recording the first version of the unabashedly smooth and sappy “Sentimental Lady,” which would later be one of the defining soft rock hits of the late ’70s. Still, there’s no denying that 1975’s Fleetwood Mac represents not just the rebirth of the band, but in effect a second debut for the group — the introduction of a band that would dominate the sound of American and British mainstream pop for the next seven years. In fact, in retrospect, it’s rather stunning how thoroughly Buckingham and Nicks, who had previously recorded as a duo and were romantically entangled in the past, overtook the British blues band. As soon as the Californian duo came onboard, Fleetwood Mac turned into a West Coast pop/rock band, transforming the very identity of the band and pushing the band’s other songwriter, keyboardist Christine McVie, to a kindred soft rock sound. It could have all been too mellow if it weren’t for the nervy, restless spirit of Buckingham, whose insistent opener, “Monday Morning,” sets the tone for the rest of the album, as well the next few years of the group’s career. Surging with a pushily melodic chorus and a breezy Californian feel, the song has little to do with anything the Mac had done before this, and it is a positively brilliant slice of pop songwriting, simultaneously urgent and timeless. After that barnstorming opener, Buckingham lies back a bit, contributing only two other songs — a cover of Richard Curtis’ “Blue Letter,” the second best up-tempo song here, and the closer, “I’m So Afraid” — while the rest of the album is given over to the wily spirits of Nicks and McVie, whose singles “Rhiannon,” “Say You Love Me,” and “Over My Head” deservedly made this into a blockbuster. But a bandmember’s contribution can never be reduced to his own tracks, and Buckingham not only gives the production depth, he motivates the rest of the band, particularly Nicks and McVie, to do great work, not just on the hit singles but the album tracks that give this record depth. It was diverse without being forced, percolating with innovative ideas, all filtered through an accessible yet sophisticated sensibility. While Rumours had more hits and Tusk was an inspired work of mad genius, Fleetwood Mac wrote the blueprint for Californian soft rock of the late ’70s and was the standard the rest were judged by.

Tracklist

CD1
1. Fleetwood Mac – Monday Morning (Remastered)
2. Fleetwood Mac – Warm Ways (Remastered)
3. Fleetwood Mac – Blue Letter (Remastered)
4. Fleetwood Mac – Rhiannon (Remastered)
5. Fleetwood Mac – Over My Head (Remastered)
6. Fleetwood Mac – Crystal (Remastered)
7. Fleetwood Mac – Say You Love Me (Remastered)
8. Fleetwood Mac – Landslide (Remastered)
9. Fleetwood Mac – World Turning (Remastered)
10. Fleetwood Mac – Sugar Daddy (Remastered)
11. Fleetwood Mac – I’m So Afraid (Remastered)
12. Fleetwood Mac – Over My Head (Remastered)
13. Fleetwood Mac – Rhiannon (Will You Ever Win) (Remastered)
14. Fleetwood Mac – Say You Love Me (Remastered)
15. Fleetwood Mac – Blue Letter (Single Version)

CD2
16. Fleetwood Mac – Monday Morning (Early Take)
17. Fleetwood Mac – Warm Ways (Early Take)
18. Fleetwood Mac – Blue Letter (Early Take)
19. Fleetwood Mac – Rhiannon (Early Take)
20. Fleetwood Mac – Over My Head (Early Take)
21. Fleetwood Mac – Crystal (Early Version)
22. Fleetwood Mac – Say You Love Me (Early Version)
23. Fleetwood Mac – Landslide (Early Version)
24. Fleetwood Mac – World Turning (Early Version)
25. Fleetwood Mac – Sugar Daddy (Early Take)
26. Fleetwood Mac – I’m So Afraid (Early Version)
27. Fleetwood Mac – Over My Head (Live from The Burbank Studios, Burbank, CA, 1/26/76)
28. Fleetwood Mac – Rhiannon (Live from The Burbank Studios, Burbank, CA, 1/26/76)
29. Fleetwood Mac – Why (Live from The Burbank Studios, Burbank, CA, 1/26/76)
30. Fleetwood Mac – World Turning (Live from The Burbank Studios, Burbank, CA, 1/26/76)
31. Fleetwood Mac – Jam #2 (Remastered)
32. Fleetwood Mac – I’m So Afraid (Early Take Instrumental)

CD3
33. Fleetwood Mac – Get Like You Used To Be (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
34. Fleetwood Mac – Station Man (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
35. Fleetwood Mac – Spare Me A Little (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
36. Fleetwood Mac – Rhiannon (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
37. Fleetwood Mac – Why (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
38. Fleetwood Mac – Landslide (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
39. Fleetwood Mac – Over My Head (Live at Campus Stadium, University of California, Santa Barbara, CA 5/2/76)
40. Fleetwood Mac – I’m So Afraid (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
41. Fleetwood Mac – Oh Well (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
42. Fleetwood Mac – The Green Manalishi (With The Two Pronged Crown) (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
43. Fleetwood Mac – World Turning (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
44. Fleetwood Mac – Blue Letter (Live at Capitol Theatre, Passaic, NJ, 10/17/75)
45. Fleetwood Mac – Don’t Let Me Down Again (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)
46. Fleetwood Mac – Hypnotized (Live at Jorgensen Auditorium, University of Connecticut, Storrs, CT, 10/25/75)

