Studio Masters – HDMusic.me

“Weird Al” Yankovic – UHF: Original Motion Picture Soundtrack And Other Stuff (1989/2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 42:32 minutes | 552 MB | Genre: Comedy
Studio Masters, Official Digital Download – Source: HDTracks | Booklet, Front Cover | © Volcano

“Weird Al” Yankovic has always been one of pop music’s guilty pleasures, and his 1989 release UHF/Original Motion Picture Soundtrack and Other Stuff is no exception. As the title suggests, this album not only commemorates UHF’s soundtrack highlights but also additional material recorded between 1988 and 1989. Under returning producer and veteran rock guitarist Rick Derringer, UHF’s parodies sound increasingly similar to their originals (i.e., “Isle Thing” and “She Drives Like Crazy”), while a handful of original compositions deliver the beefiest guitars ever heard on a Weird Al release (i.e., the title track, “Let Me Be Your Hog,” and “Generic Blues”). Despite this evolving creativity, UHF demonstrates a slump in Weird Al’s songwriting abilities as popular music’s premier comedian, notably endorsed by his deplorable original “Attack of the Radioactive Hamsters From a Planet Near Mars.” Possibly worse, the Fine Young Cannibals’ irritating “She Drives Me Crazy” sadly resurfaces via Weird Al’s equally irritating “She Drives Like Crazy,” which tries the patience of even the most devoted Weird Al fan. Nevertheless, Weird Al rescues listeners’ tormented ears and vindicates his artistic credibility with “Gandhi II” (à la “Theme From Shaft”) and “Spatula City,” two remarkable commercial parodies that prove why he’s still America’s favorite musical satirist. In addition, UHF’s remaining parodies – “Isle Thing,” “Money for Nothing/Beverly Hillbillies,” and “Spam” – genuinely highlight Weird Al’s renowned fixation with food and television, the undisputed formula behind his well-deserved reputation. All things considered, UHF endures artistically as a transitional album between his ’80s heyday and the imminent artistic makeover revealed on 1991’s Off the Deep End. Recommended for both moderate and genuine Weird Al aficionados, UHF remains nearly as accessible as subsequent compilations Greatest Hits, Vol. 2, The TV Album, and The Food Album, which together incorporate only three of this album’s 13 selections.

Tracklist:
01 – Beverly Hillbillies
02 – Gandhi II
03 – Attack Of The Radioactive Hamsters From A Planet Near Mars
04 – Isle Thing
05 – The Hot Rocks Polka
06 – UHF
07 – Let Me Be Your Hog
08 – She Drives Like Crazy
09 – Generic Blues
10 – Spatula City
11 – Fun Zone
12 – Spam
13 – The Biggest Ball Of Twine In Minnesota

Download:

https://subyshare.com/e0j5av4nc9ms/WeirdAlYankovic_1989__UHF._Original_Motion_Picture_Soundtrack_And_Other_Stuff.rar.html

Following his exposure in the mid-’80s, Weird Al Yankovic’s career stumbled with the poor-selling Polka Party in 1986 and his feature film UHF that tanked in 1989. Clearly, many people had grown tired of Yankovic’s presence, just as they’d grown tired of the artists he was satirizing. Thus his chance for a comeback came in 1992, when Nirvana stormed the scene with “Smells Like Teen Sprit,” a song that turned the music world upside down and ended the careers of many of the artists Yankovic had once used to heighten his success. Not too surprisingly, “Smells Like Nirvana” was the first single off of Off the Deep End, Yankovic’s first album in three years. The song, which pokes fun at the original version’s incoherent lyrics, was a smash hit, and not undeservingly – it reveals the kind of brilliant writing Yankovic was still capable of doing. Though no other parody on the album matches the cleverness of “Smells Like Nirvana,” satires such as “I Can’t Watch This” and “Taco Grande” come quite close. In addition to re-establishing his satirical craftsmanship, Deep End showcases some of Yankovic’s best originals ever; “Trigger Happy,” “When I Was Your Age,” and “You Don’t Love Me Anymore” prove to be the album’s greatest songs. As his best album since In 3-D, Off the Deep End is the answer to those who questioned Yankovic’s credibility as an evolving artist.

Tracklist:
01 – Smells Like Nirvana
02 – Trigger Happy
03 – I Can’t Watch This
04 – Polka Your Eyes Out
05 – I Was Only Kidding
06 – The White Stuff
07 – When I Was Your Age
08 – Taco Grande
09 – Airline Amy
10 – The Plumbing Song
11 – You Don’t Love Me Anymore

Download:

https://subyshare.com/n6rav0c2so46/WeirdAlYankovic_1992__Off_The_Deep_End.rar.html

One can tell just by listening to Alapalooza that Weird Al Yankovic was having a hard time writing clever material to coincide with the current musical trends. The album’s title is indeed appropriate – the musical content varies from track to track. Many of the parodies on the album, such as “Jurassic Park” and “Achy Breaky Song,” must have been meant to be on an earlier album meant to satirize the real songs when they were on top of the charts, but somehow were never released until now. With that in mind, only the poor timing keeps Alapalooza from being such a blast, as the entire album sounds sloppy and mostly like a compilation of old B-sides.

Tracklist:
01 – Jurassic Park
02 – Young, Dumb & Ugly
03 – Bedrock Anthem
04 – Frank’s 2000″ TV
05 – Achy Breaky Song
06 – Traffic Jam
07 – Talk Soup
08 – Livin’ In The Fridge
09 – She Never Told Me She Was A Mime
10 – Harvey The Wonder Hamster
11 – Waffle King
12 – Bohemian Polka

Download:

https://subyshare.com/2g210z8jvcco/WeirdAlYankovic_1993__Alapalooza.rar.html

As Weird Al Yankovic gets older, his albums get more reactionary and less focused, and Bad Hair Day is no exception. Although the first single, a parody of Coolio’s “Gangsta’s Paradise” entitled “Amish Paradise,” was a hit, that was due to timing, not its quality; the song is one of the more hackneyed and condescending tracks he has recorded. Furthermore, the music on Bad Hair Day not only lacks the humor, it lacks the impish energy that made Weird Al’s first albums such fun. If you find “Amish Paradise” funny, chances are you’ll be more satisfied by a single than the album. Or you should just wait for the next, inevitable Weird Al greatest-hits collection.

Tracklist:
01 – Amish Paradise
02 – Everything You Know Is Wrong
03 – Cavity Search
04 – Callin’ In Sick
05 – The Alternative Polka
06 – Since You’ve Been Gone
07 – Gump
08 – I’m So Sick Of You
09 – Syndicated Inc.
10 – I Remember Larry
11 – Phony Calls
12 – The Night Santa Went Crazy

Download:

https://subyshare.com/vr2z9cp6cwwe/WeirdAlYankovic_1996__Bad_Hair_Day.rar.html

Like many of Weird Al’s 1990s albums, Running With Scissors is something of a mixed bag, although devoted fans will definitely find enough of interest to add it to their collections. As usual, the highlights tend to be song parodies: “The Saga Begins” is a retelling of Star Wars Episode I: The Phantom Menace from Obi-Wan Kenobi’s point of view set to the tune of “American Pie,” while “Jerry Springer” is a clever rewrite of the Barenaked Ladies’ “One Week.” Not all of them quite hit the mark, though: “Pretty Fly for a Rabbi” has the same borderline ethnic condescension of the Offspring’s original, and Yankovic’s mimicry of the sound of his source material on the Puff Daddy takeoff “It’s All About the Pentiums” isn’t quite up to his usual standards. The originals tend to come off as forced, as though Yankovic is trying way too hard to live up to his nickname; although the snarky rip of “My Baby’s in Love With Eddie Vedder” hits pretty close to the mark, the 11-minute closer “Albuquerque” is interminable. Overall, there are some songs worthy of adding to Yankovic’s next best-of, and some more that no one will miss.

