Studio Masters – HDMusic.me

Berliner Philharmoniker & Gustavo Dudamel – Richard Strauss: Also sprach Zarathustra (2013/2014)
FLAC (tracks) 24-bit/96 kHz | Time – 01:09:32 minutes | 1,18 GB | Genre: Classical
Studio Master, Official Digital Download | Booklet, Front Cover | © Deutsche Grammophon (DG)

A truly breathtaking new recording from, quite simply, the most exciting and gifted young conductor of our times.

A rite of passage and true legacy project: Dudamel’s debut recording with the legendary Berlin Philharmonic.

Recorded live at the Philharmonie in Berlin, whose acoustics were designed expressly for the brilliant, luxurious tonalities of this late-romantic music.

Specially-commissioned conceptual album presentation, visuals and tools – all designed to appeal to a broad “discovery” audience. Epic, evocative and virtuosic, Richard Strauss’s beloved tone poem, Also sprach Zarathustra, was inspired by Nietzsche’s poem, and immortalised in Kubrick’s science-fiction cinema classic, 2001: A Space Odyssey.

Don Juan and Till Eulenspiegel are concert-hall favourites: ebullient, optimistic and filled with Straussian melodic and harmonic invention.

Gustavo Dudamel earned a “Best Orchestral Recording” Grammy® in 2012 for his recording of Brahms Symphony No. 4 with the LA Philharmonic and was named Musical America’s “Musician of the Year” for 2013.

Tracklist:
01. R. Strauss: Also sprach Zarathustra, Op.30, TrV 176-Prelude (Sonnenaufgang) (Live)
02. R. Strauss: Also sprach Zarathustra, Op.30-Von den Hinterweltlern (Live At Philharmonie, Berlin / 2012)
03. R. Strauss: Also sprach Zarathustra, Op.30-Von der großen Sehnsucht (Live At Philharmonie, Berlin / 2012)
04. R. Strauss: Also sprach Zarathustra, Op.30-Von den Freuden und Leidenschaften (Live At Philharmonie, Berlin / 2012)
05. R. Strauss: Also sprach Zarathustra, Op.30-Das Grablied (Live At Philharmonie, Berlin / 2012)
06. R. Strauss: Also sprach Zarathustra, Op.30-Von der Wissenschaft (Live At Philharmonie, Berlin / 2012)
07. R. Strauss: Also sprach Zarathustra, Op.30-Der Genesende (Live At Philharmonie, Berlin / 2012)
08. R. Strauss: Also sprach Zarathustra, Op.30-Das Tanzlied (Live At Philharmonie, Berlin / 2012)
09. R. Strauss: Also sprach Zarathustra, Op.30-Das Nachtwandlerlied (Live At Philharmonie, Berlin / 2012)
10. R. Strauss: Till Eulenspiegel’s Merry Pranks (Till Eulenspiegels lustige Streiche), Op. 28 (Live At Philharmonie, Berlin / 2013)
11. R. Strauss: Don Juan, Op.20 (Live At Philharmonie, Berlin / 2013)
12. Barber: Adagio For Strings, Op.11-Adagio For Strings, Op.11 No.2 (Live At Philharmonie, Berlin / 2013)

Personnel:
Berliner Philharmoniker
Gustavo Dudamel (conductor)

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Berliner Philharmoniker & Herbert von Karajan – Brahms: The Four Symphonies (1965/2017)
FLAC (tracks) 24-bit/96 kHz | Time – 02:40:42 minutes | 3,02 GB | Genre: Classical
Studio Master, Official Digital Download | Booklet, Front Cover | © Deutsche Grammophon (DG)

Originally released in 1965, this Deutsche Grammophon digital transfer sees the legendary team of the Berlin Philharmonic and Herbert von Karajan perform all four of Brahms’s symphonies. This was their first recording of the cycle together and is a testament to their unique and extremely rich interpretations of this Romantic master’s orchestral works.

“alive, full of vitality, excellently balanced and full of detail.” – BBC Music Magazine

Tracklist:
Johannes Brahms (1833-97)
01. Symphony No.1 in C Minor, Op. 68: 1. Un poco sostenuto-Allegro-Meno allegro
02. Symphony No.1 in C Minor, Op. 68: 2. Andante sostenuto
03. Symphony No.1 in C Minor, Op. 68: 3. Un poco allegretto e grazioso
04. Symphony No.1 in C Minor, Op. 68: 4. Adagio-Piu andante-Allegro non troppo, ma con brio-Piu allegro
05. Symphony No. 2 in D major, Op. 73: 1. Allegro non troppo
06. Symphony No. 2 in D major, Op. 73: 2. Adagio non troppo-L’istesso tempo, ma grazioso
07. Symphony No. 2 in D major, Op. 73: 3. Allegretto grazioso ( Quasi andantino)-Presto ma non assai
08. Symphony No. 2 in D major, Op. 73: 4. Allegro con spirito
09. Symphony No. 3 in F major, Op. 90: 1. Allegro con brio-Un poco sostenuto-Tempo I
10. Symphony No. 3 in F major, Op. 90: 2. Andante
11. Symphony No. 3 in F major, Op. 90: 3. Poco allegretto
12. Symphony No. 3 in F major, Op. 90: 4. Allegro
13. Symphony No. 4 in E minor, Op. 98: 1. Allegro non troppo
14. Symphony No. 4 in E minor, Op. 98: 2. Andante moderato
15. Symphony No. 4 in E minor, Op. 98: 3. Allegro giocoso-Poco meno presto-Tempo I
16. Symphony No. 4 in E minor, Op. 98: 4. Allegro energico e passionato-Più allegro

Personnel:
Berliner Philharmoniker
Herbert von Karajan (conductor)

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Berliner Philharmoniker & Mstislav Rostropovich – Tchaikovsky: Ballet Suites (1996/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 01:08:32 minutes | 1,26 GB | Genre: Classical
Studio Master, Official Digital Download | Booklet, Front Cover | © Deutsche Grammophon (DG)

Mstislav Rostropovich, known for his affinity for the music of Tchaikovsky, is at his peak conducting the music of his fellow countryman on this album. He leads the Berliner Philharmoniker in stirring performances of Tchaikovsky’s ballet suites The Nutcracker, The Sleeping Beauty and Swan Lake, all recorded in June 1978.

