Ludwig van Beethoven – The Symphonies – Simon Bolivar Symphony Orchestra of Venezuela, Gustavo Dudamel (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 06:00:12 minutes | 6,26 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Booklet, Front Cover | © Gustavo Dudamel/Fidelio Arts Ltd, London
Recorded: 4/2015 in Caracas, Venezuela; Centro de Acción Social por la Música, Sala Simón Bolivar

Paris, December 2nd , 1804. In a grand ceremony at Notre-Dame-Cathedral, Napoleon Bonaparte crowns himself Emperor of France. Among the thousands in attendance at the coronation that day was a young man named Simon Bolivar. At once impressed and reviled, the young South American’s mind was gripped by a new vision for the future of his homeland. Meanwhile, as news of Napoleon’s coronation reached Vienna, an enraged Ludwig van Beethoven dashed the hand-written dedication to Bonaparte from the manuscript of his latest symphony. The work would be known as the “Eroica”, and the history of music would never be the same.

With this recording project, my brothers and sisters of the Simon Bolviar Symphony Orchestra and I pay homage to two of our greatest inspirations: Beethoven and Bolivar. Two bold, passionate visionaries whose parallel lives straddled the transition from the Enlightenment to the revolutionary Romantic eras, who came of age in the shadow of Napoleon, and went on to dominate the cultural consciousness of their time. Bolivar led millions of South Americans to freedom and became the spiritual father of nations; Beethoven championed the emancipation of art from the sphere of the aristocracy and, in his symphonies, established the compositional and philosophical vocabulary for all music thereafter.

To realise their goals, both Bolivar and Beethoven overcame tremendous challenges. Bolivar faced colonial armies, survived political intrigues, and suffered personal tragedy, but never lost faith in his vision. Beethoven lost his hearing – perhaps the most cruel fate to befall a musician. And yet, he was able to compose music of such extraordinary humanity and compassion, he is living proof of the ability of musical expression to transcend circumstance. This belief, in the transcendent, transformative power of music, is fundamental to the philosophy of El Sistema. As Venezuelans, we feel the living spirit of Bolivar all around us every day. And for us, especially in the Simon Bolivar orchestra, we identify with Beethoven’s spirit and with his music because the two contemporaries, Beethoven and Bolivar, shared the same ideals of freedom and sacrifice. We stand on the shoulders of giants. Just as Bolivar’s words and deeds inspired his countrymen and women to strive for greater causes, Beethoven’s symphonies lead us on a journey to discover our deepest human emotions – and aspire to our highest ideals. It is our great honour and pleasure to share in this journey with you. —Gustavo Dudamel

Tracklist:
Ludwig van Beethoven (1770 – 1827)
Symphony No. 1 in C Major, Op. 21
1 I. Adagio molto – Allegro con brio 00:09:48
2 II. Andante cantabile con moto 00:08:45
3 III. Menuetto. Allegro molto e vivace 00:03:29
4 IV. Finale. Adagio – Allegro molto e vivace 00:06:15
Symphony No. 2 in D Major, Op. 36
5 I. Adagio molto – Allegro con brio 00:12:42
6 II. Larghetto 00:12:02
7 III. Scherzo. Allegro – Trio 00:03:33
8 IV. Allegro molto 00:06:09
Symphony No. 3 in E-Flat Major, Op. 55
9 I. Allegro con brio 00:15:16
10 II. Marcia funebre. Adagio assai 00:18:08
11 III. Scherzo. Allegro vivace – Trio 00:06:01
12 IV. Finale. Allegro molto 00:12:32
Symphony No. 4 in B-Flat Major, Op. 60
13 I. Adagio – Allegro vivace 00:11:37
14 II. Adagio 00:10:30
15 III. Allegro vivace 00:05:59
16 IV. Allegro ma non troppo 00:06:54
Symphony No. 5 in C Minor, Op. 67
17 I. Allegro con brio 00:08:21
18 II. Andante con moto 00:09:42
19 III. Scherzo. Allegro 00:05:27
20 IV. Allegro 00:08:56
Symphony No. 6 in F Major, Op. 68
21 I. Erwachen heiterer Empfindungen bei der Ankunft auf dem Lande 00:11:46
22 II. Scene am Bach 00:12:26
23 III. Lustiges Zusammensein der Landleute 00:05:01
24 IV. Gewitter. Sturm 00:03:38
25 V. Hirtengesang. Frohe und dankbare Gefühle nach dem Sturm 00:09:58
Symphony No. 7 in A Major, Op. 92
26 I. Poco sostenuto – Vivace 00:14:29
27 II. Allegretto 00:08:32
28 III. Presto 00:09:27
29 IV. Allegro con brio 00:08:37
Symphony No. 8 in F Major, Op. 93
30 I. Allegro vivace e con brio 00:09:31
31 II. Allegretto scherzando 00:04:07
32 III. Tempo di menuetto 00:04:38
33 IV. Allegro vivace 00:07:05
Symphony No. 9 in D Minor, Op. 125
34 I. Allegro ma non troppo, un poco maestoso 00:16:17
35 II. Scherzo. Molto vivace – Presto 00:11:40
36 III. Adagio molto e cantabile 00:16:00
37 IV. Final, Pt. 1 00:06:40
38 V. Final, Pt. 2 00:18:14