Download:

https://subyshare.com/ep3nv0jq9mwu/Fleetw00dMacFleetw00dMac1975DeluxeEditi0n20182496.part1.rar.html
https://subyshare.com/57juoqm8wjjn/Fleetw00dMacFleetw00dMac1975DeluxeEditi0n20182496.part2.rar.html
https://subyshare.com/d7hlcbma5av2/Fleetw00dMacFleetw00dMac1975DeluxeEditi0n20182496.part3.rar.html
https://subyshare.com/7j3sy7sgll4o/Fleetw00dMacFleetw00dMac1975DeluxeEditi0n20182496.part4.rar.html
https://subyshare.com/vm8baacd589h/Fleetw00dMacFleetw00dMac1975DeluxeEditi0n20182496.part5.rar.html

Florent Pagny – Vieillir avec toi (Deluxe Version) (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 53:04 minutes | 590 MB | Genre: Chanson, French Pop
Studio Masters, Official Digital Download | Booklet, Front Cover | © AZ

Il faut remonter trois ans en arrière pour trouver le dernier album original francophone de Florent Pagny. C’était Tout et Son Contraire, quatre ans après Abracadabra. Car malgré son titre, C’est Comme Ça, sorti en 2009, l’était en espagnol et Baryton – Gracias a La Vida, paru en 2012, reprenait des classiques hispanophones après le live acoustique Ma Liberté de Chanter.

Pour ce nouvel album de dix titres, enrichi de quatre versions acoustiques au piano ou à la guitare pour l’édition limitée, le chanteur au collier de barbe s’est entiché des propositions faites par son ami Calogero, qui a écrit et composé le disque dans son intégralité. C’est donc en tant qu’interprète que Florent Pagny fait son entrée avec le titre le plus grandiloquent de la sélection, « Les Murs porteurs », à la symbolique lourde. Les choses s’arrangent avec les arrangements plus légers de « Combien de gens », évocation de séparations forcées au parfum bohème et « Vieillir avec toi », au refrain entêtant sur fond d’harmonium.

« Le Soldat », qui suit, est une lettre d’un mobilisé à son Augustine, à la mélodie un peu faible pour la commémoration de la guerre de 1914, tandis qu’« Après nous » chante la mort sur un air insouciant de symphonie spectorienne. La Faucheuse est encore au programme de « Condoléances », pièce classique au piano glissée entre le morceau pop rock « Parle », bien équilibré, et le folk baba cool de « On sera là ». L’atmosphère de gravité qui tourne autour des thèmes est rattrapée par les sonorités allègres, à l’instar de « Quand on est seul en décembre » et « Souviens-toi », qui ferment la marche. L’ensemble, aux arrangements soignés, se révèle de bonne facture.

Tracklist:
01. Les murs porteurs
02. Combien de gens
03. Vieillir avec toi
04. Le soldat
05. Après nous
06. Parle
07. Condoléances
08. On sera là
09. Quand on est seul en décembre
10. Souviens-toi
11. Les murs porteurs (Acoustic)
12. Le soldat (Acoustic)
13. Vieillir avec toi (Acoustic)
14. Combien de gens (Acoustic)

Download:

https://subyshare.com/e2rv7alrg87a/Fl0rentPagnyVieilliravect0iDeluxeVersi0n20132444.1.rar.html

Franz Kirmann & Tom Hodge – McMafia (From The BBC TV Programme) (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 46:27 minutes | 442 MB | Genre: Soundtrack
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

We’re kicking off the year in style with the soundtrack to McMafia. Tom Hodge joins forces with long-time collaborator Franz Kirmann to score the brand new eight-part BBC / AMC drama starring James Norton, the first episode aired on New Year’s Day. A word for the soundtrack, composed by Tom Hodge and Franz Kirmann, particularly effective in a twisted, electronic passage at the conclusion which aptly conveys “McMafia”.

Tracklist:
01. He’s Home
02. By Deception, We Will Do War
03. Main Title Theme
04. I’m A Banker Not A Gangster
05. I’m Here For You
06. Get Away From The Door
07. I’m Sorry I Have Been Away
08. What Does It Take To Corrupt You?
09. This Is What You Have To Do
10. Don’t Forget, My Love
11. This Is How It Works I’m Afraid
12. I Don’t Scare Easily
13. You Are A Lucky Man
14. Without You I Have Nothing To Live For
15. It’s A Gesture Of Good Will
16. In This World You Are An Innocent
17. We’re On
18. We’re In
19. Is That How You Talk To An Intruder?
20. Who’s God Now?

Download:

https://subyshare.com/va8n9v2ds8sw/FranzKirmannT0mH0dgeMcMafiaFr0mTheBBCTVPr0gramme20182444.1.rar.html

Gaëtan Roussel – Orpailleur (2013)
FLAC (tracks) 24 bit/44,1 kHz | Time – 40:23  minutes | 480 MB | Genre: Chanson, French Pop
Studio Masters, Official Digital Download | Booklet, Front Cover | © Barclay

Après avoir fait bang avec Louise Attaque et bing avec Tarmac, Gaëtan Roussel a bossé sur le mémorableBleu Pétrole de feu Bashung et finalement atteint le wow des plus hautes cimes avec son album Ginger, selon plusieurs le plus bel opus de chanson francophone de l’année 2009 – de surcroît le meilleur spectacles des Francofolies montréalaises en 2010.