“Rostropovich’s grand sense of the theatre and his warm, outgoing personality come across in spades … he gets the members of the Berlin Philharmonic to give a red-blooded performance like no other.” – The Essential Classical Recordings: 100 CDs for Today’s Listener

“Rostropovich’s triptych of ballet suites is very special. His account of The Nutcracker is enchanting … the Sleeping Beauty and Swan Lake selections are hardly less distinguished …” – The Penguin Guide to Compact Discs & DVDs

Tracklist:
Piotr Ilyich Tchaikovsky (1840-1893)
01. Tchaikovsky: Swan Lake (Suite), Op.20a, TH 219-1. Scene-Swan Theme
02. Tchaikovsky: Swan Lake (Suite), Op.20a, TH 219-2. Valse In A
03. Tchaikovsky: Swan Lake (Suite), Op.20a, TH 219-3. Danse des petits cygnes
04. Tchaikovsky: Swan Lake (Suite), Op.20a, TH 219-4. Scene
05. Tchaikovsky: Swan Lake (Suite), Op.20a, TH 219-5. Danse Hongroise (Czardas)
06. Tchaikovsky: Swan Lake, Op.20 Suite-6. Scène finale.
07. Tchaikovsky: The Sleeping Beauty, Suite, Op.66a, TH 234-Introduction-The Lilac Fairy
08. Tchaikovsky: The Sleeping Beauty, Suite, Op.66a, TH 234-2. Pas d’action: Rose Adagio
09. Tchaikovsky: The Sleeping Beauty, Suite, Op.66a, TH 234-Pas de caractère: Puss In Boots
10. Tchaikovsky: The Sleeping Beauty, Suite, Op.66a, TH 234-4. Panorama (andantino)
11. Tchaikovsky: The Sleeping Beauty, Suite, Op.66a, TH 234-Valse
12. Tchaikovsky: Nutcracker Suite, Op.71a, TH.35-1. Miniature Overture
13. Tchaikovsky: Nutcracker Suite, Op.71a, TH.35-March
14. Tchaikovsky: Nutcracker Suite, Op.71a, TH.35-2b. Dance Of The Sugar-Plum Fairy
15. Tchaikovsky: Nutcracker Suite, Op.71a, TH.35-Russian Dance (Trepak)
16. Tchaikovsky: Nutcracker Suite, Op.71a, TH.35-Arabian Dance (Coffee)
17. Tchaikovsky: Nutcracker Suite, Op.71a, TH.35-Chinese Dance (Tea)
18. Tchaikovsky: Nutcracker Suite, Op.71a, TH.35-Dance Of The Reed-Pipes (Merlitons)
19. Tchaikovsky: Nutcracker Suite, Op.71a, TH.35-3. Waltz Of The Flowers

Personnel:
Berliner Philharmoniker
Mstislav Rostropovich (conductor)

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Pour célébrer ses 50 ans de carrière, Bill Deraime, monument du blues français, sort son 20ème album studio chez Rupture en coexploitation avec France Télévision Distribution. Un disque choral qui reprend en duo ses titres mythiques (Babylone, Le bord de la route, Un dernier blues, Tire ailleurs…) avec sa bande d’amis tels que Kad Merad, Florent Pagny, Bernard Lavilliers, Jean Jacques Milteau, TRYO, Sanseverino… Mais aussi des inédits (18 titres). Bill débutera ensuite une tournée anniversaire en France, Suisse, Belgique et à Montréal pour finir dans la mythique salle Pleyel.

Tracklist:
01. Nouvel horizon
02. Le bord de la route
03. Chaque matin
04. L’enfer
05. Un dernier blues
06. J’ai mal
07. Dimanche après-midi
08. Babylone
09. Mon obsession
10. Seul avec toi-même
11. Laisser couler
12. Rien d’nouveau
13. Raymond
14. Pamela
15. Je rêve
16. Faut que je me tire ailleurs
17. Moi sans toi
18. Plus la peine de frimer
19. Bobo boogie

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Since making his debut in 2004, Brett Dennen’s amiable folk-pop has earned him a loyal following and placed him among some of the previous decade’s more prominent contemporary pop troubadours, from Jason Mraz to Ray LaMontagne. While he hasn’t quite enjoyed the success of those acts, it’s certainly not for lack of trying. His wealth of hooky melodies and thoughtful acoustic musings has been spread out over five strong releases and his almost John Denver-like aura of sincerity gives him an approachable allure. On Por Favor, the singer’s sixth effort, he strips his music down to the barest essentials to create what is easily his most vulnerable and intimate album. Admittedly worn thin by a relationship on the rocks, family trouble, and a health scare, this is a Dennen we’ve never heard, with a noticeably frayed spirit and a searching heart. The feeling of heightened sensitivity and the minimalist production from Nashville’s Dave Cobb (Sturgill Simpson, Jason Isbell) gives Por Favor more of an organic and timeless feeling than any of Dennen’s prior work, and his quavering high tenor has never sounded so appropriate to the material. But even in his darkest hours, Dennen’s breezy style and humble demeanor make him come off like a fallen optimist trying to retune his antenna sunward. Light tones of calypso and reggae color tracks like “What’s the Secret?” and “Stand Up for It,” and the rhythm section of drummer Chris Powell and bassist Brian Allen pepper the tunes with a roomy, off-the-cuff vibe. On his sunnier moments, Dennen evokes the loose, rootsy vibe of American Beauty-era Grateful Dead, and there’s even a reference to Jerry Garcia on the hushed standout “Strawberry Road.” Recorded in just a couple of weeks at Cobb’s all-analog Nashville studio, the performances are loose and honest, with tape hiss filling the gaps between chords on quieter tunes like “Where We Left Off” and the bittersweet closer “I’ll Be on Your Side.” As both a writer and a singer, Dennen has never sounded so fragile and unpolished and it’s a perfect fit for this fantastic group of songs. ~ Timothy Monger

Tracklist:
01. What’s The Secret?
02. Cassidy
03. Stand Up For It
04. Bonfire
05. Strawberry Road
06. Another Life
07. Where We Left Off
08. Burning Spirit
09. Tengboche
10. I’ll Be On Your Side

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Brett Dennen’s fifth album, Smoke and Mirrors makes it clear that the singer/songwriter’s spirit is clearly aligned with the troubadours of the early ’70s. Before you even hear a note, glancing at the cover image of Dennen standing amid a sunny panorama of trees and mountains gives you an idea of where he’s coming from, and the nature-boy narrative of “Wild Child” echoes that imagery. Dennen’s gently optimistic songwriting also places him far from the postmodern pack—the openhearted love song “You Make It Easy” could’ve been an AM radio smash four decades ago. With Dennen’s classic themes, predilection for fingerpicked acoustic guitar (“Only Want You”), and upbeat AOR indulgences (“Wild Child”), Smoke and Mirrors borrows from the past several decades of rock songwriting for a refreshingly contemporary result.