Personnel:
Mariana Ortíz, soprano
J’nai Bridges, mezzo-soprano
Joshua Guerrero, tenor
Soloman Howard, bass
Coro Nacional Juvenil Simón Bolívar
Lourdes Sánchez, chorus master
Simón Bolívar Symphony Orchestra of Venezuela
Gustavo Dudamel, conductor

Download:

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Ludwig van Beethoven – Sonatas for Piano & Violin, Vol. 1 – Ian Watson, Susanna Ogata (2015)
FLAC (tracks) 24 bit/192 kHz  | Time – 54:19 minutes | 2,06 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Booklet, Front Cover | © Coro/The Sixteen Productions
Recorded: Mechanics Hall, Worcester, MA, USA, 7-9 June 2014

Susanna Ogata and Ian Watson join forces to record the complete Sonatas for Fortepiano and Violin of Ludwig van Beethoven in four installments. The first CD features Beethoven’s Fourth Sonata, Op. 23 in A minor, as well as the revolutionary ‘Kreutzer’ Sonata, his ninth, Op. 47 in A major – a blazing landmark in violin virtuosity and classical music repertoire. Beethoven’s music and persona pushed the existing forms and instruments to their absolute limit. Using period instruments for which the music was originally written, Watson and Ogata reveal not only the clarity of Beethoven’s extraordinary musical structure, but also an amazing palette of colours. In doing so, this duo aims to recreate the white-hot intensity of the moment these striking sonatas were written and first performed.

Susanna Ogata has been praised for her ‘totally convincing, spontaneous and free-flowing playing’ (The Berkshire Review) and is a tenured member of the Handel and Haydn Society where she was appointed as Assistant Concertmaster of the orchestra in 2014.

Ian Watson has been described by the Frankfurter Allgemeine Zeitung as ‘a conductor of formidable ability’, and by The Times in London as a keyboard performer with ‘virtuosic panache and brilliantly articulated playing’ and ‘a world-class soloist.’ He was appointed Resident Conductor of Boston’s Handel and Haydn Society in September 2014.

Tracklist:
Ludwig van Beethoven (1770-1827)
Sonata for Fortepiano and Violin No. 4 in A minor, Op. 23
1 Presto 7.33
2 Andante scherzoso, più allegretto 7.25
3 Allegro molto 5.29
Sonata for Fortepiano and Violin No. 9 in A major, Op. 47 ‘Kreutzer’
4 Adagio sostenuto – Presto 14.17
5 Andante con variazioni 14.49
6 Finale (Presto) 8.56

Personnel:
Susanna Ogata, violin
Ian Watson, fortepiano

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Ludwig van Beethoven – Pathetique, Moonlight, Appassionata – Valery Afanassiev (2015)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 01:15:58 minutes | 2,99 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: e-Onkyo | Front Cover | © Sony Classical
Recorded by Philipp Nedel at Beethovensaal in Hannover on Feb. 16-18, 2015

驚天動地。これがアファナシエフのベートーヴェン。来日記念盤。
現代クラシック・ピアノ界の鬼才(奇才 )と称される、ロシアのピアニスト、ヴァレリー・アファナシエフの最新アルバムです。個性派アファナシエフが、ソニー・クラシカルでの録音を熱望し、選んだ曲目はベートーヴェンの最も有名なピアノ・ソナタ「熱情」「月光」「悲愴」。ベートーヴェンはアファナシエフにとって、シューベルトやバッハとならぶ重要なレパートリーであり、「バガテル集」「ディアベリ変奏曲」「最後の3つのソナタ」など、早くからそのピアノ作品の録音に積極的に取り組んできました。そして「自分が最高の演奏ができる」という強い確信を持つまで、新しい作品をレパートリーに加えないアファナシエフが、68歳にしてこの名ソナタ3曲の録音に生涯初めて取り組みました。最近は演奏会でのライヴ録音をリリースしてきたアファナシエフですが、今回はハノーファーでのセッション録音。旧知のドイツ人の名プロデューサーで、これまで「ブラームス:間奏曲集」などの名盤を共に生み出してきたゲルハルト・ベッツを起用し、これまで聴いたことのないような解釈を生みだしました。

Tracklist:
Ludwig van Beethoven (1770-1827)
Piano Sonata No. 8 In C Minor, Op. 13 “Pathétique”
1 I. Grave; Allegro di molto e con brio 11:13
2 II. Adagio cantabile 6:10
3 III. Rondo: Allegro 5:33
Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 “Moonlight” Sonata Quasi Una Fantasia
4 I. Adagio sostenuto (attacca) 9:58
5 II. Allegretto 3:25
6 III. Presto agitato 9:14
Piano Sonata No. 23 In F Minor, Op. 57 “Appassionata”
7 I. Allegro assai 12:20
8 II. Andante con moto (attacca) 8:05
9 III. Allegro ma non troppo; Presto 9:33