Tracklist:
01 – The Saga Begins
02 – My Baby’s In Love With Eddie Vedder
03 – Pretty Fly (For A Rabbi)
04 – The Weird Al Show Theme
05 – Jerry Springer
06 – Germs
07 – Polka Power!
08 – Your Horoscope For Today
09 – It’s All About The Pentiums
10 – Truck Drivin’ Song
11 – Grapefruit Diet
12 – Albuquerque

Download:

https://subyshare.com/0eqom4z4jysv/WeirdAlYankovic_1999__Running_With_Scissors.rar.html

It’s been said that artists will truly know they’ve entered pop culture when Weird Al Yankovic records a parody of their hit. But what does it mean when pop culture is ahead of Weird Al? Take his parody of the Backstreet Boys’ “I Want It That Way,” which Yankovic turns into “eBay,” but his satire is not far removed from the auction website’s own advertising campaign of 2003, where people rave about the junk they bought on eBay to the tune of “My Way” (“I did it eBay”). What does this mean? Well, to begin with, that Weird Al’s sensibility has been so thoroughly assimilated by mass culture that it’s tougher than ever for him to stay ahead of the game, but it also means that he’s getting predictable. Even worse for his music, he’s getting older and he doesn’t have a finger on the pulse of pop culture anymore. Like Bill O’Reilly ranting about how hip-hop will lead to the destruction of America (something he actually did on The O’Reilly Factor the week Poodle Hat was released), offering generalizations about a culture he doesn’t understand, Yankovic seems removed from the culture he’s commenting upon, picking up on cues he’s heard on Clear Channel radio and read in Entertainment Weekly without exploring the music much itself. For instance, “Angry White Boy Polka,” his latest installment in his series of polka parody melodies, is undone by his lack of understanding of the subject, in particular how the White Stripes, the Strokes, and the Hives – none of whom are angry in the slightest – are the polar opposite of Limp Bizkit, Disturbed, and Papa Roach, and their nü-metal ilk (for that matter, Kid Rock is many things, but he ain’t angry). Then, there’s his parody of Eminem’s “Lose Yourself,” for which Marshall Mathers refused to let Alfred Matthew Yankovic make a video – an event that gave Poodle Hat a lot of press upon its spring 2003 release. It was the first time an artist denied Al the permission to make a video and all the press portrayed it as another time that Mr. Mathers turned stone-cold humorless in the face of a silly joke (it was Triumph the Insult Comic Dog at the VMAs revisited); after hearing Yankovic’s “Couch Potato,” it’s hard not to sympathize with Em, since unlike his other big pop hit parodies, this has nothing to do with the song. Weird Al doesn’t pick up on the theme of the song, or the sound of it, or the lyrics to create a parody, he simply picks television at random, as if jokes about American Idol and Survivor will guarantee laughs and airplay. On top of the randomness of the subject, the jokes are simply bad, culminating in a “My Tivo Thinks I’m Gay” joke ripped off from Mike Binder’s unspeakably awful HBO series Mind of the Married Man, where it was done better.

Tracklist:
01 – Couch Potato
02 – Hardware Store
03 – Trash Day
04 – Party At The Leper Colony
05 – Angry White Boy Polka
06 – Wanna B Ur Lovr
07 – A Complicated Song
08 – Why Does This Always Happen To Me?
09 – Ode To A Superhero
10 – Bob
11 – eBay
12 – Genius In France

Download:

https://subyshare.com/t5dlpl604v4q/WeirdAlYankovic_2003__Poodle_Hat.rar.html

Three years between Weird Al Yankovic albums has been the norm since the ’90s, but a lot happened to the parody king between 2003’s Poodle Hat and his 2006 release, Straight Outta Lynwood. First off, Poodle Hat stalled after one single. Then while on tour promoting the album, Yankovic’s parents were both killed in their home from carbon monoxide poisoning. Al handled the issue quickly and honestly with his fans, promising to carry on before disappearing for a couple years to cope. Then he came back with the pretty good “You’re Pitiful” – a riff on James Blunt’s “You’re Beautiful” – and as the track wormed its way around the Internet, Blunt’s label, Atlantic, recanted their permission for the parody after they had already granted it. The latter event is something Al’s been through before and it always drums up some hype, but his quick and snide reference to Atlantic Records in the “White & Nerdy” video seemed genuinely ticked and wiped away some suspicion the whole thing was staged. “White & Nerdy” – a suburban take on Chamillionaire’s big hit “Ridin'” – is the hilarious reason to celebrate his return, and the album it lands on is inspired. The original, non-parody material is usually where the man stumbles, but here the ridiculous “Weasel Stomping Day” and clever “Don’t Download This Song” offer something that isn’t filler. “White & Nerdy” – where the terminally uncool singer boasts he’s a “whiz at Minesweeper” and “fluent in JavaScript as well as Klingon” – is up there with his best, and “Canadian Idiot” – a hockey-loving, toque-wearing rip on Green Day’s “American Idiot” – is great, making this effort already one highlight better than Poodle Hat. The latest installment in his series of polka parody melodies – this time it’s “Polkarama!” – is a brilliant roll through the recent hits of Modest Mouse, 50 Cent, Rihanna, and many more with a short tribute to the legendary Spike Jones stuck at the end, a thrilling moment for novelty fanatics. Topping it off is the 11-minute “Trapped in the Drive-Thru,” which turns R. Kelly’s epic “Trapped in the Closet” into an excruciating – but funny – wait for that greasy bag that will most likely contain the wrong order. This handful of prime Yankovic overshadows the only mildly humorous Usher and Taylor Hicks parodies and the couple original tunes that really drag, but Yankovic’s fans don’t expect perfection until the next “best-of” rolls around. Lynwood’s highs are higher than usual, with Yankovic trying harder and landing more shots. Turns out novelty music’s silliest hitmaker is a survivor.