Tracklist:
01. Sweet Persuasion
02. Wild Child
03. You Make It Easy
04. Only Want You
05. When We Were Young
06. Smoke and Mirrors
07. Don’t Mess With Karma
08. Out Of My Head
09. Not Too Late
10. Who Am I

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Making his Archiv opera debut, celebrated Handelian and Grammy award winner René Jacobs, the most exciting opera conductor of the day (Münchner Merkur), leads his dynamic, exquisitely honed B Rock Baroque Orchestra Ghent and an outstanding cast in one of the composer s most spectacular and ravishingly beautiful creations recorded at Concertgebouw Brugge in summer 2013.

In a recording career spanning four decades, Jacobs has surveyed a phenomenal amount of repertoire, operatic and instrumental: from Monteverdi to Mozart, from Bach to Pergolesi, with Händel, Gluck, Telemann and many more in-between, every new recording being hailed as an event by the press.

Following game-changing recordings of Handel s Giulio Cesare (1991), Rinaldo (2003) and Agrippina (2011), celebrated early and baroque music elder statesman René Jacobs makes an eagerly expected return to Handel on disc.

The title role, written for the legendary castrato Senesino, is sung by its finest modern exponent, Bejun Mehta, one of the most commanding, exhilarating countertenors of the modern era (New York Times).

This is a major new release under the Archiv imprint. Featuring a world-class cast of singers headed by countertenor Bejun Mehta, it ties in with a major revival of the critically acclaimed 2012 stage production by Pierre Audi in Amsterdam and a European concert tour in June. The opera is new to DG s catalogue and is the first studio recording of a complete opera for the label since 2011.

the most exciting opera conductor of the day –Münchner Merkur

The success that Jacobs has achieved could never have happened without the sheer vitality of his music making. –The New York Times

One thing is for sure: whether you like Baroque opera or not, you will never be bored by an opera conducted by René Jacobs. By shaking up convention with his subtle readings, sometimes even rewriting the composer s score, the Belgian conductor is the one of those rare few who always find an elegant way to bring the repetitive mannerisms of the Baroque to life. –Bachtrack.com

Tracklist:
George Frideric Handel (1685-1759)
1. Ouverture
2. 1. Acc. Gieroglifici eterni
3. 2. Cavatina Stimulato della gloria
4. Rec. Purgalo ormai / 3. Sinfonia / Rec. Mira
5. 4. Aria Lascia Amor
6. 5. Acc. Imagini funeste / 6. Aria Non fu gia
7. 7. Acc. Quanto diletto / Rec. Io non so” / 8. Acc e Rec. Itene pur
8. 9. Aria Ho un certo rossore
9. Rec. M’hai vinto al fin / 10. Duettino Ritornava al suo bel viso / Rec. Spera, mio ben
10. 11. Aria Chi possessore / Rec. Ecco Dorinda
11. 12. Aria Se’l cor mai ti dira
12. Rec. Povera me! / 13. Aria O care parolette / Rec. Noti a me sono
13. Rec. Noti a me sono
14. 14. Aria Se fedel vuoi
15. Rec. T’ubbidiro / 15. Aria Fammi combattere
16. Rec. Angelica, deh ! lascia…
17. 16. Terzetto Consolati, o bella
18. 17. Cavatina Quando spieghi / Rec. Perche, gentil Dorinda
19. 18. Aria Se mi rivolgo al prato
20. Rec. E questa la mercede / 19. Aria Cielo! se tu il consenti
21. Rec. A qual rischio vi espone / 20. Aria Tra caligini profonde
22. Rec. Da queste amiche piante / 21. Aria Verdi allori
23. Rec. Dopo tanti perigli / 22. Aria Non potra dirmi ingrato / Rec. Dove guidate
24. 23. Aria Verdi piante
25. Rec. Ah! perfida / 24. Acc. Ah! stigie larve
26. 25. Sinfonia / Rec. Di Dorinda alle mura
27. 26. Aria Vorrei poterti amar
28. Rec. Piu obbligata gli sono / 27. Aria e Rec. Unisca amor in noi
29. 28. Gia lo stringo
30. Rec. Di Dorinda all’albergo / 29. Aria cosi giusta e questa speme
31. Rec. S’e corrisposto un core / 30. Aria Amor e qual vento
32. Rec. Impari ogn’un da Orlando / 32. Aria Sorge infausta une procella
33. Rec. Dorinda, e perche piangi?
34. 33. Duetto Finche predi ancora il sangue / Rec. Vieni! Vanne precipitando / 34. Acc.Gia per la man d’Orlando
35. 35. Arioso Gia l’ebbro mio ciglio
36. Rec. Ecco il tempo prefisso / 36. Acc. Tu, che dal gran Tonante / 37. Sinfonia / Rec. Ah! che fate, Signor?
37. Rec. Dormo ancora, o son desso? / 38. Duettino Per far, mia diletta / Rec. Che vedo, oh Dei!
38. 39. Acc. Vinse incanti / 40. Coro Tronfa oggi’l mio cor

Personnel:
Bejun Mehta (Orlando)
Sophie Karthäuser (Angelica)
Kristina Hammarström (Medoro)
Sunhae Im (Dorinda)
Konstantin Wolff (Zoroastro)
B’Rock Orchestra
René Jacobs (conductor)

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Bruce Springsteen – 2005-08-03 Van Andel Arena, Grand Rapids, MI (2018)
FLAC (tracks) 24-bit/48 kHz | Time – 02:08:03 minutes | 2,72 GB | Genre: Rock
Official Digital Download – Source: live.brucespringsteen.net | Front Cover | © Live Bruce Springsteen
Recorded: 2005-08-03 Van Andel Arena, Grand Rapids, MI

Keyboards take center stage at this sublime stop on the Devils & Dust tour. The set opener, “Tunnel of Love” on electric piano, is positively magical. From there, Grand Rapids pours on passionate performances of “I Wish I Were Blind,” “Racing In The Street” and “The River” on piano, plus fascinating re-workings of “Sherry Darling” and “Nothing Man” for electric piano. On guitar, rare inclusions of “Black Cowboys,” “Ain’t Got You” and “Part Man, Part Monkey,” plus the tour debut of “Saint In The City.”