Personnel:
Valery Afanassiev, piano

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Bela Bartok – Concerto for Orchestra; Music for Strings, Percussion and Celesta – Baltimore Symphony Orchestra, Marin Alsop (2012/2015)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 1:07:07 minutes | 2,65 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: AcousticSounds | Booklet, Front Cover | © 2xHD / Naxos Right US, Inc.
Recorded: Meyerhoff Hall, Baltimore, Maryland, USA, from 2nd-4th October, 2009 (tracks 1-5), and on 3rd, 4th and 6th June, 2010 (tracks 6-9)

Béla Bartók’s Concerto for Orchestra, one of his greatest works, was written in the United States after the composer was forced to flee Hungary during World War II. It is not only a brilliant display vehicle for each instrumental section but a work of considerable structural ingenuity that unites classical forms and sonorities with the pungency of folk rhythms and harmonies. Music for Strings, Percussion and Celesta explores darker moods through a score of marvellously poised symmetry.

This release follows Marin Alsop’s ‘riveting’ (Gramophone) Baltimore Symphony recordings of Dvořák’s symphonies.

This has long been a popular coupling of works by Béla Bartók, but this new release rides on the crest of a wave of previous successes and will occupy a leading position amongst the competition on the quality of its recording and performance. Marin Alsop and the Baltimore Symphony Orchestra have a synergy which has made their Dvořák symphonic recordings sound ‘as fresh as when Dvořák put pen to paper’ (BBC Music Magazine on the Symphonies 7 and 8, NBD0010). Of Dvořák’s New World Symphony (8570714) BBC Music Magazine also wrote, ‘it is rare to be able to say that a performance forces one to listen to a work anew, but this is exactly what Alsop’s reading achieves.’

Here’s a way to tell if a performance of Bartók’s Concerto for Orchestra is likely to be an outstanding one right from the start. Listen to the sound clip below: the trumpet trio from the first movement’s introduction. Is the volume a true pianissimo? Are the players perfectly together? Is the articulation truly legato, the timbre devoid of breathiness, the tempo chosen so as to permit a real melody to emerge in just two big arcs? Do the strings accompany with crystalline calm so that the ensuing, passionate string eruption comes as a genuine shock? If all of these criteria are met, as they are here, then we’re probably in good shape for the five movements to come. Marin Alsop leads a splendid performance of this oft-recorded work, full of character, whether in the jocular “games of pairs” second movement, the ensuing spooky elegy, or the finale that begins (seemingly) a touch reserved but takes off like a shot in the coda. It’s a memorable and wholly successful effort, excellently engineered to boot. The Music for Strings, Percussion and Celesta is cut very much from the same cloth. This is one of the very few performances since Reiner’s (Solti’s LSO recording is another) that even makes an attempt to approach Bartók’s very quick indicated timings—and he specifies the length of each section down to the second (not that he really expected anyone would pay attention). This approach pays the biggest dividends in the opening fugue, which really does unfold almost visually, like an arch. It’s quite wonderful. The only drawback to this performance stems from the fact that the Baltimore strings just aren’t quite in the same league as the very greatest ensembles—say Berlin, or Leningrad under Mravinsky (but then they don’t get lost), or the best crack chamber orchestras. If only they could have dug in a little harder in the second movement, or in those scary tremolos at the climax of the nocturnal third movement, we’d have had a recording for the ages. As it is then, this is very, very good, and wholly recommendable as a pairing of these two iconic works. –David Hurwitz, ClassicsToday

Tracklist:
Béla Bartók (1881-1945)
Concerto for Orchestra, BB 123
1 I. Introduzione: Andante non troppo – Allegro vivace 9:54
2 II. Giuoco delle coppie: Allegretto scherzando 6:40
3 III. Elegia: Andante non troppo 7:32
4 IV. Intermezzo interrotto: Allegretto 4:16
5 V. Finale: Presto 9:36
Music for Strings, Percussion and Celesta, BB 114
6 I. Andante tranquillo 7:16
7 II. Allegro 7:40
8 III. Adagio 7:35
9 IV. Allegro molto 6:58

Personnel:
Baltimore Symphony Orchestra
Marin Alsop Conductor

DSF DSD64

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FLAC 24-192

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Johann Sebastian Bach – St. John Passion, BWV 245 – Netherlands Bach Society, Jos Van Veldhoven (2005)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 01:51:35 minutes | 4,41 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Channel Classics Records B.V.
Recorded: March 2004 Waalse Kerk, Amsterdam, the Netherlands

As with the work itself, there’s no recording of Bach’s St. John Passion that stands as preeminent and certainly none that can claim to be definitive. But, if you accept Jos van Veldhoven’s decisions regarding certain key aspects of this performance–including the reconstruction of some parts–this one comes very close. Aside from the various versions of the score that Bach himself created, performances are widely varied in terms of instrumentation (numbers and types of instruments and how they are used) and vocal forces (most significantly, how many singers to a part). Here, Veldhoven has chosen to attempt to reconstruct and perform the St. John in a version as close as possible to what was heard at the work’s premiere in 1724. You can read the rationale for and details of this effort in the excellent liner notes, but suffice it to say that some guesses and reconstructive decisions had to be made in several cases, both in vocal and orchestral parts. Most shocking to listeners familiar with this work is the total absence of flutes, which opens up the orchestral sound to a new and very different world of color.