Quatre ans plus tard, son Orpailleur ne suscite pas le wow d’emblée. Un plus conceptuel, un moins viscéral. Moins évident à applaudir que Ginger, difficile à le situer d’emblée par rapport au précédent. La beauté se découvre au fil des écoutes, les chansons grandissent en vous, laissent émerger de grandes qualités.

Orpailleur (étiquette Barclay /Universal) a été réalisé de concert avec le complice Benjamin Lebeau et le désormais renommé Julien Delfaud (Phoenix, Woodkid), les rimes ont été écrites de concert avec Pierre-Dominique Burgaud, à peu près inconnu en Amérique mais certes respecté en France, notamment pour son travail auprès d’Alain Chamfort, Claire Denamur et David Hallyday. À l’évidence, Burgaud a respecté la concision littéraire, le dépouillement récurrent, le minimalisme consonant de son employeur tout en lui conférant un lustre et un raffinement supplémentaires.

Beaucoup de boulot abattu, rimes et fréquences peaufinées, quête déterminée dans les alluvions aurifères et… un peu moins de cohésion apparente, de plus en plus de cohésion fondue dans l’environnement. Étonnamment, l’usage de lutheries sophistiquées contraste avec les efforts de dépouillement ici observés. Les structures des chansons sont parfois typiquement rousselliennes, parfois pop-technoïdes. En somme, un travail de synthèse rappelant différe.

Tracklist:
01. La Simplicité
02. Éolienne
03. Par Dessus Tes Epaules
04. Cha Cha Cha
05. Poésie
06. Orpailleur
07. Matrice
08. Hum Hum Hum
09. Face Aux Etoiles
10. We Will Be Strong
11. La Barbarie
12. Les Courants D’Air

Download:

https://subyshare.com/bwqyektaoxqk/GatanR0ussel0rpailleur20132444.1.rar.html

Geoffroy – Coastline (2017)
FLAC (tracks) 24 bit/48 kHz | Time – 40:59 minutes | 486 MB | Genre: Alternative, Indie
Studio Masters, Official Digital Download | Booklet, Front Cover | © Bonsound Records

The eleven songs form an album that is both original and cohesive, and explores Geoffroy’s many states of mind. Inspired by travel and nature, as well as the desire for transformation, the artist is in full quest- mode for liberty and independence. More electro than his 2015 “Soaked in Gold” EP, “Coastline” still features organic instrumentation, unique to Geoffroy’s aesthetic. He’s produced a solid mix of percussions, guitars, analog keyboards and synths, and woodwind instruments on several songs.

Tracklist:
01. Coastline
02. Sleeping on My Own
03. Trouble Child
04. Raised by Wolves
05. Day at the Museum
06. Got Me All Tired
07. As Long (feat. Fjord)
08. Bad Habit
09. Call of the Wild
10. Pusherman
11. Thirsty (feat. Men I Trust)

Download:

https://subyshare.com/izx6ofbfputn/Ge0ffr0yC0astline20172448.rar.html

Glen Hansard – Between Two Shores (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 42:47 minutes | 461 MB | Genre: Alternative, Indie
Studio Masters, Official Digital Download | Front Cover | © Anti – Epitaph

For his third studio album, the former leader of The Frames broadens his field of action even more. With Between Two Shores, Glen Hansard is no longer just an icon of contemporary folk rock, but also an all-around musician and songwriter who is willing to venture down new avenues, no matter how surprising they may be. His 2018 edition slaloms between a rock that could almost pass for some Springsteen, an almost chamber choir soul and, of course, deeply moving folk rock. It’s not surprising then that the subtle and genial jazz drummer Brian Blade took part in this sophisticated record. But it’s in the most intimate sequences that Hansard proves to be the most astounding, such as when he blends his voice with a crepuscular trumpet on Wreckless Heart or when he makes his melody grow throughout Movin’ On. With restrained organ playing here, heavy brass instruments there (Roll On Slow, Lucky Man), and some dreamy piano parts (Time Will Be The Healer), Glen Hansard orchestrates every moment of his album with real skill. It’s impressive.

Tracklist

01. Roll On Slow
02. Why Woman
03. Wheels on Fire
04. Wreckless Heart
05. Movin’ On
06. Setting Forth
07. Lucky Man
08. One Of Us Will Lose
09. Your Heart’s Not In It
10. Time Will Be The Healer

Download:

https://subyshare.com/j08yuyz429ok/GlenHansardBetweenTw0Sh0res20182444.1.rar.html

Glen Hansard – Didn’t He Ramble (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 39:22 minutes | 790 MB | Genre : Rock
Studio Master, Official Digital Download – Source: HDTracks | © Anti-/Epitaph

The new album is his first in over three years and follows 2012’s solo debut Rhythm & Repose, which Billboardhailed as “Hansard at his most engaging,” while The Wall Street Journal furthered, “Hansard’s distinguishing trait as a songwriter is a heavy-handed earnestness.”

Didn’t He Ramble was produced by Thomas Bartlett (The National, Sufjan Stevens), a frequent collaborator of Hansard’s, and Grammy winner and former Frames band-mate David Odlum (Paloma Faith, Tinariwen). The album, which was recorded in New York, Dublin, Chicago and France, is Hansard’s most intimate and elegant record since his work in Once and features guest appearances by John Sheahan (Dubliners), Sam Beam (Iron and Wine) and Sam Amidon.