Tracklist:
Set One:
01. Tunnel Of Love
02. Reason TO Believe
03. Devils & Dust
04. Black Cowboys
05. Long Time Comin’
06. Sherry Darling
07. The River
08. Part Man, Part Monkey
09. Cynthia
10. One Step Up
11. Reno
12. Nothing Man
13. I Wish I Were Blind
14. Racing In The Street
Set Two:
01. The Rising
02. Further On Up The Road
03. Jesus Was An Only Son
04. Two Hearts
05. The Hitter
06. Matamoros Banks
07. It’s Hard To Be A Saint In The City
08. Ain’t Got You
09. Bobby Jean
10. The Promised Land
11. Dream Baby Dream

Personnel:
Bruce Springsteen – Vocal, Acoustic Guitar, 12-String Acoustic Guitar, Electric Guitar, Harmonica, Wurlitzer Electric Piano, Acoustic Piano, Organ
Alan Fitzgerald – Keyboard accompaniment (off stage)

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Laurent de Saint-Luc was born in 1669 into a family of musicians. The reputation of his father, Jacques de Saint-Luc, had gone beyond the borders of the Spanish Netherlands: he was known all the way to Paris – where, in 1647, he performed as a theorbist at the Chapelle Royale. While Saint-Luc’s father was attached to the Chapelle Royale in Brussels from 1639 to 1683, Laurent never appeared among the court musicians. Perhaps we can deduce from this that from 1691, the son was no longer in the southern Low Countries. In addition to no position at the court being forthcoming, the political situation could have led him to leave Brussels, as the League of Augsburg had turned the region into a battlefield – in 1695, a bombardment destroyed two thirds of Brussels. Although France was an enemy, Saint-Luc made for Paris and stayed there a while, and several pieces seem to confirm his presence there in this period: L’Arioste moderne refers to a work by Mme Gillot de Beaucour dating from 1685; La Belle au bois dormant to Perrault’s 1696 fairytale. It was in Amsterdam that his Suites pour le luth avec un dessus et une basse ad libitum, appeared, the Livre premier in 1709, and theLivre second in 1710, but we have nothing which allows us to confidently pinpoint the composer’s whereabouts at those dates. The latest historical event to which his compositions refer (they are often very descriptive: The Defeat of the French by the Germans Before Turin, The Taking of Barcelona, etc.) is the taking of Lille, in October 1708. And after that… a mystery. Thereafter, the composer generally sticks to traditional forms, but which he can still renew, not just prefacing his allemandes with unexpected preludes, but even giving them overtures or a march, while substituting for sarabande and gigue with pieces like Pour endormir l’enfant or Pastorelle. A shiny and new ancient composer, then, and the silvery lutist Evangelina Mascardi gives an intense and tender reading.

Tracklist:
Laurent de Saint-Luc (1669–1708)
01. Suite en Do Majeur: I. Chaconne
02. Suite en Do Majeur: II. La defaitte des François par les Allemands devant Turin-Marche
03. Suite en Do Majeur: III. Allemande
04. Suite en Do Majeur: IV. Courante
05. Suite en Do Majeur: V. Sarabande
06. Suite en Do Majeur: VI. Gaillarde
07. Pièces en Sol Mineur: I. Ouverture
08. Pièces en Sol Mineur: II. La Venus-Air
09. Pièces en Sol Mineur: III. La prise de Barcellonne-Allemande
10. Pièces en Sol Mineur: IV. Courante
11. Pièces en Sol Mineur: V. Sarabande
12. Pièces en Sol Mineur: VI. Ritournelle en Rondeau
13. Pièces en Sol Mineur: VII. Gavotte
14. Pièces En Sol Mineur: VIII. Courante II
15. Pièces en Sol Mineur: IX. Gigue
16. Pièces en Sol Mineur: X. Sarabande II
17. Suite en Ré Majeur: I. Caprice
18. Suite en Ré Majeur: II. Allemande
19. Suite en Ré Majeur: III. Courante
20. Suite en Ré Majeur: IV. Sarabande
21. Suite en Ré Majeur: V. Tambour et fifre
22. Suite en Ré Majeur: VI. Gigue
23. Pièces en La Majeur: I. Pour endormir l’Enfant-Air
24. Pièces en La Majeur: II. Gavotte
25. Pièces en La Majeur: III. Chaconne
26. Pièces en La Majeur: IV. Les sujets font hommage et se réjouissent

Personnel:
Evangelina Mascardi (lute)

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XL Recordings owner Richard Russell has run one of England’s most feted independent labels for nearly 30 years, so it’s unsurprising that the band he has put together, Everything is Recorded, is a star-studded affair. And tonight, performing in the round on a stage watched over by pixelated artwork of icons from Robert Johnson to the sphinx, an A-list of XL-backed rappers and singers is on hand to realise Russell’s forays into soul, jazz and hip-hop.

Mercury prizewinner Sampha opens proceedings with the emotive piano and plaintive tones of Close But Not Quite. The track is built around a brass-drenched Curtis Mayfield sample triggered by Russell, who sits unobtrusively behind a bank of kit in a corner throughout. As with much of the show, the track feels like a mature version of the sample-heavy rave music with which Russell started his career. Bass hooks from Grace Jones and vocal lines from Zapp are worked into soulful trip-hop and it’s clear that the bones are the same as they ever were: familiar riffs repurposed for inner-city London, classics re-sung for a new generation.

Tracks roll into each other, and Sampha is joined by French Cuban duo Ibeyi, delicate-voiced soul singer Infinite and Nigerian performance poet Obongjayar. The band fill the stage, evolving into a tightly drilled choir more in keeping with a gospel show than a traditional gig. They harmonise sweetly, with the occasional vocal pyrotechnic, Infinite’s soaring falsetto, or a collective a capella rendition of Be My Friend drawing gasps and cheers from the crowd.