The fact that Veldhoven also employs only six strings, two oboes, organ, theorbo, and harpsichord for his orchestra makes a surprisingly rich-toned yet keenly detailed ensemble. This is well-balanced against his correspondingly minimal vocal forces–a set of six soloists fortified where necessary and appropriate with a quartet of “ripienists”. While I’ve never been a fan of this one- or two-to-a-part concept–it usually sounds thin, anemic, and pathetically underpowered, especially in the major choruses–here I only occasionally wished for the fuller, rounder body that only additional voices can supply. In a word, I was surprised at how solid and strong the balances are and how vibrant the sound–certainly this is the best-sounding St. John available on disc, and I noticed that on my system at least, it blossomed even more fully by turning the volume up just a couple of notches from its usual position.

The vocal performances are first-rate, with special mention to Evangelist Gerd Türk and tenor Charles Daniels. Likewise, the instrumental players are technically assured and always sensitive to text and singer, and invariably tasteful in solo passages and recitatives. It’s nice to hear the theorbo so clearly and effectively punctuating the recits. My only complaint regarding the performers is alto Peter de Groot, whose hooty quality is more or less apparent depending on register and dynamic level. Happily, his very important dramatic moment–the aria “Es ist vollbracht!” (It is fulfilled)–is exceptionally lovely (except for the rapid passages near the end), and here the continuo work also is exemplary. Veldhoven’s leadership is sure and finely articulated, with well-considered tempos and a natural flow to lines and phrases.

As with its beautifully packaged Christmas Oratorio (read the review in our archive), Channel Classics again offers these discs in a handsome box, accompanied by a hard-bound, 192-page book with full-color art reproductions and commentary, produced in conjunction with the Museum Catharijneconvent, Utrecht. However, listeners who just want to follow the text will have to deal with the same annoying problem as before: the pages containing the texts are regularly interrupted by several intervening pages of art reproductions and descriptions. While it’s wonderful to have, why couldn’t the art and Passion texts be set in their own convenient but separate, easy-to-follow sections? Of course, none of this has anything to do with the music or performances–and you won’t find better, more deeply committed or finer-sounding renditions anywhere. You may not agree with Veldhoven’s fundamental choices regarding performance practice or with his editorial realizations, but if you’re a Bach fan, this is serious and significant music-making that upholds the integrity of Bach’s score while offering an intelligent and artistically enlightening addition to the Bach catalog.– David Vernier “classicstoday.com”

Tracklist:

Johann Sebastian Bach (1685-1750)
St. John Passion, BWV 245 (1st version, 1724; reconstruction: Pieter Dirksen)

PART ONE
1. (Chor) Herr, unser Herrscher, dessen Ruhm 10:06
2. (Evangelist – Jesus) Jesus ging mit seinen Jüngern… 2:25
3. (Chor) О grosse Lieb, 0 Lieb ohn alle Masse 1:03
4. (Evangelist, Jesus) Auf daß das Wort erfüllet würde… 1:08
5. (Chor) Dein Will gescheh, Herr Gott, zugleich 0:48
6. (Evangelist) Die Schar aber und der Oberhauptmann… 0:46
7. Aria (Alt) Von den Stricken meiner Sünden 4:55
8. (Evangelist) Simon Petrus aber folgete Jesus nach… 0:11
9. Aria (Sopran) Ich folge dir gleichfalls mit freudigen Schritten 3:54
10. (Evangelist, Magd, Petrus, Jesus, Diener) Derselbige Jünger war dem Hohenpriester bekannt… 3:05
11. (Chor) Wer hat dich so geschlagen 1:43
12. (Evangelist) Und Hannas sandte ihm gebunden… 2:1.7
13. Aria (Tenor) Ach, mein Sinn 3:07
14. (Chor) Petrus, der nicht denkt zurück 1:30