Glen Hansard is an artist who is not afraid to lay bare his soul for his audience to see, but few artists as passionate as Hansard can modulate themselves quite so well; his music is deeply and openly emotional without Hansard sounding as if he’s melting into a puddle of melodrama. Hansard’s emotional high-wire act is once again the centerpiece of his third full-length solo effort, 2015’s Didn’t He Ramble, and the album’s polished yet rustic modern-folkie sensibility is a splendid backdrop for Hansard’s compositions, ten songs that find rays of hope in bad situations while also never missing the bits of rust in his own emotional armor. Didn’t He Ramble was cut during sessions in Ireland, England, and the United States, but the set has a warm and unified feel, suggesting the glory days of the ’70s singer/songwriter era but with a cleaner and less indulgent sensibility. Hansard’s singing is at the top of his game on Didn’t He Ramble, unaffected but strong as the soulful edges of his instrument wrap themselves around his songs like a more restrained version of Van Morrison (especially on the gospel-tinged “Her Mercy”). Hansard’s accompanists make the most of his lean but evocative melodies, and the string arrangements by Rob Moose and Thomas Bartlett are excellent, adding to the air of mystery in these tunes without giving the performances an unwelcome level of gloss. Didn’t He Ramble shows that as a performer and a songwriter, Hansard can create powerful and satisfying work that’s up to the standard he set with the Frames, and this is a step up from 2012’s impressive but uneven Rhythm and Repose. –AllMusic Review by Mark Deming

Tracklist:
1. Grace Beneath the Pines 03:31
2. Wedding Ring 04:47
3. Winning Streak 03:21
4. Her Mercy 04:46
5. McCormack’s Wall 04:39
6. Lowly Deserter 03:02
7. Paying My Way 03:34
8. My Little Ruin 04:26
9. Just to be the One 03:13
10. Stay the Road 04:01

Personnel:
Glen Hansard – Composer, Guitar, Layout, Mandolin, Piano, Vocals
Brad Albetta – Bass
Sam Amidon – Violin, Vocals
Thomas Bartlett – Celeste, Keyboards, Percussion, Piano, String Arrangements, Synthesizer
Sam Beam – Vocals
Rob Bochnik – Guitar
Michael Buckley – Flute, Horn Arrangements, Saxophone
Justin Carroll – Keyboards
Ronan Dooney – Trumpet
Joseph Doyle – Bass
Curtis Fowlkes – Trombone
Earl Harvin, Graham Hopkins – Drums
Rob Moose – Mandolin, String Arrangements, Strings, Viola
David Odlum – Guitar, Mixing, Percussion
Ray Rizzo – Drums
John Sheahan – String Arrangements, Violin
Kenny Wollesen – Drums

Download:

https://subyshare.com/ug8u2s6ax89e/GlenHansardDidntHeRamble2015HRA2496.rar.html

Raspberries – Raspberries (1972/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 35:19 minutes | 1,3 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HDTracks | Front cover | © Capitol Records
Recorded: Record Plant Studios, New York City; Abbey Road Studios, London

Raspberries played their first show on October 16, 1970. Weekly gigs at the Agora in Cleveland created a groundswell of support for this new hot local band whose reputation as a live act was already becoming legendary, and before long they were attracting more than 1,000 people a night. Signed to Capitol Records by noted producer Jimmy Ienner in the winter of 1971, they completed their first album, Raspberries. To create excitement about this new band, Capitol employed a raspberry-scented scratch-and-sniff sticker affixed to the cover of their debut, the aroma of which exists to this day.

Released in early 1972, the album showcased the smash top 5 single, “Go All The Way”, which became a million-seller and Raspberries’ first gold record. Raspberries garnered rave notices from almost every music publication of the day with Rolling Stone providing their most impassioned review: “Raspberries opens with the finest burst of lightweight English rock I’’ve heard all year. The rest of the album is just as good.” Following the album’s release, Raspberries toured with the Grass Roots and the Hollies and appeared in front of over 50,000 fans at a major outdoor rock festival held at the Los Angeles Coliseum with such acts as Stevie Wonder, Sly & the Family Stone, the Bee Gees, the Eagles and Chuck Berry.

More than a few bands have spent their entire careers trying to achieve the pure pop perfection of “Go All the Way” by the Raspberries — and that was just the first three minutes and 22 seconds of the Raspberries’ first album. Raspberries never quite reaches the transcendent glory of its first cut again, but as a synthesis of British Invasion-era pop influences and ’70s rock crunch and drive, it’s all but faultless. While the Beatles, Who, and Hollies influences are pretty hard to miss, Eric Carmen and Wally Bryson could write songs strong enough to stand proudly beside their influences, and while Carmen was already beginning to display his penchant for treacle on tunes like “Waiting” and “I Can Remember,” producer Jimmy Ienner and the other bandmembers are able to reel him in when he gets too mushy. Even better, some solid rockers like “Rock & Roll Mama” and “Get It Moving” are on hand to kick things back into gear when needed, and this was one power pop band that wasn’t afraid to crank up the amps when the occasion called for it. A cracking debut from one of the great “guilty pleasure” bands of the 1970s, though there’s not a single good reason why anyone should feel bad about liking music this great. –AllMusic Review by Mark Deming