This unity is only disturbed by the entrance of UK rap legend Giggs. A brooding star, he brings his own anti-gravity to proceedings and the stage clears for his turn, his presence demanding space. It’s the highlight of the show and a reminder that while the collective performance has been impressive, individual charisma is unbeatable. Sensibly, his appearance is left to the end, giving a natural peak to a show that has proved that Russell – with ample support – is as skilled at making records as he is releasing them.

Tracklist:
01. Intro
02. Close But Not Quite
03. She Said
04. Wet Looking Road
05. Mountains of Gold
06. Show Love
07. Echoes in the Bone-Interlude
08. Bloodshot Red Eyes
09. Cane
10. Purify-Interlude
11. Be My Friend
12. Everything Is Recorded

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Der französische Star-Oboist François Leleux ist berühmt für sein einzigartiges, facettenreiches Spiel. Sein Ton “berührt die Seele” (NDR Kultur), seine Technik ist makellos (Stern) und der Klang ist samtig und weich.

Anlässlich des 300. Geburtstages von Fürst Nikolaus I. Joseph Esterházy de Galantha präsentiert er mit dem Münchener Kammerorchester auf seinem neuen Album unterhaltsame und zugleich geistvolle Konzerte von Joseph Haydn und Johann Nepomuk Hummel, die beide als Kapellmeister das musikalische Leben am Hofe der mächtigen und musikliebenden Familie Esterházy zwischen 1761 und 1811 bestimmten.

Mit dem Solo-Flötisten der Berliner Philharmoniker, Emmanuel Pahud, hat François Leleux zwei reizvolle Konzerte Haydns, die ursprünglich für zwei drehleierartige Instrumente namens “Lira Organizzata” geschrieben worden sind, eingespielt. Darüber hinaus ein Oboenkonzert in C-Dur, welches lange Zeit Joseph Haydn zugeschrieben wurde, aber dessen wahrer Urheber bis heute weiterhin unbekannt ist. Die virtuosen Konzertvariationen op. 102 für Oboe und Orchester aus der Feder von Johann Nepomuk Hummel runden dieses besonders interessante Programm ab.

Tracklist:
01. Introduction, Theme and Variations, Op. 102
02. Concerto for 2 Lire Organizzate No. 4 in F Major, Hob. VIIh:4, Arr. for Oboe, Flute and Orchestra: I. Allegro
03. Concerto for 2 Lire Organizzate No. 4 in F Major, Hob. VIIh:4, Arr. for Oboe, Flute and Orchestra: II. Andante
04. Concerto for 2 Lire Organizzate No. 4 in F Major, Hob. VIIh:4, Arr. for Oboe, Flute and Orchestra: III. Finale. Presto
05. Concerto for 2 Lire Organizzate No. 2 in G Major, Hob. VIIh:2, Arr. for Oboe, Flute and Orchestra: I. Vivace assai
06. Concerto for 2 Lire Organizzate No. 2 in G Major, Hob. VIIh:2, Arr. for Oboe, Flute and Orchestra: II. Adagio ma non troppo
07. Concerto for 2 Lire Organizzate No. 2 in G Major, Hob. VIIh:2, Arr. for Oboe, Flute and Orchestra: III. Rondo. Presto
08. Concerto for Oboe and Orchestra in C Major, Hob. VIIg:C: I. Allegro spiritoso
09. Concerto for Oboe and Orchestra in C Major, Hob. VIIg:C: Concerto for Oboe and Orchestra in C Major, Hob. VIIg:C: II. Andante
10. Concerto for Oboe and Orchestra in C Major, Hob. VIIg:C: Concerto for Oboe and Orchestra in C Major, Hob. VIIg:C: III. Rondo. Allegretto

Composers:
Haydn, Franz Joseph (1732-1809)
Hummel, Johann Nepomuk (1778-1837)

Personnel:
François Leleux, Oboe
Münchener Kammerorchester
Emmanuel Pahud, Dirigent

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Freiburger Barockorchester, Petra Müllejans & Gottfried von der Goltz – Handel: Concerti a due cori (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 48:33 minutes | 927 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © harmonia mundi

It was for the occasion of the Covent Garden premiere of his oratorio Joshua in 1748, that Handel composed – or rather arranged – the first of his three Concerti a due cori (« Cori » does not mean here a vocal group, but two instrumental groups – two oboes, two horns, and one bassoon each, a total of ten soloists – answering to each other on the playing grounds provided by the strings), namely the HWV 332. At that time, it was customary to lighten up performances of the largest compositions, especially oratorios, with a sprinkling of instrumental pieces. But as Handel was a busy man and a businessman, and producing so much music so fast was no easy feat. This accounts for the fact that so many of his instrumental pieces are in fact recyclings – transcriptions, reorchestrations, transcriptions, according to what was available and requested – of earlier works, mostly his own, sometimes that of fellow composers – who would not necessarily be informed of the pillage. In the case of Concerto a due cori No. 1, Handel plundered a handful of his own operas and oratorios.

The second of Handel’s Concerti a due cori, HWV 333, written around the beginning of 1747, was premiered at Covent Garden in 1748 as part of a huge musical banquet, the main course of which was the brand new oratorio Alexander Balus. Here, the composer drew from some of his own English oratorios: Esther and Messiah, the latter still quite unknown. The wind groups take over melodic lines given to singers in the original choral versions of the adapted music. The third Concerto, HWV 334, contains mostly brand new music – yes! – even though the first movement is reworked in part from Handel’s so-called Fitzwilliam Overture, for two clarinets and horn, while the concluding Allegro, with its brilliant and difficult horn writing, is a rewrite of a hunting aria from his own opera Partenope. For this recording, the Freiburger Barockorchester has added a twist: each soloist group is accompanied by its own string ensemble, thus creating a higly energetic stereo effect. One orchestra is conducted (from the violin) by Gottfried von der Goltz, the other – also from the Konzertmeister position – by Petra Müllejans.