PART TWO
15. (Chor) Christus, der uns selig macht 1:03
16. (Evangelist, Pilatus) Da führeten sie Jesum … 4:09
17. (Chor) Ach grosser König, gross zu allen Zeiten 1:32
18. (Evangelist, Pilatus, Jesus) Da sprach Pilatus zu ihm … 2:00
19. Arioso (Bass) Betrachte, meine Seel, mit ängstlichem Vergnügen 2:23
20. Aria (Tenor) Erwäge, wie sein blutgefärbter Rücken 6:40
21. (Evangelist) Und die Kriegsknechte flochten… 5:44
22. (Chor) Durch dein Gefängnis, Gottes Sohn… 0:57
23. (Evangelist) Die Juden aber schrieen… 4:10
24. Arie (Baß & Chor) Eilt, ihr angefochtnen Seelen 3:53
25. (Evangelist) Allda kreuzigten sie ihn… 2:16
26. (Chor) In meines Herzens Grunde 0:58
27. (Evangelist) Die Kriegsknechte aber… 3:43
28. (Chor) Er nahm alles wohl in acht 1:14
29. (Evangelist, Jesus) Und von Stund an nahm sie der Jünger… 1:22
30. Arie (Alt) Es ist vollbracht! 5:30
31. (Evangelist) Und neiget das Haupt… 0:22
32. Arie (Baß & Chor) Mein teurer Heiland, laß dich fragen 4:43
33. (Evangelist) Und der Vorhang im Tempel zerriß… 0:12
34. Arioso (Tenor) Mein Herz, in dem die ganze Welt 0:51
35. Arie (Sopran) Zerfließe, mein Herze, in Fluten der Zähren 6:22
36. (Evangelist) Die Juden aber, dieweil es der Rüsttag war… 2:13
37. (Chor) О hilf, Christe, Gottes Sohn 1:03
38. (Evangelist) Darnach bat Pilatum Joseph von Arimathia… 1:47
39. (Chor) Ruht wohl, ihr heiligen Gebeine 7:04
40. (Chor) Ach Herr, laß dein lieb Engelein 1:55

Personnel:
The Netherlands Bach Society
Jos van Veldhoven, conductor

Concertists
Caroline Stam, soprano
Peter de Groot, alto
Gerd Türk (Evangelist) tenor
Charles Daniels, tenor
Stephan MacLeod (Christ)
Bas Ramselaar (Petrus/ Pilatus) bass
Ripienists
Marjon Strijk (Ancilla) soprano
Marleene Goldstein, alto
Elsbeth Gerritsen (No.24) alto
Simon Wall (Servus) tenor

Instrumentalists
Antoinette Lohmann, Pieter Affourtit, violin/viola d’amore
Jan Willem Vis, viola
Lucia Swarts, cello
Mieneke van der Velden, viola da gamba
Robert Franenberg, double-bass
Alfredo Bernardini, Peter Frankenberg, oboe
Pieter Dirksen, organ
Mike Fentross, theorbo
Siebe Henstra, harpsichord

Download:

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Andre Previn – Previn With Voices (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 35:14 minutes | 1,32 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | ©  RCA Records
Recorded: RCA Victor’s Music Center Of The World, Hollywood

Tracklist:
1 Embraceable You 02:47
2 Street of Dreams 02:49
3 They Didn’t Believe Me 02:54
4 Yes 02:53
5 It Could Happen To You 03:59
6 Again 02:44
7 Michelle 02:27
8 Who Can I Turn To (When Nobody Needs Me) 03:18
9 Polka Dots and Moonbeams 02:45
10 It’s Good to Have You Near Again 02:48
11 The Bad and Beautiful (Love Is For The Very Young) 02:55
12 Where or When 02:55

Personnel:
André Previn With Voices

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Al (He’s The King) Hirt – The Horn Meets ‘The Hornet’ (1966/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 26:58 minutes | 1 GB | Genre: Pop
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | ©  RCA Records
Recorded: RCA Victor’s Studio A, New York City

Tracklist:
1 Green Hornet Theme 02:18
2 The Hornets Nest 02:20
3 Night Rumble 02:37
4 “Get Smart” Theme 02:56
5 Theme from “Run for Your Life” 02:05
6 Batman Theme 02:13
7 The King Kong Theme 02:35
8 (Theme From) The Monkees 02:24
9 Tarzan (Tarzan’s March) 02:22
10 T.H.E. Cat 02:36
11 (Theme From) Run Buddy Run 02:13

Personnel:
Al Hirt, trumpet
Billy May, Bill Walker, Dick Hyman, Frank Hunter, arranger, conductor

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Aki Takase & David Murray – Cherry / Sakura (2017)
FLAC (tracks) 24 bit/44,1 kHz | Time – 50:45 minutes | 492 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: ProStudioMasters | Front Cover | ©  Intakt Records
Recorded: April 30, 2016, at Studio SRF, Zürich, by Michael Brändli.

Over the years, pianist Aki Takase and reed player David Murray have amassed respective bodies of soul-stirring compositions, of which several pieces related to the rites of passage of middle age are included on Cherry / Sakura. As a result, this is a markedly different conversation than ever before; one that is more profound as the two musicians engage in an unsparing conversation about the defining issues of later life.