Tracklist:
1 Go All The Way 3:19
2 Come Around And See Me 3:00
3 I Saw The Light 2:40
4 Rock & Roll Mama 4:35
5 Waiting 2:43
6 Don’t Want To Say Goodbye 5:00
7 With You In My Life 2:45
8 Get It Moving 2:25
9 I Can Remember 8:00

Personnel:
Eric Carmen – bass guitar, lead and backing vocals, piano
Wally Bryson – lead guitar, backing and lead vocals
Dave Smalley – rhythm guitar, backing and lead vocals
Jim Bonfanti – drums

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Ottorino Respighi – Il tramonto – Isabel Bayrakdarian, Orchestre symphonique de Laval, Alain Trudel (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:07:18 minutes | 1,03 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: ATMA Classique | Booklet, Front cover | © ATMA Classique
Recorded: Église Sainte-Rose-de-Lima, Laval (Québec) Canada Mars / March 2015

Canadian star soprano Isabel Bayrakdarian is the featured soloist in this recording by the Orchestre symphonique de Laval—its first with current artistic director and principal conductor Alain Trudel. The album is devoted to orchestral works by Ottorino Respighi. Known for her sparkling stage presence and astonishing musicality, Bayrakdarian joins the orchestra for Respighi’s setting of the lyric poem Il tramonto (The Sunset).

The five pieces that comprise the suite Gli uccelli (The Birds) pay homage to the composers of the Baroque era who took pleasure in musically illustrating various aspects of life — birdsongs, in this case. Trittico Botticelliano (Botticelli Triptych) consists of three symphonic poems inspired by the three most celebrated canvases of the Italian painter Sandro Botticelli. As a composer and musicologist, Respighi was especially interested in early music, and particularly in Italian Renaissance and Baroque works. Antiche Danze ed Ari per liuto, his orchestral Suite No. 1, was inspired by the music of four Renaissance composers.
This beautifully programmed disc is in many ways let down by the work that to all intents and purposes forms its raison d’être, the 1914 ‘lyric poem’ Il tramonto for female voice and strings. A setting of Shelley’s ‘The Sunset’, it’s an exercise in post-Romantic morbidity that has links with the Italian Symbolist movement, which took Shelley as a source of inspiration. The booklet-notes evoke Tristan as a comparison for its night-obsessed lovers, though the syllabic vocal line, carefully following the contours of spoken Italian, reveals the deeper influence of Debussy’s Pelléas, while the finely wrought string-writing suggests that Respighi was familiar with Schoenberg’s Verklärte Nacht.
Notable interpreters on disc include Irmgard Seefried, Anne Sofie von Otter and Magdalena Kožená, and this new version, from the Canadian ATMA label, is not quite in the same league. Isabel Bayrakdarian’s declamatory way with the text impresses but the close recording catches a pulse in her tone and some curious moments of shrillness at the top. Well aware that if you push the piece too hard it becomes self-indulgent, Alain Trudel conducts with admirable restraint. The playing is clean and clear but the Laval orchestra’s very bright string sound sits at times uneasily with a work that trades primarily in crepuscular half-tones.
This is a shame, because the rest of the disc is rather fine. Trudel’s no-nonsense way with Respighi speaks volumes in the first set of Ancient Airs and Dances, which are done with plenty of wit and elegance. The bright orchestral sound comes into its own in Trittico Botticelliano, where the textures are nicely clear and sensuous. Best of all, though, is Gli uccelli, where the playing is excellent, the instrumental solos particularly graceful and poised. It’s very enjoyable, provided Il tramonto is not your main focus of interest: if that if the case, however, then Irmgard Seefried and the Lucerne Festival Strings under Rudolf Baumgartner remain unsurpassed.–Tim Ashley (gramophone.co.uk)

Tracklist:
Ottorino Respighi (1879-1936)
Gli uccelli (The Birds), P. 154
1 | I. Preludio 00:02:42
2 | II. La colomba 00:04:41
3 | III. La gallina 00:02:53
4 | IV. L’usignuolo 00:04:23
5 | V. Il cucu 00:04:15
Il tramonto, P. 101
6 | Il tramonto, P. 101 00:15:37
Trittico Botticelliano, P. 151
7 | I. La Primavera (Spring) 00:05:31
8 | II. L’adorazione dei Magi (The Adoration of the Magi) 00:08:36
9 | III. La nascita di Venere (The Birth of Venus) 00:04:51
Antiche danze ed arie, Suite No. 1, P. 109
10 | I. Balletto detto Il Conte Orlando 00:02:20
11 | II. Gagliarda 00:03:29
12 | III. Villanella 00:04:33
13 | IV. Passo mezzo e Mascherada 00:03:27

Personnel:
Orchestre symphonique de Laval
Alain Trudel, conductor
Isabel Bayrakdarian, soprano

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Roussel, Debussy, Poulenc – Orchestral Works – Orchestre de la Suisse Romande, Kazuki Yamada (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:15:53 minutes | 1,26 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front cover | © Pentatone Music B.V.
Recorded: Victoria Hall, Geneva, Switzerland in October 2015

Vibrant, striking colours, sensuous harmonies and coruscating wit abound in this irresistible collection played by the Orchestre de la Suisse Romande (OSR) under the baton of the young rising star Kazuki Yamada. Hailed by Gramophone magazine as a “gifted, budding maestro” with “interpretative nous, strength of personality and scrupulous attention to detail”, this is Yamada’s fourth outing for PENTATONE following his three critically acclaimed releases of dance music.