Tracklist:
Georg Friedrich Händel (1685 – 1759)
01. Concerto in F Major, HWV 334: I. Ouverture
02. Concerto in F Major, HWV 334: II. Allegro
03. Concerto in F Major, HWV 334: III. Allegro ma non troppo
04. Concerto in F Major, HWV 334: IV. Adagio
05. Concerto in F Major, HWV 334: V. Andante larghetto
06. Concerto in F Major, HWV 334: VI. Allegro
07. Concerto in B-Flat Major, HWV 332: I. Ouverture
08. Concerto in B-Flat Major, HWV 332: II. Allegro ma non troppo
09. Concerto in B-Flat Major, HWV 332: III. Allegro
10. Concerto in B-Flat Major, HWV 332: IV. Largo
11. Concerto in B-Flat Major, HWV 332: V. A tempo ordinario
12. Concerto in B-Flat Major, HWV 332: VI. Alle breve moderato
13. Concerto in B-Flat Major, HWV 332: VII. Minuet
14. Concerto in F Major, HWV 333: I. Pomposo
15. Concerto in F Major, HWV 333: II. Allegro
16. Concerto in F Major, HWV 333: III. A tempo giusto
17. Concerto in F Major, HWV 333: IV. Largo
18. Concerto in F Major, HWV 333: V. Allegro ma non troppo
19. Concerto in F Major, HWV 333: VI. A tempo ordinario

Personnel:
Freiburger Barockorchester
Petra Müllejans, conductor
Gottfried von der Goltz, conductor

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Although they left Motown (actually Soul) shortly after they cut this album, Gladys Knight & the Pips were at their performing peak during the early ’70s. This magnificent title track featured stunning vocals by Knight and equally effective backing vocals from the Pips, and had several other outstanding songs on it. Why Motown never pushed them as much as they could have mystified many at the time, and while Knight and the Pips didn’t surpass their Motown material at other labels, they created enough outstanding songs to justify their decision to leave.

Tracklist:
01. Neither One Of Us (Wants To Be The First To Say Goodbye)
02. It’s Gotta Be That Way
03. For Once In My Life
04. This Child Needs Its Father
05. Who Is She (And What Is She To You)
06. And This Is Love
07. Daddy Could Swear, I Declare
08. Can’t Give It Up No More
09. Don’t It Make You Feel Guilty

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Gladys Knight & The Pips – The One And Only (1978/2015) {Expanded Edition 2014}
FLAC (tracks) 24 bit/96 kHz | Time – 01:19:33 minutes | 1,59 GB | Genre: R&B
Studio Masters, Official Digital Download | Front Cover | © Legacy Recordings

In 1978, Gladys Knight & the Pips recorded one album as a group in addition to doing some recording separately. That year, Knight provided her first solo album, Miss Gladys Knight, for Buddah/Arista, while the Pips recorded Callin’ (their second album without her) for Casablanca. And together, they recorded The One and Only, which didn’t go down in history as one of their all-time classics but is a generally pleasant, if unspectacular, soul-pop outing. This LP finds the quartet working with various producers, including Michael Masser, Richie Wise, Tony Camillo, and the Van McCoy/Charles Kipps team. The album’s best-known offering is the disco-flavored single “It’s a Better Than Good Time,” which Knight also recorded as a solo artist in 1978. Other decent tracks range from the vibrant “Come Back and Finish What You Started” (written by McCoy/Kipps) to the ballad “What If I Should Ever Need You” and the exuberant, gospel-minded “Saved By the Grace of Your Love.” Nothing on The One and Only is in a class with “Midnight Train to Georgia” or “I Feel a Song (In My Heart),” but none of the material is bad either. Although not essential and not recommended to casual listeners, The One and Only is worth hearing if you’re among Gladys Knight & the Pips’ die-hard fans. ~ Alex Henderson

Tracklist:
01. Sorry Doesn’t Always Make It Right
02. Come Back and Finish What You Started
03. All the Time
04. It’s a Better Than Good Time
05. Butterfly
06. The One and Only
07. Saved By the Grace of Your Love
08. Don’t Say No to Me Tonight
09. Be Yourself
10. What If I Should Ever Need You
11. It’s Up to You (Do What You Do) (7″ Version)
12. It’s a Better Than Good Time (Full Extended Mix)
13. Saved By the Grace of Your Love (12″ Version)
14. I’m Still Caught Up with You (7″ Version)
15. It’s a Better Than Good Time (Single Edit Version)
16. Everybody’s Got to Find a Way (7″ Version)
17. Stringman (Demo)

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Gogo Penguin is an experience, almost a challenge. We know the fascination of Chris Illingworth, the pianist of the trio from Manchester, for robotics and the concepts of transhumanism and human upgrading. The music he’s been creating since 2012 with bass player Nick Blacka and drummer Rob Turner manages to merge machine and human like no one else. A classic formation, a jazz education, an electronic consumption and, in the end, this GoGo Penguin sound, incomparably fluid and superbly recorded by producer and sound engineer Joe Reiser, the true fourth member of the band.

With A Humdrum Star, the palpable tension between acoustic sonorities and electronic ones is magnified even more. The melodic fabrics are also further refined. The legacies of this or that illustrious elder can also show up from time to time (Brian Eno, Philip Glass, E.S.T., Roni Size, St Germain, Amon Tobin, Massive Attack, Bill Evans, John Cage…), GoGo Penguin still manages to take all the credit and keep their own identity. Finally, the atmospheric feelings cherished by the three Englishmen are never a smokescreen hiding shaky skills. Quite the contrary, in fact. Illingworth, Blacka and Turner could easily cause an unnecessary sensation, but they prefer to focus on the compositions, their improvisation phases and most of all the blurring of stylistic boundaries… Starting with softwares like Ableton and Logic and ending up with such musical intimacy demonstrates how far GoGo Penguin has come in only a few years. The future is theirs, now more than ever.

Tracklist:
01. Prayer 02:54
02. Raven 04:57
03. Bardo 07:14
04. A Hundred Moons 04:28
05. Strid 08:10
06. Transient State 05:59
07. Return To Text 05:22
08. Reactor 06:17
09. Window 05:21
10. So It Begins 04:01
11. A Hundred Moons (Alternative Version) 03:40

Personnel:
Chris Illingworth, piano
Nick Blacka, double bass
Rob Turner, drums, percussion

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The new album from Manchester UK based trio GoGo Penguin. Their trademark mash-up of minimalist piano themes, deeply propulsive bass lines & electronica-inspired drums has seen them shortlisted for the Mercury Prize with their last album v2.0 & has fuelled their exhilarating live shows around the world.