Tracklist:
01 – White & Nerdy (Parody Of Ridin’ By Chamillionaire Feat. Krayzie Bone)
02 – Pancreas
03 – Canadian Idiot (Parody Of American Idiot By Green Day)
04 – I’ll Sue Ya
05 – Polkarama!
06 – Virus Alert
07 – Confessions Pt. Iii (Parody Of Confessions Pt. Ii By Usher)
08 – Weasel Stomping Day
09 – Close But No Cigar
10 – Do I Creep You Out (Parody Of Do I Make You Proud By Taylor Hicks)
11 – Trapped In The Drive-Thru (Parody Of Trapped In The Closet By R. Kelly)
12 – Don’t Download This Song

Download:

https://subyshare.com/2cf1wpojh7va/WeirdAlYankovic_2006__Straight_Outta_Lynwood.rar.html

From its smattering of cute original songs to its wealth of brilliant parodies, Weird Al’s Alpocalypse fits the Yankovic album template splendidly, offering a great gut busters-to-groaners ratio, and featuring one of the best pop-in-a-polka-style medleys in the man’s catalog, “Polka Face.” The inspired medley covers everyone from Kesha (“Tik Tok”) to Owl City (“Fireflies”) at breakneck speed, but the highlight has to be Al’s take on Kid Cudi (“Day ‘N’ Nite”) where backpacker lyrics (“The lonely stoner seems to free himself at night”) meets babushka music. “Party in the C.I.A.” takes a Miley Cyrus cut and turns it into a glittery covert operations party (“Payin’ the bribes like yeah/Pluggin’ the leaks like yeah”) while “Whatever You Like” is the T.I. track of the same name but on food stamps, promising the ladies any flavor of Top Ramen they crave. The creative high point is “CNR,” which has to be the only White Stripes-influenced, Charles Nelson Reilly S&M song in the known universe, and if you’ve ever sold any unwanted crap online, “Craigslist” will be a close second. Only bummer for loyal fans is that five of these tracks are repeated from the Internet Leaks EP, but ignore that redundancy, and Al remains the undisputed king of the parody song.

Tracklist:
01 – Perform This Way
02 – CNR
03 – TMZ
04 – Skipper Dan
05 – Polka Face
06 – Craigslist
07 – Party In The CIA
08 – Ringtone
09 – Another Tattoo
10 – If That Isn’t Love
11 – Whatever You Like
12 – Stop Forwarding That Crap To Me

Download:

https://subyshare.com/vxpz1sce0c69/WeirdAlYankovic_2011__Alpocalypse.rar.html

Already accepted as a bona fide talent in the world of parody – his musicianship, comedic timing, his pop-culture reference awareness, and his great wordplay are all well-documented – the only thing that matters when it comes to “Weird Al” Yankovic albums is how inspired the king of novelty songs sounds on any given LP. On his 14th studio album, Mandatory Fun, the inspiration meter goes well into the red, something heard instantly as Iggy Azalea’s electro-rap “Fancy” does a complete 180 thematically on the opening “Handy,” the song now heading toward the local home improvement store where the craftsmen vogue in their orange vests and blow sweet come-ons like “I’ll bring you up to code” and “My socket wrenches are second to none.” Pharrell’s “Happy” becomes “Tacky” and Al’s amazing ability to follow an everyday poke (“Wear my Ed Hardy shirt with fluorescent orange pants”) with something brainy and reserved (“Got my new résumé, it’s printed in Comic Sans”) surprises once more, but for end-to-end “wows,” it’s his brilliant redo of Robin Thicke’s “Blurred Lines,” now the smug and twerking “Word Crimes,” which gives copy editors, English professors, and grammar nerds a reason to hit the dancefloor (“And listen up when I tell you this/I hope you never use quotation marks for emphasis!”). Hardcore and hilarious musical moments start to happen when Imagine Dragons’ “Radioactive” becomes “Inactive,” a singalong anthem for the sluggish and the slovenly (“Near comatose, no exercise/Don’t tag my toe, I’m still alive”) with a dubstep-rock bassline that sounds like Galactus burping. Better still is the every-Al-album pop-polka medley, this time called “Now That’s What I Call Polka!” which polkas-up Daft Punk (“Get Lucky”), PSY (“Gangnam Style”), and Miley Cyrus (“Wrecking Ball”), and with more Spike Jones-styled sound effects than usual. As for the originals this time out, the “you suck!”-minded “Sports Song” will be unavoidable under Friday night lights once a teen gets hold of it, while the ranting and wonderfully weird “First World Problems” sounds more like the Pixies than anything the Pixies did in 2014. Wonders never cease on Mandatory Fun, and neither do the laughs.

Tracklist:
01 – Handy
02 – Lame Claim To Fame
03 – Foil
04 – Sports Song
05 – Word Crimes
06 – My Own Eyes
07 – NOW That’s What I Call Polka!
08 – Mission Statement
09 – Inactive
10 – First World Problems
11 – Tacky
12 – Jackson Park Express

Download:

https://subyshare.com/g97uc9u3rlks/WeirdAlYankovic_2014__Mandatory_Fun.rar.html

After seeing Houston perform in a New York City nightclub, Clive Davis believed the singer had the potential to crossover and be the next big superstar. He signed her in 1983 and the two began work on her debut album. Initially Davis had a hard time finding songs for her. Even after elaborate showcases in New York and Los Angeles, many producers turned down the chance to work with her. During the time, rock bands and dance oriented acts were popular; many songwriters felt Houston’s gospel voice didn’t fit in the pop landscape. It took a year and a half for Jerry Griffith, then Arista’s A&R chief and the one who had recommended Whitney to Davis, and Davis to amass suitable songs for the album. Finally the songwriter-producer Kashif offered to produce “You Give Good Love”. Jermaine Jackson, who had emerged from the shadow of his younger brother Michael, produced three songs. Narada Michael Walden came in to revise and then produce “How Will I Know”. And Michael Masser covered the pop side of the tracks, producing four of his own compositions, including “Saving All My Love for You” and “Greatest Love of All”, which had originally been recorded in 1977 by George Benson as “The Greatest Love of All” and was the main theme of the boxer Muhammad Ali biopic “The Greatest” in the same year. After two years of recording, the album was ready for release. Budgeted at $200,000, it finally cost almost $400,000.

As big a hit as it was — and it was a multi-platinum blockbuster, spinning off several chart-toppers — it’s not easy to think of Whitney Houston’s 1985 debut as the dawning of a new era, but it was. Arriving in the thick of MTV, when the slick sounds of yacht-soul were fading, Whitney Houston is the foundation of diva-pop, straddling clean, cheery R&B and big ballads designed with the adult contemporary audience in mind. Houston’s background lay in the former — actually, it was even riskier, encompassing a stint with the experimental Bill Laswell outfit Material — and her benefactor Clive Davis knew all about selling records to the masses. Appealing as this album is, Davis may never have imagined how Whitney Houston would shift tastes, pushing toward skyscraping ballads where the singer’s affectations, not the songs, were paramount — a move that later led to hollow records, but on Whitney Houston the songs were as important as the immaculate productions. Certainly, the showstopping “Greatest Love of All” provided the blueprint for decades of divas, but it’s the only overblown moment here, with the rest of the ballads — notably “Saving All My Love for You” and “You Give Good Love” — burning slowly and seductively, but what really impresses some 20-plus years on are the lighter tracks, particularly the breakthrough single “How Will I Know” and the unheralded “Thinking About You,” a dance/R&B hit co-written by Kashif that remains one of Whitney’s purest pop pleasures. These joyful, rhythmic moments faded away from Houston’s later work — and also rarely surfaced on the records of those who followed her — but their presence on this debut turns this into a fully rounded record, the rare debut that manages to telegraph every aspect of an artist’s career in a mere ten songs. [The 2010 25th anniversary edition of Whitney Houston is expanded with five bonus tracks — remixes of “Thinking About You,” “Someone for Me,” “How Will I Know,” a live version of “Greatest Love of All” from 1990, and a superfluous a cappella mix of “How Will I Know” — and a bonus DVD containing music videos from the album, new interviews, and — best of all — Whitney’s star-making 1983 performance on The Merv Griffin Show.]–Stephen Thomas Erlewine “AllMusic”