The three works featured are firmly rooted in the past, whether in the sources for inspiration or the sometimes neo-classical style. But the musical language is unmistakeably from the 20th century and, above all, quintessentially French.

Featuring incisive rhythms, expressive melodies and daring harmonies realised with a sumptuous orchestral palette, Albert Roussel’s exotic suites for the ballet Ariane et Bacchus are popular showpieces with orchestras and audiences alike, especially the famous Bacchanale an uninhibited romp which closes the work. Debussy’s nod to classical Greece in his beguiling Six épigraphes antiques, sometimes described as a conspectus of his compositional technique, is heard here in luxuriant detail in a rarely performed orchestration by Ernest Ansermet, the founder of the OSR. And Poulenc has never been in more high spirits than in Les Biches, a heady, infectious concoction which bristles with sophistication, charm and irrepressible Gallic wit.

“The BBC SO have found a star in the making,” wrote The Telegraph of Kazuki Yamada “let’s hope we hear more of him.” Winner of the prestigious 51st International Besançon Competition for Young Conductors in 2009, Yamada’s rise on the international stage has been rapid. With his busy schedule, he is one of today’s most sought after conductors and in September 2016, he takes over as principal conductor and artistic director of the Orchestre Philharmonique de Monte-Carlo.

Tracklist:

Albert Roussel (1869-1937)
1. Bacchus et Ariane Suite Op. 43 No. 1 17:27
Bacchus et Ariane Op. 43: Suite No. 2
2. I. Introduction. Andante 02:47
3. II. Réveil d’Ariane. Moderato 02:05
4. III. Bacchus reprend avec Ariane. Poco più allegro 00:48
5. IV. Bacchus danse seul. Allegro 01:58
6. V. Le baiser. Andante 02:18
7. VI. Le thiase défile. Allegro deciso 00:36
8. VII. Danse d’Ariane. Andante 03:45
9. VIII. Danse d’Ariadne et de Bacchus. Moderato e pesante 01:02
10. IX. Bacchanale. Allegro brilliante 03:38
11. X. Le couronnement d’Ariane 00:48

Claude Debussy (1862-1918)
Six épigraphes antiques
12. No. 1. Pour invoquer Pan, dieu du vent d’été 02:43
13. No. 2. Pour un tombeau sans nom 03:30
14. No. 3. Pour que la nuit soit propice 02:22
15. No. 4. Pour la danseuse aux crotales 02:51
16. No. 5. Pour l’egyptienne 03:10
17. No. 6. Pour remercier la pluie au matin 02:16

Francis Poulenc (1899-1963)
Les Biches – Suite
18. I. Rondeau 03:40
19. II. Adagietto 04:15
20. III. Rag-Mazurka 06:10
21. IV. Andantino 03:25
22. V. Final 03:42

Personnel:
Orchestre de la Suisse Romande
Kazuki Yamada, conductor

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Sarah Lancman – Inspiring Love (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 50:48 minutes | 1 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Front cover | © Starprod

She is truly a great new voice for Jazz ”: voilà ce que Quincy Jones a dit de Sarah Lancman lorsqu’elle a remporté le Grand Prix de la Compétition Internationale du Festival de Montreux en 2012.

17 disques d’or, Victoires de la Musique, Django d’or, Grand Prix de l’Académie du Jazz Django Reinhardt, on ne présente plus le pianiste italien Giovanni Mirabassi.

Ils sont aujourd’hui les complices de leur nouvel album “Inspiring Love” dont les 10 compositions originales ont été enregistrées à New York, haut lieu de cette musique et qui sortira en novembre 2016.

Tracklist:
1 Inspiring Love 06:12
2 Behind the Clouds 05:01
3 On the Other Side of the World 02:19
4 J’ai voulu partir 06:18
5 Never Say That You Love Me 04:18
6 The Gift 06:34
7 Reste là 04:26
8 Qui ? 04:01
9 Mysterious Lane 03:47
10 Talk to Me 03:37
11 Our Secret 04:15

Personnel:
Sarah Lancman, vocals
Giovanni Mirabassi, piano
Gianluca Renzi, bass
Gene Jackson, drums
Alex Sipiagin, trumpet, flugelhorn #3,5,6,11

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Schumann, Schubert, Brahms – Lise Berthaud, Adam Laloum (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:20 minutes | 882 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front cover | © Aparté Music
Recorded: l’église Saint-Pierre, Paris en juillet 2013

Lise Berthaud [b.1982] studied at the Conservatoire de Paris, with Gérard Caussé. In 2005, she won the Hindemith Prize at the Geneva International Competition, was short listed by the Victoires de la Musique Classique 2009 as ‘Révélation de l’Année’ (Newcomer of the Year) and since September 2013, Lise has been part of the prestigious BBC Radio 3 New Generation Artists scheme.

Adam Laloum studied at the Paris Conservatoire before receiving international recognition when he won 1st Prize at the prestigious Clara Haskil Piano Competition. Laloum has founded a piano trio ‘Les Esprits’. Both have played with prestigious orchestras and have appeared on famous stages and festivals. This is their first recital together and Lise Berthaud’s debut recording.