Coming off their sophomore effort, 2014’s Barclaycard Mercury Prize-shortlisted V2.0, GoGo Penguin return with their equally ambitious 2016 follow-up, Man Made Object. A jazz trio at their core, Britain’s GoGo Penguin have garnered well-earned plaudits for their distinctive, genre-bending sound that combines elements of forward-thinking post-bop with stylistic elements borrowed from indie rock and electronic dance music – all without the aid of any actual electronic instrumentation. Showcased in GoGo Penguin are the talents of pianist Chris Illingworth, bassist Nick Blacka, and drummer Rob Turner. Together on Man Made Object, they perform wholly original compositions that straddle the line between group improvisations and well-constructed thematic compositions. Cuts like “All Res,” “Branches Break,” and the driving, punky “Smarra,” all have the signifiers of jazz (sophisticated harmonies, kinetic rhythms, and an introverted, exploratory energy), but play out more like an adventurous Radiohead track, or the soundtrack music to a ’70s heist film. The results bring to mind the work of similarly inclined artists like pianist Brad Mehldau and groups like the Bad Plus and Medeski, Martin & Wood. There’s also a ruminative, impressionistic vibe running through much of the material on Man Made Object that positions GoGo Penguin at the vanguard of the new British jazz movement alongside the likes of trumpeter Matthew Halsall and bassist Jasper Hoiby’s trio Phronesis. Comparisons aside, what sets GoGo Penguin apart from their contemporaries is their inventive group interplay and knack for dramatic arranging. Often, Illingworth will set up a pattern on piano, like the spritely, dancing intro to “Unspeakable Word,” and Blacka and Turner will join in, answering his pattern with their own contrapuntal footwork. Just as you think the trio are going to lock up legs and topple over, they fall into a gorgeous minor-key stride and dissipate into a sweepingly ominous mid-song bass solo. Ultimately, it’s these moments of dazzling group dynamics that help make Man Made Object a jazz-infused work of art on GoGo Penguin’s own terms.

Tracklist:
01 – All Res
02 – Unspeakable World
03 – Branches Break
04 – Weird Cat
05 – Quiet Mind
06 – Smarra
07 – Initiate
08 – GBFISYSIH
09 – Surrender To Mountain
10 – Protest
11 – Unspeakable World (Matthew Herbert’s Onc Workout)
12 – Initiate (Stray Remix)
13 – All Res (Dabrye Remix)

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Canadian indie darlings Great Lake Swimmers will release their sixth album, A Forest Of Arms, on April 20, 2015 via Nettwerk Records. With a surging rhythm section, razor sharp violin, and flourishing banjo and guitars, Tony Dekker and his band mates have created some of their most dynamic songs to date. As with past Great Lake Swimmers albums, A Forest Of Arms was recorded in several locations over the span of several months, covering extensive new territory while remaining true to the groups refined sound. One of these unique and unusual locations was the Tyendinaga Cavern and Caves in Tyendinaga, Ontario. A number of the vocal and acoustic guitar tracks were recorded amid the haunting acoustics, stalactites, and circling bats in the caves. A Forest Of Arms was recorded and engineered by their long time live sound technician Justin Shane Nace and was mixed by the talented Howie Beck (Feist). Great Lake Swimmers consists of Dekker on lead vocals and guitar, long time guitarist and banjo player Erik Arnesen, Miranda Mulholland on violin and backing vocals, Bret Higgins on upright bass and newcomer Joshua Van Tassel on drums. There are also several special guest appearances on the album by Kevin Kane (Grapes Of Wrath). The band has already announced a Canadian tour in support of the release and will follow with European dates later in the year!

„While he writes lovely melodies and has a fine voice, Tony Dekker of the Great Lake Swimmers often sounds dour enough that one could imagine he’d like to hide in a cave for a while. And for the group’s sixth studio album, 2015’s A Forest of Arms, Dekker did just that; his vocals and acoustic guitars were recorded in Ontario’s Tyendinaga Caverns and Caves, one of the oldest natural caverns in Canada, while the rest of the instruments were tracked in a variety of studios, performance venues, and resonant rooms in unlikely locales. While it’s difficult to say how much impact Tyendinaga made on the final product, it certainly testifies to the group’s willingness to experiment. And in a band where mood plays a major role, doing your vocals in a cave probably does make a difference, and the cool but emotionally taut tone of A Forest of Arms’ 12 tunes is genuinely powerful, as the wheatfield textures of Dekker’s voice blend with the faraway cry of Miranda Mulholland’s violin and the well-worn bark of Erik Arnesen’s banjo and electric guitar. A Forest of Arms evokes the feeling of a Sunday afternoon in a rural community as the cool, decisive snap of autumn is in the air, at once beautiful and laced with sad inevitability, and though the Great Lake Swimmers don’t clear out much new stylistic or thematic ground on this album, it’s still a welcome reminder of what they do so well. (And “I Must Have Someone Else’s Blues” shows Dekker does have a sense of humor.) From the lonesome drift of the melodies and the brilliantly rendered dynamics of the performances to the uncluttered detail of the production (by engineer Justin Shane Nace in collaboration with the group), this is a splendid mood piece that excels in concept and execution.“ (Mark Deming, AMG)

Tracklist:
01. Something Like a Storm
02. Zero in the City
03. Shaking All Over
04. Don’t Leave Me Hanging
05. One More Charge at the Red Cape
06. I Was a Wayward Pastel Bay
07. A Bird Flew Inside the House
08. A Jukebox in a Desert of Snow
09. I Must Have Someone Else’s Blues
10. The Great Bear
11. With Every Departure
12. Expecting You
13. Talking in Your Sleep (Bonus Track)

Personnel:
Tony Dekker, vocals, acoustic guitar, electric guitar, mandolin, ukulele
Erik Arnesen, electric guitar, banjo
Bret Higgins, mandolin, piano, Wurlitzer piano, upright bass, electric bass, claves
Miranda Mulholland, violin, background vocals
Joshua Van Tassell, drums, percussion

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Gwen Hoebig, Concertmaster, and Karl Stobbe, Associate Concertmaster, both distinguished musicians of the Winnipeg Symphony Orchestra, combine their talents to bring us the album Six Sonatas for Two Violins, by the great French composer Jean-Marie Leclair, whose tumultuous life led to his murder in 1764.