Tracklist:
1 You Give Good Love 00:04:36
2 Thinking About You 00:05:24
3 Someone For Me 00:04:59
4 Saving All My Love for You 00:03:57
5 Nobody Loves Me Like You Do 00:03:46
6 How Will I Know 00:04:29
7 All At Once 00:04:28
8 Take Good Care of My Heart 00:04:15
9 Greatest Love of All 00:04:57
10 Hold Me 00:06:02

Personnel:
Whitney Houston – lead vocal
Jermaine Jackson, Teddy Pendergrass – duet vocals
John Barnes – clarinet, keyboards
Robbie Buchanan, Randy Kerber, Yvonne Lewis, Richard Marx – keyboards
Nathan East, Freddie Washington, Randy Jackson – bass
Preston Glass, Greg Phillinganes – synthesizer
Ed Greene, John “J.R.” Robinson, J.T. Lewis, Steve Rucker – drums
Cissy Houston, Julia Tillman Waters, Maxine Willard Waters, Oren Waters, Yogi Lee, Mary Canty, Deborah Thomas – background vocals
Paul Jackson, Jr., Dann Huff, Tim May, Ira Siegel, David Williams – guitar
Jermaine Jackson – producer, background vocals

Download:

https://subyshare.com/8g5xlu65cm99/WhitneyH0ust0nWhitneyH0ust0n1985Q0buz2496.rar.html

In honor of the 25th anniversary of the iconic film The Bodyguard, Legacy Recordings, is celebrating its legacy with the release of a brand new collection of Whitney Houston live and studio recordings entitled “I Wish You Love: More From The Bodyguard”. “I Wish You Love: More From The Bodyguard” is an essential new Whitney Houston collection bringing together a variety of live and studio recordings from The Bodyguard (many previously unreleased or unavailable), including an alternate mix of “I Will Always Love You,” which features a spoken word intro of Whitney as Rachel Marron, an A Capella version of “Jesus Loves Me,” which has never been heard before and a live recording from The Bodyguard World Tour 1993-1995 of “Run To You,” which Whitney rarely performed. Also included are film and live versions of “I Will Always Love” You,” “I Have Nothing,” “Queen of The Night” and more.

Tracklist:
01 – I Will Always Love You (Alternate Mix)
02 – I Have Nothing (Film Version)
03 – I’m Every Woman (Clivilles & Cole House Mix I Edit)
04 – Run to You (Film Version)
05 – Queen of the Night (Film Version)
06 – Whitney Houston & Michele Lamar Richards – Jesus Loves Me (Film Version)
07 – Jesus Loves Me (A Capella Version)
08 – I Will Always Love You (Film Version)
09 – I Have Nothing (Live from Brunei)
10 – Run to You (Live from The Bodyguard Tour)
11 – Jesus Loves Me / He’s Got The Whole World In His Hands (Live from The Bodyguard Tour)
12 – Queen of the Night (Live from The Bodyguard Tour)
13 – I Will Always Love You (Live from The Bodyguard Tour)
14 – I’m Every Woman (Live from The Bodyguard Tour)

Download:

https://subyshare.com/4dof58x9zyq2/WhitneyH0ust0nIWishY0uL0ve.M0reFr0mTheB0dyguard2017Q0buz2448.rar.html

Antonio Vivaldi – La Cetra, Op. 9 – Rachel Podger, Holland Baroque Society (2012)
DSF Stereo DSD64/2.82MHz | Time – 01:57:26 minutes | 4,64 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. | Front Cover, Booklet
Recorded: September 2011, January 2012, Waalse Kerk, Amsterdam

In September 1728, Vivaldi met the Habsburg Emperor Charles VI in or near Trieste, where the emperor was supervising the construction of a new harbour. Charles was a great admirer of Vivaldi, and he gave him the title of knight and a golden chain with a medallion, and invited him to visit Vienna. In turn, Vivaldi gave the emperor a manuscript with a collection of concertos entitled ‘La Cetra’ (the cittern or lyre). It was probably no coincidence that the composer had used the same title for the Twelve Violin Concertos Opus 9 ‘La Cetra’ featured on this CD, which he published a year earlier through Le Cène in Amsterdam, with a dedication to the Emperor. According to the Vivaldi scholar Michael Talbot, the lyre symbolised the great love of music of the Habsburgers. Earlier, in 1673, Giovanni Legrenzi had already dedicated an early anthology – likewise entitled La Cetra – to the-then Emperor Leopold I. Talbot also considers the use of scordatura (adjusted tuning of the strings) in the violin part of the 6th and 12th concertos of Opus 9 to be a homage to the Habsburg Emperor. The scordatura practice was indeed a popular tradition in Austria and Bohemia, as we know from the violin music of Biber and Schmelzer. Concerning the remarkable encounter between Emperor Charles and Vivaldi at Trieste in 1728, the Abbé Conti wrote: ‘The Emperor talked about music at length with Vivaldi. It is said that he told him more in two weeks than his ministers in two years.’

A search for the best recording of a given set of Vivaldi violin concertos gets easier with every new release from Rachel Podger. Her last effort for Channel Classics, a scintillating recording of the 12 concertos of La Stravaganza (Op. 4) simply blew away the existing competition (click here for review), and this one promises to do the same. Not that there are that many complete traversals of all 12 of these concertos, but after these commanding performances, recorded with Channel Classics’ signature attention to realistic sound reproduction, future applicants need not apply.
Podger is a dynamic and unfailingly accurate virtuoso with exceptional interpretive instincts that can turn an unimposing rhythmic accent, a tiny melodic figure, or a seemingly routine harmonic progression into a moment of surprise or sheer wonder not only at the technical facility but also at the unexpected expressive effect. These concertos are full of challenges for the soloist, and Podger, who has considerable experience not only with Vivaldi, but with Mozart, Bach, and Haydn, has no apparent fear of any of them. And she also is a confident leader, bringing her very capable orchestral colleagues perfectly along with her, not only concerning tempos, but more importantly into her personal conception of dynamics, her volatile phrasing and often relentless rhythmic thrust. This is what makes these performances so exciting, invigorating, and so memorably different from the Vivaldi we’ve previously known and loved from performers such as Fabio Biondi, Giuliano Carmignola, and Andrew Manze.
There’s nothing not to like in terms of the music, and there are interesting little tidbits of trivia, such as the C minor theme of the Largo in Concerto No. 1, which bears an all-too-striking resemblance to the theme of Bach’s G minor fugue in Book 1 of the WTC. For some reason the first movement of the D minor concerto (No. 8) is foisted on many third or fourth-year violin students, perpetuating the idea that Vivaldi is “easier Bach”. Well, it isn’t. And just listen to Podger’s no-holds-barred performance and you’ll want to slap a warning label on the work: “For Adults Only”.
The Holland Baroque Society is a superb ensemble—it reminds me of the Quebec-based Les Violons du Roy—a group of young and very talented musicians whose inherent youthful energy and technical virtuosity, not to mention serious dedication to their music, reassures us older types that the future of classical music is secure. Full disclosure: I happened to be in Amsterdam during these recording sessions, and sat in for an all-too-brief period. I can say without qualification that the sound you hear is absolutely faithful to the superb acoustics of Amsterdam’s Waalse Kerk and to the vibrant timbres of the Holland Baroque Society’s period instruments. (A wonderful thing about these performances is the way the instruments themselves and their unique colors are celebrated and exploited—not just the bowed strings, but also the lute, organ, and harpsichord.) When listening to this CD I turned the volume up just slightly past my normal listening level, and I was rewarded with a room-filling reproduction of what I’d heard in Amsterdam. “Uitstekend!” Highly recommended. –David Vernier, ClassicsToday