Tracklist:

Robert Schumann (1810-1856)
Märchenbilder pour alto et piano for viola and piano, op. 113
1. Nicht schnell 3’25
2. Lebha” 3’49
3. Rasch 2’40
4. Langsam, mit melancholischem Ausdruck 5’04

Franz Schubert (1797-1828)
Sonate « Arpeggione » en la mineur D. 821
5. Allegro moderato 12’00
6. Adagio 4’01
7. Allegretto 9’02

Johannes Brahms (1833-1897)
Sonate pour alto et piano en mi bémol majeur, op. 120 nº 2
8. Allegro amabile 9’25
9. Allegro appassionato 5’21
10. Andante con moto 7’32

Personnel:
Lise Berthaud viola
Adam Laloum piano

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Sergio Franchi – La Dolce Italy (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 35:28 minutes | 1,29 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front cover | © RCA Records

Tracklist:
1 If You Should Leave Me 2:50
2 Moon Over Naples 2:43
3 Volare 2:48
4 Torna 2:17
5 Serenade In The Night 3:12
6 (Give Him That) Pizza-zza 2:17
7 My Heart Reminds Me 3:28
8 Ciao Ciao Bambina 2:37
9 With You Beside Me 3:10
10 Sicilian Wagonners 2:55
11 ‘Na Voce, ‘Na Chitarra 3:07
12 Piscatore’s Pusilleco 3:42

Personnel:
Sergio Franchi, vocals
Frank Hunter, arranger, conductor

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Shawn Mendes – Illuminate (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 52:12 minutes | 582 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front cover | © Island Records

Illuminate is the second studio album by Canadian singer and songwriter Shawn Mendes. It was released on September 23, 2016, through Island Records and Universal Music Group. Musically, the album contains music genres pop, rock and blues. The album debuted atop the US Billboard 200 and the Canadian Albums Chart. It was preceded by the lead single “Treat You Better”, which reached the top 10 on the Billboard Hot 100. The album is supported by the Illuminate World Tour, which began in March 2017.

Shawn Mendes translated his Vine superstardom into genuine pop stardom in 2015 thanks to “Stitches,” a lively piece of pop with a slightly soulful undercurrent. Wisely, Mendes and his team decide to play off these soulful inclinations on Illuminate, the album released almost 18 months after his 2015 debut Handwritten. This isn’t to say that Mendes is a crooner, nor is he riding anything resembling a funky groove. Instead, Illuminate uses light R&B rhythms as a way to give a bit of grace and warmth, the airiness of “Ruin” and “Three Empty Words” spinning heartbreak into seduction. As it turns out, this wide-eyed puppy dog routine is the key to Mendes’ appeal. He’s not forceful, and whenever he slides into a loverman routine, there’s never a sense that he’s a player: his voice is so small and sweet, it feels as if he’s whispering sweet nothings to his high school sweetheart. On Handwritten, such quivering sensitivity seemed tentative, but on Illuminate, it has gelled into his pop persona; he’s charming because he embraces his ordinariness. Sometimes on Illuminate the songs are a bit too diffuse to benefit from these qualities — whenever they lack a hook or pronounced melody, the tracks tend to drift — but a lot of the record provides a good showcase for his tenderness. And these aren’t necessarily ballads, either. Certainly, he feels at home on a nice slow-burning torch number like “Don’t Be a Fool” — an old-fashioned slice of swaying ’60s soul — but on the insistent pop of “Treat You Better” and sunny seaside vibes of “Honest,” this boyishness is equally appealing, and those sly shifts in tone are why Mendes comes into his own on Illuminate. –AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1 Ruin 04:02
2 Mercy 03:29
3 Treat You Better 03:08
4 Three Empty Words 03:19
5 Don’t Be A Fool 03:36
6 Like This 03:07
7 No Promises 02:46
8 Lights On 03:21
9 Honest 03:19
10 Patience 02:55
11 Bad Reputation 03:18
12 Understand 05:01
13 Hold On 03:20
14 Roses 03:52
15 Mercy (Acoustic) 03:39

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Shirley Horn – Live at the 4 Queens (2016)
DSF Stereo DSD128, 1 bit/5,6 MHz | Time – 54:54 minutes | 4,37 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © 2xHD/Resonance Records
Recorded live at the Four Queens Hotel, Las Vegas, May 2, 1988

The first previously unreleased music by Shirley Horn in nearly a decade was recorded live at the 4 Queens Hotel in Las Vegas in May 1988 and feature Horn’s longtime trio, bassist Charles Ables and drummer Steve Williams. The set was recorded by KNPR radio for a syndicated jazz show and captures the angora-voiced jazz singer and pianist at the very beginning of her resurgence on the jazz scene. Renowned for her inimitable ability to negotiate melodies and lyrics at an exquisitely unhurried pace, Horn applies her unique alchemy to classic and contemporary songs: when she sings a song, she changes the way it’s heard forever.