This magnificent work, composed of lilting pastorals, graceful sarabandes and fiery jigs, is admirably performed by the two virtuosos. Known for his delicate and clean melodic writing, Jean-Marie Leclair is considered the father of violin in France.

Tracklist:
Jean-Marie Leclair (1697-1764)
01. Sonata for Two Violins in G Major, Op. 3 No. 1: I. Allegro
02. Sonata for Two Violins in G Major, Op. 3 No. 1: II. Allegro ma poco
03. Sonata for Two Violins in G Major, Op. 3 No. 1: III. Allegro
04. Sonata for Two Violins in A Major, Op. 3 No. 2: I. Allegro
05. Sonata for Two Violins in A Major, Op. 3 No. 2: II. Sarabande-Largo
06. Sonata for Two Violins in A Major, Op. 3 No. 2: III. Allegro
07. Sonata for Two Violins in C Major, Op. 3 No. 3: I. Adagio – Vivace
08. Sonata for Two Violins in C Major, Op. 3 No. 3: II. Adagio
09. Sonata for Two Violins in C Major, Op. 3 No. 3: III. Allegro
10. Sonata for Two Violins in F Major, Op. 3 No. 4: I. Allegro assai
11. Sonata for Two Violins in F Major, Op. 3 No. 4: II. Aria-Andante grazioso
12. Sonata for Two Violins in F Major, Op. 3 No. 4: III. Gigue-Allegro moderato
13. Sonata for Two Violins in E Minor, Op. 3 No. 5: I. Allegro ma poco
14. Sonata for Two Violins in E Minor, Op. 3 No. 5: II. Gavotte-Andante grazioso
15. Sonata for Two Violins in E Minor, Op. 3 No. 5: III. Presto
16. Sonata for Two Violins in D Major, Op. 3 No. 6: I. Andante
17. Sonata for Two Violins in D Major, Op. 3 No. 6: II. Allegro
18. Sonata for Two Violins in D Major, Op. 3 No. 6: III. Largo
19. Sonata for Two Violins in D Major, Op. 3 No. 6: IV. Allegro ma non troppo

Personnel:
Gwen Hoebig & Karl Stobbe, violin

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Alune Wade returns with a new project, the result of his influences and his musical experiences. Songs in English, French, Wolof, Nigerian Afrobeat, Senegalese folk music, jazz, with talented musicians and prestigious guests including Oxmo Puccino and Kuku … All the ingredients are there for a music necessarily mixed, rich and colorful, with groove as the red thread of the album.

Tracklist:
01. African Fast Food
02. How Many Miles
03. Pharoah’s Dance
04. Mali Dén
05. Brown Sugar
06. Nuit des Lombards
07. Demna
08. Boisterous City
09. Afua
10. Mame Fallou

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After a well-received 2014 début album, Benjamin Booker found himself with a case of the dreaded writer’s block. So he left New Orleans and headed for Mexico, in the hope of finding a little bit of inspiration to save him. There, the Virginia Beach native wandered the towns, visited old churches, and, hallelujah, found the energy to create songs for his Witness. His more garage aspect is hidden here, showing him as a more complex artist. A musician who is turning towards the roots of soul. It’s also clear that the Black Lives Matter movement has really fuelled his art, and that with this release, Booker is speaking to his many political engagements. Vintage soul (Witness, which even saw the great Mavis Staples join the action, Overtime), punk rock (Right On You), neo-grunge (Off the Ground): every corner of this second album is bursting with the energy of his return. Witness is a record which will do you good. But it is also a political record which offers a voice of positivity in a world that can often seem overcast and gloomy.

Tracklist:
01. Right On You
02. Motivation
03. Witness (feat. Mavis Staples)
04. The Slow Drag Under
05. Truth Is Heavy
06. Believe
07. Overtime
08. Off the Ground
09. Carry
10. All Was Well

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Berliner Philharmoniker & Gustavo Dudamel – Richard Strauss: Also sprach Zarathustra (2013/2014) [Official Digital Download 24bit/96kHz]

Berliner Philharmoniker & Herbert von Karajan – Brahms: The Four Symphonies (1965/2017) [Official Digital Download 24bit/96kHz]

Berliner Philharmoniker & Mstislav Rostropovich – Tchaikovsky: Ballet Suites (1996/2015) [Official Digital Download 24bit/96kHz]

Bill Deraime – Nouvel horizon (2018) [Official Digital Download 24bit/44,1kHz]

Brett Dennen – Por Favor (2016) [Official Digital Download 24bit/96kHz]

Brett Dennen – Smoke and Mirrors (2013) [Official Digital Download 24bit/44,1kHz]

B’Rock Orchestra, Rene Jacobs – Handel: Orlando (2014) [Official Digital Download 24bit/96kHz]

Bruce Springsteen – 2005-08-03 Van Andel Arena, Grand Rapids, MI (2018) [Official Digital Download 24bit/48kHz]

Evangelina Mascardi – Laurent de Saint-Luc: Piees pour luth (2018) [Official Digital Download 24bit/88,2kHz]

Everything Is Recorded – Everything Is Recorded by Richard Russell (2018) [Official Digital Download 24bit/96kHz]

Francois Leleux – Prince Esterhazy Concertos (2015) [Official Digital Download 24bit/44,1kHz]

Freiburger Barockorchester, Petra Mullejans & Gottfried von der Goltz – Handel: Concerti a due cori (2018) [Official Digital Download 24bit/96kHz]

Gladys Knight & The Pips – Neither One Of Us (1973/2014) [Official Digital Download 24bit/192kHz]

Gladys Knight & The Pips – The One And Only (1978/2015) {Expanded Edition 2014} [Official Digital Download 24bit/96kHz]

GoGo Penguin – A Humdrum Star (Deluxe) (2018) [Official Digital Download 24bit/88,2kHz]

GoGo Penguin – Man Made Object {Deluxe Edition} (2016) [Official Digital Download 24bit/44,1kHz]

Great Lake Swimmers – A Forest of Arms (2015) [Official Digital Download 24bit/96kHz]

Gwen Hoebig & Karl Stobbe – Leclair: Six Sonatas for Two Violins, Op. 3 (2018) [Official Digital Download 24bit/96kHz]

Alune Wade – African Fast Food (2018) [Official Digital Download 24bit/44,1kHz]

Benjamin Booker – Witness (2017) [Official Digital Download 24bit/44,1kHz]