Tracklist:
Antonio Vivaldi (1678-1741)
La Cetra, 12 Violin Concertos, Opus 9
Concerto No. 1 In C Major RV 181a
1 Allegro 3:40
2 Largo 3:25
3 Allegro 2:30
Concerto No. 2 In A Major RV 345
4 Allegro 3:58
5 Largo 2:04
6 Allegro 2:55
Concerto No. 3 In G Minor RV 334
7 Allegro Non Molto 3:46
8 Largo 3:20
9 Allegro Non Molto 3:11
Concerto No. 4 In E Major RV 263a
10 Allegro Non Molto 4:25
11 Largo 2:42
12 Allegro Non Molto 3:27
Concerto No. 5 In A Minor RV 358
13 Adagio – Presto 2:43
14 Largo 2:18
15 Allegro 3:04
Concerto No. 6 In A Major RV 348
16 Allegro 3:49
17 Largo 3:06
18 Allegro Non Molto 4:25
Concerto No. 7 In B-Flat Major RV 359
19 Allegro 2:54
20 Largo 2:11
21 Allegro 2:48
Concerto No. 8 In D Minor RV 238
22 Allegro 3:48
23 Largo 2:46
24 Allegro 2:35
Concerto No. 9 In B-Flat Major RV 530
25 Allegro 3:21
26 Largo E Spiccato 3:02
27 Allegro 2:36
Concerto No. 10 In G Major RV 300
28 Allegro Molto 3:30
29 Largo Cantabile 2:24
30 Allegro 2:56
Concerto No. 11 In C Minor RV 198a
31 Allegro 4:13
32 Adagio 2:12
33 Allegro 3:03
Concerto No. 12 In B Minor RV 391
34 Allegro Non Molto 4:53
35 Largo 2:17
36 Allegro 3:58

Personnel:
Rachel Podger, violin
Holland Baroque Society

DSF DSD64

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SACD ISO

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FLAC 24-96

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Various Artists – The Life & Songs of Emmylou Harris – An AllStar Concert Celebration (2016)
FLAC (tracks) 24 bit/48 kHz | Time – 01:19:12 minutes | 952 MB | Genre: Comedy
Studio Masters, Official Digital Download – Source: HDTracks | Booklet, Front Cover | © New Rounder Records
Recorded at Dar Constitution Hall, Washington, D.C. January 10, 2015

On January 10, 2015, a remarkable and diverse assemblage of artists gathered together at Washington, DC’s DAR Constitution Hall to honor one of the most distinctive and deeply-admired musicians of our time. The house band, led by co-musical directors Buddy Miller (guitars) and Don Was (bass), featured Sam Bush (mandolin, banjo, fiddle), Audley Freed (guitars), Fred Eltringham (drums), Matt Rollings (keyboards), Greg Leisz (pedal steel, lap steel), and Sara Watkins (fiddle, harmony vocals).

The recording of that event, The Life & Songs of Emmylou Harris: An All-Star Concert Celebration, created and produced by Keith Wortman, CEO of Blackbird Presents – released last Friday in multiple formats, including Blu-ray, DVD, CD, and various combo packs — certainly lives up to its title. Captured and presented in stunning HD with true Dolby 5.1 surround stereo, the concert film and companion audio recordings include a wide range of songs Harris has recorded, including “Born to Run,” “Red Dirt Girl,” “Boulder to Birmingham,” “Two More Bottles of Wine,” “Till I Gain Control Again,” and “Sin City.”

The set, heralded by American Songwriter magazine as a “consistently exhilarating experience,” features an astounding array of performances by Harris’ peers and admirers, including Mary Chapin Carpenter, Chris Coleman, Shawn Colvin, Sheryl Crow, Rodney Crowell, Steve Earle, Vince Gill, Patty Griffin, Chris Hillman, Iron & Wine, Alison Krauss, Kris Kristofferson, Daniel Lanois, Martina McBride, Lee Ann Womack, The Milk Carton Kids, Buddy Miller, Conor Oberst, Herb Pedersen, Shovels & Rope, Mavis Staples, John Starling, Trampled by Turtles, Sara Watkins, Holly Williams, Lucinda Williams, and Emmylou Harris herself.
A special version of the set, offered exclusively by Cracker Barrel Old Country Store®,, boasts bonus performances by a multi-generational array of luminaries from the worlds of country, bluegrass, and Americana music, including icons such as Alison Krauss, Kris Kristofferson, Rodney Crowell, and Steve Earle, as well as rising roots music stars Milk Carton Kids, Shovels & Rope, and Trampled by Turtles.

Hal Horowitz’s four-star review of the set in American Songwriter concludes “Anyone reading this far is probably already an Emmylou fan, making this consistently enjoyable, wonderfully performed and heartfelt concert an essential addition to their existing collection from one of roots music’s most eclectic, gifted and rightly acclaimed veterans.”

A 13-time Grammy winner – including a 2014 Grammy for Best Americana Album, an award she shared with Rodney Crowell – and a Billboard Century Award recipient, Emmylou Harris’ contributions as a singer and songwriter span 40 years. She has recorded more than 25 albums, which have sold over 15 million copies, and has lent her talents to myriad recordings by fellow artists. In 2008, Harris was inducted into the Country Music Hall of Fame. In addition to the aforementioned 13 Grammys, she has also won three Country Music Association Awards and two Americana Awards.

Tracklist:
1. ONE OF THESE DAYS • Buddy Miller
2. WILL THE CIRCLE BE UNBROKEN • Mavis Staples
3. WHEELS • Chris Hillman and Herb Pedersen
4. ORPHAN GIRL • Holly Williams and Chris Coleman
5. SIN CITY • Steve Earle
6. HICKORY WIND • Lucinda Williams
7. YOU’RE STILL ON MY MIND • Rodney Crowell
8. BORN TO RUN • Lee Ann Womack
9. WHEN WE’RE GONE, LONG GONE • John Starling and Emmylou Harris
10. BLACKHAWK • Daniel Lanois and Emmylou Harris
11. ALL THE ROADRUNNING • Mary Chapin Carpenter and Vince Gill
12. THE PEARL • Conor Oberst, Shawn Colvin and Patty Griffin
13. WHEN I STOP DREAMING • Martina McBride
14. PRAYER IN OPEN D • Patty Griffin
15. TOGETHER AGAIN • Vince Gill
16. TWO MORE BOTTLES OF WINE • Sheryl Crow and Vince Gill
17. LOVING HER WAS EASIER (THAN ANYTHING I’LL EVER DO AGAIN) • Kris Kristofferson
18. TILL I GAIN CONTROL AGAIN • Alison Krauss
19. BOULDER TO BIRMINGHAM • Emmylou Harris with full ensemble

Personnel:
Emmylou Harris, Buddy Miller, Mavis Staples, Shawn Colvin
The Milk Carton Kids, Chris Hillman, Herb Pedersen
Holly Williams, Chris Coleman, Trampled By Turtles
Lucinda Williams, Rodney Crowell, Lee Ann Womack
John Starling, Daniel Lanois, Iron & Wine, Shovels & Rope
Mary Chapin Carpenter, Vince Gill, Patty Griffin, Conor Oberst
Martina Mcbride, Sheryl Crow, Kris Kristofferson
Alison Krauss, Steve Earle, Sara Watkins

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Blu-Ray Disc:

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The Spinners – Happiness Is Being With the Spinners (1976/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 35:14 minutes | 695 MB | Genre: R&B, Soul, Disco
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Atlantic Records
Recorded: Sigma Sound Studios, Philadelphia, Pennsylvania; Kaye-Smith Studios, Seattle, Washington

Happiness Is Being with the Spinners is the seventh studio album recorded by American R&B group The Spinners, released in July 1976 on the Atlantic label. It was produced by Thom Bell and recorded at Sigma Sound Studios in Philadelphia and Kaye-Smith Studios in Seattle.