More than two decades ago, with “Blue Monk,” Japanese-born pianist Aki Takase and saxophonist David Murray celebrated the indomitable spirit of Thelonious Monk, via four of his compositions and several of their own, among contributions by others.
“Let’s Cool One,” the sole Monk tune from the duo’s first pairing since that intimate 1995 album, has the two effectively channeling the spirit of the composer: Murray offers his woody, percussive bass clarinet, opening alone and then sounding the head, and Takase provides bluesy, stride-inflected rejoinders. It’s a joyful, exuberant outing, one of the disc’s highlights.
That track is something of an outlier, as the two are up to something completely different on the other compositions, starting with Murray’s gorgeous long tenor notes, undergirded by Takase’s fluttering figures, on the Takase-penned title track. The piece, inspired by a short story centered on the short-lived beauty of cherry blossoms, also features rambunctious unaccompanied sections by each musician.
“Nobuko,” Takase’s tribute to her late mother, begins and ends as a stately ballad, enveloping the pianist’s long, free passage. Her “Blues for David” is a laidback ramble, with an unpredictable tenor head.
Murray offers three compositions, starting with the warm, slow-moving “To A.P. Kern.” He hints at Clifford Jordan and other influences on the zig-zagging “Stressology,” and closes the album with “A Long March to Freedom,” a poignant note of affirmation for a struggle that, in some respects, continues. –Philip Booth

Tracklist:
1 Cherry – Sakura 09:20
2 A Very Long Letter 05:44
3 Let’s Cool One 05:41
4 To A.P. Kern 05:55
5 Stressology 06:27
6 Nobuko 06:18
7 Blues for David 04:52
8 A Long March to Freedom 06:28

Personnel:
Aki Takase, piano
David Murray, tenor saxophone, bass clarinet

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Thomas Ades – Asyla, Tevot & Polaris – London Symphony Orchestra, Thomas Ades (2017)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 01:02:51 minutes | 2,48 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: highresaudio.com | Booklet, Front Cover | © LSO Live
Recorded live in DSD 128fs, 9 March (Tevot, Polaris, Brahms) & 16 March (Asyla) 2016, at the Barbican, London

An acclaimed conductor and pianist as well as a composer, Thomas Adès has outgrown his status as the wunderkind of the British scene and become one of the most imposing figures in contemporary music. For his LSO Live debut, he conducts all of his seminal ‘Trilogy’ works – Asyla, Tevot & Polaris – pieces that not only occupy a special place in his output, but in modern classical music as a whole. This major release is also features a Dolby Atmos soundtrack, recreating even more precisely the unique atmosphere a concert of Adès’s music creates.

Composed in 1997, Asyla is one of the works that announced Adès as a major new voice. The title is the plural form of the word asylum, and plays on the dual meaning of both madhouse and sanctuary. Typical of his orchestral works, it utilises a large orchestra (including six percussionists and a variety of treated pianos) to achieve an array of colours, textures and timbres. It also showcases Ades’s wide-ranging influences, with a ‘four-on-the-floor’ techno drumbeat as the impetus behind the famous Ecstasio movement.

Tevot is a one movement symphony that builds upon the ideas of Asyla and pushes the players to the limits of their technical ability, with long passages written in stratospheric registers. Again, there is a dual meaning at play in the title, as Tevot is the Hebrew word for bars as well as closely related to the word used in the Bible when referring to Noah’s ark.

The final Trilogy work, Polaris, was composed in 2010 and is subtitled ‘A Voyage for Orchestra’. Taking the North Star as its inspiration, despite a relatively short running time it conjures up a definite sense of vastness, with musicians placed offstage to enhance the sense of space. The album also includes the Adès miniature Brahms, with words by Alfred Brendel. Sung here by baritone Samuel Dale Johnson, it is an ‘anti-homage’ to the composer inspired by the cold logic of his music, taking his compositional compulsions to extreme conclusions.

Tracklist:
Thomas Adès (b.1971)
Asyla, Op 17 (1997)
1 I. — 5’50’’
2 II. — 6’34’’
3 III. Ecstasio 6’35’’
4 IV. Quasi leggiero 5’02’’
5 Tevot (2005–6) 20’19’’
6 Polaris [Voyage for Orchestra] (2010) 13’30’’
7 Brahms, Op 21 (2001) 5’05’’

Personnel:
London Symphony Orchestra
Thomas Adès, conductor

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Nordic Brass Ensemble – European Tour (2016)
Digital eXtreme Definition FLAC Stereo (tracks) 24-bit/352,8 kHz | Time – 01:15:38 minutes | 3,16 GB | Genre: Classical
Studio Master, Official Digital Download – Source: klicktrack.com | Booklet, Front Cover | © 2L, Lindberg Lyd