The incandescence that was Shirley Horn, and her central importance to jazz vocals, cannot be overstated. She was a master, like Miles Davis and Ahmad Jamal, at retaining that elusive heartbeat called swing at the slowest tempos. Her ballad treatments may be traced, as a thread, through the approaches of Rebecca Parris, Patti Wicks, and Sue Sheriff. She was a musical force-of-nature, moving deliberately, thoughtfully, and soulfully forward.
Resonance Records, that upstart of hidden treasures helmed by Zev Feldman that unearthed the recently released Bill Evans -Some Other Time: The Lost Session from the Black Forest e (2016), Thad Jones and Mel Lewis -All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (2016), and Stan Getz -Moment in Time (2016) has now done the same with unreleased Shirley Horn with Shirley Horn Live at the 4 Queens.
Horn’s discography is light on live recordings, making Live at the 4 Queens and immediately valuable addition to her recorded oeuvre. It is a spirited recital of nine tunes by Horn and her long-time rhythm section of bassist Charles Ables and drummer Steve Williams recorded live at Las Vegas’ The 4 Queens Hotel, May 2, 1988. Horn was in excellent health and voice during this period, showing off her ballad prowess on “Lover Man,” “You’d be So Nice to Come Home To,” and “Just for a Thrill,” the last being played just fast enough to retain the pulse of jazz. It is a masterful performance.
But Horn is also capable of picking up the pace and swinging for the fences, as she does on “The Boy from Ipanema” and a tour-de-force “Isn’t It Romantic,” where she displays her considerable piano skills. One can never hear enough of unheard Shirley Horn. —C. Michael Bailey, All About Jazz

Tracklist:
1 Something Happens to Me 03:12
2 Lover Man (Oh, Where Can You Be?) 05:14
3 Just for a Thrill 05:10
4 Hi-Fly 07:41
5 You’d Be So Nice to Come Home to 03:51
6 Meditation (Meditação) 09:03
7 The Boy from Ipanema 05:22
8 Isn’t It Romantic? 12:10
9 Blues for Big Scotia 02:58

Personnel:
Shirley Horn, piano, vocals
Charles Ables, bass
Steve Williams, drums

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Dmitry Shostakovich – Symphonies Nos. 2 & 15 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2012/2015)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 01:06:53 minutes | 2,64 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © 2xHD | Naxos
Recorded: at the Philharmonic Hall, Liverpool, England on 14th June 2011 (tracks 1-3), and on 26th and 27th October 2010 (tracks 4-7)

This album was mastered using 2xHD’s proprietary system. In order to achieve the most accurate reproduction of the original recording they tailor their process specifically for each project, using a selection from their pool of state-of-the-art audiophile components and connectors. The process begins with a transfer to analog from the original 96kHz/24-bit resolution master, using cutting edge D/A converters. The analog signal is then sent through a hi-end tube preamplifier before being recorded directly in DXD using the dCS905 A/D and the dCS Vivaldi Clock. All connections used in the process are made of OCC silver cable.

Vasily Petrenko’s Complete Shostakovich cycle with the Royal Liverpool Philharmonic Orchestra has just reached the seventh of a projected eleven volumes. The cycle is quickly emerging as one of the finest on disc, and has already picked up a Gramophone Award along with almost universal praise from critics all over the world.
Symphonies Nos. 2 and 15 are hugely contrasting works from opposite ends of the composer’s life and career – the former being written in 1927 when the composer was just 20 years old, and the latter in 1971, just four years before his death.
I didn’t really know the Second Symphony at all well. Like the Third, Shostakovich later rejected it as ‘unsatisfactory’ and these days it tends to only get programmed or recorded as part of a complete symphony cycle. Commissioned by the so-called ‘Department of Enlightenment’ to mark the 10th anniversary of the Bolshevik October Revolution, Shostakovich was told to incorporate a choral finale with a text praising Lenin and the Revolution. Although experimental in structure and style, there are some powerful moments, and the orchestra and choir give fine and committed performances.
The Fifteenth Symphony is an altogether much more powerful work, although again not without its puzzles. Rossini and Wagner are both quoted as well as passages from his own earlier works. This was unusual for him, and I haven’t yet read or heard a convincing argument explaining exactly what he was trying to express in this symphony by doing so. Shostakovich was already suffering from the illness which would ultimately take his life, and it seems likely that he wrote this symphony knowing it would probably be his last. In a recent interview with Edward Seckerson of The Independent Petrenko said he felt that this Symphony had some element of how Shostakovich wanted to be remembered in it, and that perhaps explains the optimism, gusto, wit and playfulness which he maybe feared he otherwise might not be associated with.
Petrenko keeps tempos moving throughout (even in the long adagio last movement), thus making a lot less of the areas of darkness in the score than some other conductors. It works well in my view, as although musically very approachable and full of graceful tunes this symphony is a puzzle to really understand and I’ve never been convinced that lingering on the composer’s despair and suffering angle really helps that understanding much.
The orchestra play with all the refinement, discipline and intense commitment that has characterised this whole series. We hear every detail of the composer’s scores while colours and atmospheres have an incredible range and contrast. From the finesse shown in the shimmering and subdued opening of the Second Symphony to the vigour and excitement elsewhere this is impressive playing. A mention also for the superb solos from the RLPO principals, and in particular Principal Cellist Jonathan Aasgaard whose playing in the second movement of the Fifteenth Symphony is both beautiful and deeply haunting. Highly recommended.–prestoclassical.co.uk

Tracklist:

Dmitry Shostakovich (1906-1975)
Symphony No. 2, Op. 14, “Oktyabryu” (To October)
1. I. Largo – 05:40
2. II. Poco meno mosso – 06:51
3. III. Meno mosso 05:57
Symphony No. 15 in A Major, Op. 141
4. I. Allegretto 08:08
5. II. Adagio 17:25
6. III. Allegretto 03:49
7. IV. Adagio 19:13

Personnel:
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko, conductor

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