As 1975’s classic Pick of the Litter seemed to garner its strength from melancholy and faultless arrangements, this 1976 studio follow-up often wallows in style over substance and platitudes. The pretty but vacuous “Now That We’re Together” is all over the road and has inane lyrics like, “You’re such a great crowd/Why don’t you sing loud.” Other tracks “You’re All I Need in Life” and “If You Can’t Be in Love” all put into practice arrangements and themes that were better executed on New and Improved. Although things get a little mushy here, producer Thom Bell and the Spinners do have their moments here. The highly danceable and infectious “Rubberband Man” breaks out of this effort’s stodgy surroundings and gave lead singer Philippe Wynne plenty of room for his skilled scatting and effortless riffing. The best non-hit on this effort is “Toni My Love.” The song is jazzy rumination on a mature relationship and it’s the only track that’s skilled enough to stand tall on Pick of the Litter. Despite the few high points, Happiness Is Being with the Spinners winds down before any of its predecessors did. The best of the last tracks, “The Clown” is a little overwrought and Philippe Wynne sounds like his hands are tied. Happiness Is Being with the Spinners is one of the first Bell efforts to be partially recorded at Kaye Smith Studios in Seattle, WA, and was mastered at A&M Studios rather than Philadelphia’s Sigma Sound. That fact arguably changed the winning formula and for the most part this falls short of the work that came before it. –AllMusic Review by Jason Elias

Tracklist:
1 Now That We’re Together 3:35
2 You’re All I Need in Life 4:28
3 If You Can’t Be in Love 3:31
4 The Rubberband Man 7:24
5 Toni My Love 3:41
6 Four Hands in the Fire 4:03
7 The Clown 5:05
8 Wake Up Susan 3:27

Personnel:
Henry Fambrough, Billy Henderson, Pervis Jackson, Bobby Smith, Philippé Soul Wynne – vocals
Carla Benson, Evette Benton, Barbara Ingram – backing vocals
Tony Bell, Sr., Bobby Eli – guitars
Thom Bell – keyboards
Bob Babbitt – bass guitar
Andrew Smith – drums
Larry Washington – percussion
MFSB – orchestra

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The Palm Beach Band Boys – Winchester Cathedral (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 21:20 minutes | 827 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: RCA Victor’s Studios A and B in New York City, 1966

The Palm Beach Band Boys was studio recording group ostensibly assembled by RCA Victor to capitalize on the success of The New Vaudeville Band’s hit single, “Winchester Cathedral”. They performed in a style for which the New Vaudeville Band’s promoters coined the term, newstalgia, a kind of faux 1920s/1930s sound, featuring nasal vocals, banjo, brass, electric guitar, rock drums, and bassoon. (Mort Goode uses the term in his liner notes for their first album.) According to a December 1966 TIME article, the vocalist is actually “an RCA executive who croons while holding his nose.”

Tracklist:
1 Winchester Cathedral 02:25
2 A Little bit Independent 01:51
3 Boo – Hoo 01:57
4 Let a Smile Be Your Umbrella 02:13
5 I’m Gonna Sit Right Down and Write Myself a Letter 01:50
6 Bend It 02:21
7 It Looks Like Rain In Cherry Blossom Lane 02:00
8 I Don’t Want to Set the World on Fire 02:14
9 Ida, Sweet As Apple Cider 02:20
10 Gypsy Caravan 02:09

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The Masque of Moments – Theatre of the Ayre, Elizabeth Kenny (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:15 minutes | 1,32 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: LINN | Booklet, Front Cover | © LINN Records
Recorded: June 2015, St Martin’s Church, Salisbury, United Kingdom

Elizabeth Kenny’s Theatre of the Ayre reveals some of the most extraordinary music of the seventeenth century on The Masque of Moments, their debut recording for Linn.
Focusing on the ‘ayre’, the central part of a masque, it offers a fascinating glimpse of the audacious and experimental virtuosity that is often absent from our image of English music of this time.
Inspired by the achievements of the ‘Lutes and Voices’, Kenny developed The Masque of Moments in 2015, highlighting the glories of little-known vocal music from the Jacobean and Caroline masque.
The ‘lutes”plucked soundworld, of which this recording gives a hint, reflects a cornucopia of sounds used to create everything from a tavern scene to a reflection of paradise. The ‘voices’ come courtesy of Sophie Daneman, William Purefoy, Ian Wicks, Nicholas Mulroy, Giles Underwood, Rosanna Wicks and Salisbury Cathedral Choir.

Tracklist:
Anonymous
1 Lord Zouche’s Maske[1’32]2 The Earl of Essex Measure[1’50]Thomas Campion (1567-1620)
3 Now hath Flora robbed her bowers[2’43]John Coprario (c1570-1626)
4 While dancing rests[2’26]Alfonso Ferrabosco (c1575-1628)
5 Why stays the bridegroom to invade[2’42]Thomas Campion (1567-1620)
6 Move now with measured sound[3’40]Anonymous
7 Tom of Bedlam[1’27]8 Steer hither, steer your winged pines[1’58]Robert Bateman (fl1609-d1618)
9 The Cadua[1’50]Robert Johnson (c1583-1633)
10 From the famous peak of Derby[1’39]Anonymous
11 The Bears’ Dance[0’20]12 Tho’ it may seem rude[2’24]13 The Second of the Temple Antic[1’33]14 The Maypole[2’03]15 Robin[3’05]Charles Coleman (c1605-1664)
16 Did not you once, Lucinda, vow[3’18]John Coprario (c1570-1626)
17 Coperario[1’25]Henry Lawes (1596-1662)
18 From the heav’ns now I fly[1’46]William Lawes (1602-1645)
19 Part of the King’s Masque ‘Sinfony'[4’28]Henry Lawes (1596-1662)
20 Sweet Echo, sweetest nymph that liv’st unseen[2’07]William Lawes (1602-1645)
21 The Last Song or Valediction The angry steed, the fife and drum invite[4’28]22 Of the Inns of Court Masque Hence, ye profane, far hence, away![9’30]23 Cease, warring thoughts[2’59]24 Sinfony[1’35]Matthew Locke (c1621/3-1677)
25 Mercury and Nature in the Elysian Fields Where am I?[3’45]Nicholas Lanier (1588-1666)
26 I was not wearier[1’52]Anonymous
27 Les Manches Vertes[2’50]