It is common to date the beginning of the Renaissance to the mid-14th century. From the ashes of the Black Death emerged a society that was fundamentally changed, and to a large extent saw itself as re-born – formed anew. It cannot be a coincidence that this transformation first took place in the very parts of Europe that had been at the centre of the Roman Empire when at its strongest, in Italy. Florence became the main powerhouse of the new Europe, and from there the Renaissance spread rapidly, bringing an intense cultural flowering to France, England, the Netherlands, Germany and Spain. It is from these countries that Nordic Brass Ensemble has assembled the repertoire for “European Tour” – music arranged specially for this ensemble by Hans Petter Stangnes and Stian Aareskjold. Modern brass instruments have a history going back to the Janissaries, the Ottoman sultan’s special military corps. Contact between Renaissance Europe and Islamic culture helped determine how European culture, and in particular its music, would develop in this period. Nordic Brass Ensemble is made up of musicians from symphony orchestras and wind ensembles in the Nordic countries, and it has always played early music.
Nordic Brass Ensemble was founded in 1993 by a group of brass musicians who shared a strong desire to make chamber music together. From the start, the ensemble has focused on developing its own musical ideas and concepts of sound. By exploiting the different instruments’ special qualities and combining them in new and unusual ways, and by extensively using mutes, percussion and, indeed, unfamiliar instruments to create new colours and effects, the ensemble is continuously shaping its distinct sound.

Tracklist:

Suite “European Tour”
1 Mundus et Musica et Totus Concentus (Bartolomé Ramos de Pareja) 1:21
2 Dit le Bourguygnon (traditional) 1:14
3 Danza Alta sobre “la Spagna” (Francisco de la Torre) 1:10
4 Hopper Dancz “Routi Bouilli” (Johann Weck) 1:08
5 Battalla de Morales (Francisco Correa de Arauxo) 5:17
6 Pie Jesu Domine (Cristóbal de Morales) 1:36

Suite “Terpsichore” (Michael Praetorius)
7 Intro & Gavotte 3:00
8 Bransle gay semel 1:32
9 Galliard 1:30
10 Ballet 1:30
11 Bransle gay 1:37
12 Ballet du Roy 2:49
13 Volte 1:00
14 Tristis est anima mea (Carlo Gesualdo) 4:55

Music from the court of Christian IV (Mogens Pedersøn / John Dowland)
15 Ecco La Primavera 1:44
16 Flow My Tears 2:09
17 The King of Denmark’s Galliard 2:18
18 Circumdede me runt (Cristóbal de Morales) 1:54
19 Pavane la Battaglia (Tielman Susato) 2:09
20 Jerigonza (Mateo Flecha) 2:07

Holborne Suite (Anthony Holborne)
21 Nightwatch 2:06
22 Lullabie 2:19
23 Almaine 1:43
24 The Funerals 2:11
25 The Fairie Round 1:15
26 Dolcissima mia vita (Carlo Gesualdo) 2:29

Music from the court of Louis XIII (André Danican Philidor)
27 Musique de l’enfance du Dauphin 6:12
28 Libertas 1:53
29 Musique pour le Sacre de Roy 3:03
30 Revecy Venir du Printans (Claude Le Jeune) 3:49
31 La Battaglia (Adriano Banchieri) 1:59
32 Susato Suite (Tielman Susato) 4:24

Track 1-3, 7-17, 26 and 30-31 arranged by Hans Petter Stangnes
Track 5-6, 18-25, 27-29, and 32 arranged by Stian Aareskjold
Track 4 arranged by Erik Eilertsen

Nordisk Brass Ensemble:
Trumpets
Hans Petter Stangnes (N) Trondheim Symphony Orchestra
Jon Behncke (N) Bergen Philharmonic Orchestra
Brynjar Kolbergsrud (N) Oslo Philharmonic Orchestra
Stian Aareskjold (N) The Norwegian Wind Ensemble
Horn
Rune Brodahl (N) The Norwegian National Opera Orchestra
Trombones
Geir Anfinsen (N) Royal Stockholm Philharmonic Orchestra
Niklas Almgren (S) Royal Stockholm Philharmonic Orchestra
Petter Winroth (S) Norwegian Radio Orchestra
Jens-Kristian Søgaard (DK) Gothenburg Symphony Orchestra
Tuba / cimbasso
Morten Agerup (N) Gothenburg Symphony Orchestra
Percussion / timpani
Heming Valebjørg (N) Oslo Philharmonic Orchestra

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Al (He’s The King) Hirt – They’re Playing Our Song (1965/2015)
FLAC (tracks) 24 bit/96 kHz  | Time – 32:36 minutes | 698 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: 1965, Webster Hall, Manhattan, New York City by Ed Begley

They’re Playing Our Song is an album by Al Hirt released by RCA Victor in 1965. The album was produced by Jim Foglesong. It was recorded at Webster Hall in Manhattan, New York City. The album landed on the Billboard Top LPs chart, reaching #39 in 1966.