Personnel:
Theatre of the Ayre:
Elizabeth Kenny, lutes, theorbo, guitar
David Miller, lutes, theorbo
Jacob Heringman, lutes, cittern
Siobhán Armstrong, harp, Irish harp
Rodolfo Richter, Jean Patterson, violin
Emilia Benjamin, violin, viola, viols
Rachel Byrt, viola
Reiko Ichise, viols
Richard Tunnicliffe, bass violin
Joanna Levine, violone
Sophie Daneman, soprano
Rosanna Wicks, soprano
William Purefoy, countertenor
Nicholas Mulroy, tenor
Giles Underwood, baritone
Salisbury Cathedral Choir

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Piotr Ilyich Tchaikovsky – The Nutcracker & Symphony No. 4 – Mariinsky Orchestra, Valery Gergiev (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 02:09:02 minutes | 2,25 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Mariinsky
Recorded: Concert Hall of the Mariinsky Theatre, St Petersburg, Russia, The Nutcracker – 16th June & 30th December 2015, Symphony No 4 – 10th June & 29th September 2015

On the 18th December, 1892 at the Imperial Mariinsky Theatre, The Nutcracker was first introduced to the world. Now, almost 125 years since that opening night and from the very same hall, the Mariinsky’s current Artistic Director, Valery Gergiev, reveals a perfectly judged interpretation of Tchaikovsky’s ballet masterpiece.
Tchaikovsky was a pioneer, his music a new style that combined developments of the Western European musical tradition while remaining distinctively Russian. From an early age he had relished stage works involving magic or fantasy such as Weber’s Der Freischütz and Mozart’s Don Giovanni, and after seeing Adolphe Adam’s Giselle he became a ballet devotee.
Based upon E.T.A. Hoffmann’s tale of a young girl’s magical Christmas Eve, as a whole The Nutcracker was poorly received at first. But Tchaikovsky’s spellbinding score proved simply too good to lose and The Nutcracker has become an essential part of festive celebrations the world over. Adored for pieces like The Dance of the Sugar Plum Fairy and The Waltz of the Flowers, it contains some of Tchaikovsky’s most popular work and is perhaps the most famous ballet music ever written.
Closing the album is Tchaikovsky’s powerfully emotional Fourth Symphony. As the composer wrote, it is ‘patterned after Beethoven’s Fifth’ and is well known for its theme of ‘fate’, announced by the ominous recurring fanfare that holds the unique symphonic form together.
Tempering the sweetness of The Nutcracker, this coupling displays two very different sides of Tchaikovsky’s music, illustrating him as a complex man who battled to balance inner turmoils as well as utmost joys. Perhaps summed up by the final line of his famous programme note: ‘Reproach yourself and do not say that all the world is sad. Simple but strong joys do exist. Rejoice in other’s rejoicing. To live is still bearable.’

Tracklist:
Pyotr Ilyich Tchaikovsky (1840–1893)
The Nutcracker Op. 71
1 Act 1: Overture[3’28]2 Act 1 Tableau 1 No 1: Scene: The Christmas Tree[3’44]3 Act 1 Tableau 1 No 2: March[2’26]4 Act 1 Tableau 1 No 3: Children’s galop and dance of the parents[2’19]5 Act 1 Tableau 1 No 4: Dance scene: Arrival of Drosselmeyer[5’06]6 Act 1 Tableau 1 No 5: Scene and grandfather dance[6’16]7 Act 1 Tableau 1 No 6: Scene: Clara and the Nutcracker[6’59]8 Act 1 Tableau 1 No 7: Scene: The battle[3’12]9 Act 1 Tableau 2 No 8: Scene: A pine forest in winter[3’25]10 Act 1 Tableau 2 No 9: Waltz of the snowflakes[6’07]11 Act 2 Tableau 3 No 10: Scene: The magic castle in the land of sweets[3’48]12 Act 2 Tableau 3 No 11: Scene: Clara and Nutcracker Prince[4’18]13 Act 2 Tableau 3 No 12a: Divertissement: Chocolate (Spanish dance)[1’06]14 Act 2 Tableau 3 No 12b: Coffee (Arabian dance)[2’38]15 Act 2 Tableau 3 No 12c: Tea (Chinese dance)[1’19]16 Act 2 Tableau 3 No 12d: Trepak (Russian dance)[1’06]17 Act 2 Tableau 3 No 12e: Dance of the reed pipes[2’21]18 Act 2 Tableau 3 No 12f: Mother Ginger and the Polichinelles (Clowns)[2’30]19 Act 2 Tableau 3 No 13: Waltz of the flowers[7’37]20 Act 2 Tableau 3 No 14a: Pas de deux: Intrada[5’39]21 Act 2 Tableau 3 No 14b: Pas de deux: Variation 1 (Tarantella)[0’36]22 Act 2 Tableau 3 No 14c: Pas de deux: Variation 2 (Dance of the Sugar Plum Fairy)[2’03]23 Act 2 Tableau 3 No 14d: Pas de deux: Coda[1’23]24 Act 2 Tableau 3 No 15a: Final waltz[3’22]25 Act 2 Tableau 3 No 15b: Apotheosis[1’28]Symphony No. 4 in F minor Op. 36
26 Andante sostenuto – Moderato con anima[19’16]27 Andantino in modo di canzona[11’28]28 Scherzo: Pizzicato ostinato – Allegro[5’32]29 Finale: Allegro con fuoco[8’30]

Personnel:
Mariinsky Orchestra
Valery Gergiev conductor

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Pyotr Ilyich Tchaikovsky – Symphonies Nos. 1, 2 & 5 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:57:51 minutes | 2,04 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Onyx Classics
Recorded: Liverpool Philharmonic Hall, 15 & 16 November 2014 (No.5), 23 & 24 November 2014 (No.1), 15 May 2015 (No.2)

The eagerly awaited Tchaikovsky Symphony cycle from the Royal Liverpool Philharmonic Orchestra and Vasily Petrenko gets underway with Symphonies 1, 2 & 5. In 2015 The Tchaikovsky Album with Petrenko and the RLPO, released to coincide with the orchestra’s 175 anniversary, became one of the best-selling classical CDs in the UK and met with fulsome praise from reviewers. Volume I of the Symphonies looks set to replicate that success and indeed critical acclaim.

The first volume of a survey of Pyotr Il’yich Tchaikovsky’s symphonies, this two-fer from Onyx presents the Symphony No. 1 in G minor, “Winter Dreams,” the Symphony No. 2 in C minor, “Little Russian,” and the Symphony No. 5 in E minor, in thrilling performances by Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra. This package follows their 2015 release of The Tchaikovsky Album on the Classic FM label, and noting their 2014 release of Tchaikovsky’s first two piano concertos on Onyx, it appears that they have made a special commitment to the composer. This is an auspicious beginning for a Tchaikovsky cycle, with atmospheric and expressive interpretations that Petrenko makes his own, and the vibrant and passionate playing of the Liverpool musicians is convincingly Russian in its rich sonorities and weighty emotional depth. Even though the first two symphonies are less familiar to listeners than the Symphony No. 5, which is one of the most popular works in the repertoire, they are just as rewarding and exciting in these spontaneous performances, and Petrenko adds a fiery intensity that is seldom heard in the early works. This series warrants serious attention, and admirers of Petrenko will want to hear all of these superb recordings. –AllMusic Review by Blair Sanderson

Tracklist:
Pyotr Ilyich Tchaikovsky (1840–1893)
Symphony No.1 in G minor ‘Winter Dreams’ op.13
1. I Allegro tranquillo 10.42
2. II Adagio cantabile ma non tanto 10.39
3. III Scherzo (Allegro scherzando giocoso) 7.21
4. IV Finale (Andante lugubre – Allegro moderato – Allegro maestoso – Allegro vivo) 12.22
Symphony No.2 in C minor ‘Little Russian’ op.17
5. I Andante sostenuto – Allegro vivo 10.29
6. II Andantino marziale, quasi moderato 7.32
7. III Scherzo (Allegro molto vivace) & Trio 5.04
8. IV Finale (Moderato assai – Allegro vivo – Presto) 9.53
Symphony No.5 in E minor op.64
9. I Andante – Allegro con anima 13.58
10. II Andante cantabile, con alcuna licenza 12.32
11. III Valse (Allegro moderato) 5.41
12. IV Finale (Andante maestoso – Allegro vivace) 11.38

Personnel:
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko, conductor

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Pyotr Ilyich Tchaikovsky – Symphonies Nos. 3, 4 & 6 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2017)
FLAC (tracks) 24 bit/96 kHz | Time – 02:09:40 minutes | 2,2 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Onyx Classics
Recorded: Liverpool Philharmonic Hall, Symphony No.3 – 1 & 4 December 2015; Symphony No.4 – 4, 8 & 13 March 2015; Symphony No.6 – 9 & 10 June 2015

Petrenko’s Tchaikovsky promises to be one of the most important orchestral releases of 2017. Universal praise from reviewers for the first volume of Symphonies 1, 2 and 5 bodes well for this eagerly-awaited release: Gramophone gave Volume One an Editor’s choice and it reigned as a top 10 UK Classical chart title for 7 weeks in 2016.

The new CD, like the first, was recorded in Liverpool’s fine Philharmonic Hall, highlighting the lovely bloom around the orchestra and the wide range of dynamics the Phil’s music director, Vasily Petrenko demands. If anything, the new release is even better than the first. Only a minor criticism will stop this Onyx disc from taking a top spot in a very crowded field.
Whither the Royal Liverpool Philharmonic? Nowadays, it’s really easy to ‘fix it in the mix’, but the orchestra goes from strength to strength on successive recordings. The playing here is spectacular — strings in the opening movement of the 4th Symphony are courageous. They don’t quite match the classic Leningrad/DG/Mravinsky performance (no one does), but this is a movement where string sections can produce a collective fail. Brass and woodwinds shine, too. The notes of the 3rd and 6th Symphonies are not easy to play, but present far fewer problems than the fiendish 4th. It’s in the Scherzo where my one quibble show its reed. I’m not fan of the clarinet sound. Nit picked.
Petrenko shines a light on Tchaikovsky’s micro and macro dynamics, especially when subito [suddenly]. Very effective. He does this in all three symphonies. Also effective, the use of different bowing articulations — legato where I usually hear detached, and the opposite. These phrases did not sound mannered, just right. And very musical. They’re not marked by Tchaikovsky in the score.
The solo work on the CDs is exceptional. The piccolo riff in the 4th’s Scherzo is dispatched with a sparkle and slow movement’s oboe solo I’ve never heard bettered [I’m assuming it’s the orchestra’s long time principal, Jonathan Small — he’s also brilliant on the orchestra’s wonderful Shostakovich Symphony cycle]. Tchaikovsky’s unique string orchestration in the Lamentoso of the Pathetique makes for a super rich presentation and the brass in the symphony’s March is razor sharp in ensemble. The playing in the 3rd is equally fine.
Petrenko was also made Musical Director of the Oslo Philharmonic last year. A lateral move with Liverpool, standard wise. No major appointment yet. He has some weaknesses, never mind the raves in the Brit press. I’ve not been impressed with his mainstream repertoire, Beethoven chief among them. But in the Slavic repertoire, he has few peers in England. And other than my preference for clarinets without vibrato, these new CDs, especially if you need the coupling, will make an easy first choice. Highly recommended. –Anthony Kershaw, Audiophilia

Tracklist:
Pyotr Ilyich Tchaikovsky (1840–1893)
Symphony No.4 in F minor op.36
1. Andante sostenuto 17.25
2. Andantino in modo di canzona 9.09
3. Scherzo: Pizzicato ostinato. Allegro 5.18
4. Finale. Allegro con fuoco 7.50
Symphony No.3 in D major ‘Polish’ op.29
5. I Moderato assai (Tempo di marcia funebre) 13.57
6. II Alla Tedesca (Allegro moderato e semplice) 6.11
7. III Andante elegiaco 10.00
8. IV Allegro vivo 6.01
9. V Finale: Allegro con fuoco (Tempo di Polacca) 7.54
Symphony No.6 in B minor ‘Pathétique’ op.74
10. Adagio 18.44
11. Allegro con grazia 6.47
12. Allegro molto vivace 8.41
13. Finale. Adagio lamentoso 11.38

Personnel:
Royal Liverpool Philharmonic Orchestra
Vasily Petrenko, conductor

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The a cappella ensemble Quartonal is one of the most promising vocal groups to emerge from Germany in recent years. Following their highly successful debut CD, this second album features outstanding a cappella settings ranging from George Michael’s “Faith” and Coldplay’s “Viva La Vida” to beautiful traditional numbers. The choir won First Prize at the German National Choir Competition in the Vocal ensemble category. They were also awarded the “audience and jury awards” at the ‘A Capella’ contest in Leipzig as well as winning the ‘Tolosako Abesbatza Lehiaheta’ choir competition in Tolosa (Spain). Their first album “Another Way – English Vocal Music” was met with critical acclaim in 2013 and received glowing reviews. Quartonal performs music from across the male voice repertoire, alongside folksongs and pop music. The choir is committed to working with contemporary composers such as Philip Lawson and arrangers Patrick Prestel and Christoph Gerl. The seamless combination of classical and contemporary vocal music has become a trademark of their concerts.

Tracklist:
1 Everytime 03:44
2 The Salley Gardens 03:30
3 Les Champs-Elysees 03:14
4 Fresenhof 02:19
5 Minun kultani kaunis on 02:33
6 Kom du ljuva hjartevan 02:22
7 Across the Line 02:25
8 Friendly Road 03:04
9 A Long Time Ago 01:53
10 What Shall We Do with the Drunken Sailor? 02:59
11 Uber den Wolken 04:47
12 Kussen kann man nicht alleine 03:17
13 Hard to Say I’m Sorry 03:30
14 Shower the People 04:01
15 Faith 03:22
16 Viva La Vida 04:13
17 La Cucaracha 02:57
18 Der Mond ist aufgegangen 03:10

Personnel:
MIRKO LUDWIG tenor
FLORIAN SIEVERS tenor
CHRISTOPH BEHM baritone
SÖNKE TAMS FREIER bass

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Pyotr Ilyich Tchaikovsky – Symphonies Nos. 1, 2 & 5 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2016) [Official Digital Download 24bit/96kHz]

Pyotr Ilyich Tchaikovsky – Symphonies Nos. 3, 4 & 6 – Royal Liverpool Philharmonic Orchestra, Vasily Petrenko (2017) [Official Digital Download 24bit/96kHz]

Quartonal – Everytime: A Capella (2017) [Official Digital Download 24bit/88,2kHz]