A virtuoso on the trumpet, Al Hirt was often “overqualified” for the Dixieland and pop music that he performed. He studied classical trumpet at the Cincinnati Conservatory (1940-1943) and was influenced by the playing of Harry James. He freelanced in swing bands (including both Tommy and Jimmy Dorsey, and Ray McKinley) before returning to New Orleans in the late ’40s and becoming involved in the Dixieland movement. He teamed up with clarinetist Pete Fountain on an occasional basis from 1955 on, and became famous by the end of the decade. An outstanding technician with a wide range, along with a propensity for playing far too many notes, Hirt had some instrumental pop hits in the 1960s. He also recorded swing and country music, but mostly stuck to Dixieland in his live performances. He remained a household name throughout his career, although one often feels that he could have done so much more with his talent. Hirt’s early Audiofidelity recordings (1958-1960) and collaborations with Fountain are the most rewarding of his long career; he died at his home in New Orleans on April 27, 1999. –Artist Biography by Scott Yanow

Tracklist:
1 I Had the Craziest Dream 02:53
2 Paper Doll 02:40
3 You’ll Never Know 02:54
4 It’s Been a Long, Long Time 02:39
5 The Song from Moulin Rouge (Where Is Your Heart) 02:41
6 Autumn Leaves 02:34
7 There, I’ve Said It Again 02:34
8 I’ve Heard That Song Before 02:39
9 I’ll Get By 03:19
10 Deep Purple 02:21
11 Cherry Pink and Apple Blossom White 02:30
12 I’ll Be Seeing You 02:53

Personnel:
Al Hirt, trumpet
Marty Manning, arranger, conductor

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Al Hirt – Live at Carnegie Hall (1965/2015)
FLAC (tracks) 24 bit/96 kHz  | Time – 43:41 minutes | 983 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: April 22-24 1965, Carnegie Hall, New York City

By 1965, trumpeter Al Hirt was a commercial success, although from the jazz standpoint most of his output for RCA was becoming increasingly forgettable. Although he was joined by the Gerald Wilson Orchestra for nine of the 13 selections on this live LP, all of the selections (other than a six-minute rendition of “Carnival of Venice”) are quite brief, with several under two minutes. Hirt shows off his technique on a variety of showy devices, but every note sounds planned in advance, whether it be “Bye Bye Blues,” “Down By the Riverside” or a remake of his hit “Java.” –AllMusic Review by Scott Yanow

A virtuoso on the trumpet, Al Hirt was often “overqualified” for the Dixieland and pop music that he performed. He studied classical trumpet at the Cincinnati Conservatory (1940-1943) and was influenced by the playing of Harry James. He freelanced in swing bands (including both Tommy and Jimmy Dorsey, and Ray McKinley) before returning to New Orleans in the late ’40s and becoming involved in the Dixieland movement. He teamed up with clarinetist Pete Fountain on an occasional basis from 1955 on, and became famous by the end of the decade. An outstanding technician with a wide range, along with a propensity for playing far too many notes, Hirt had some instrumental pop hits in the 1960s. He also recorded swing and country music, but mostly stuck to Dixieland in his live performances. He remained a household name throughout his career, although one often feels that he could have done so much more with his talent. Hirt’s early Audiofidelity recordings (1958-1960) and collaborations with Fountain are the most rewarding of his long career; he died at his home in New Orleans on April 27, 1999. –Artist Biography by Scott Yanow

Tracklist:
1 Bye Bye Blues 02:18
2 Gyspsy In My Soul 01:48
3 Opening Speech’ 01:49
4 Walk Right In 03:32
5 Limelight 02:57
6 Down by the Riverside 03:09
7 Love for Sale 03:56
8 Up Above My Head 02:38
9 When I’m Feelin’ Kinda Blue 03:09
10 Going to Chicago Blues 05:11
11 Carnival of Venice 05:30
12 Tennessee Waltz 02:03
13 Kansas City 03:35
14 Java 02:06

Personnel:
Clarinet – Pee Wee Spitelera
Conductor, Arranger – Gerald Wilson
Double Bass [Bass Fiddle] – Jay Cave
Drums – James Zitano
Piano – Fred Crane
Trombone – Gerald Hirt
Trumpet – Al (He’s The King) Hirt

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Alfred Schnittke – Musica Nostalgica, Cello Sonata No. 1, Suite in the Old Style, Madrigal in Memoriam Oleg Kagan – Leonard Elschenbroich, Petr Limonov (2017)
FLAC (tracks) 24 bit/48 kHz  | Time – 59:13 minutes | 506 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: prestoclassical.co.uk | Booklet, Front Cover | © Onyx Classics
Recorded: Deutschlandfunk, Cologne 23-25 January 2016

Though born in Engels on 24 November 1934, in the Volga-German Republic of the Soviet Union, Alfred Schnittke spent much of his formative childhood in Vienna, where his father had been posted to work for a German-language newspaper published by the Soviet army. ‘Every moment there,’ Schnittke recalled, ‘I felt I was a link in the historical chain: all was multi-dimensional; the past represented a world of ever-present ghosts, and I was not a barbarian without any connections, but the conscious bearer of my task in life.’

Schnittke’s music is often haunted by echoes or an awareness of these ‘ghosts’ from earlier traditions. His deep and empathetic connection with Austro-German culture was not only due to his father, born and brought up in Frankfurt, but was also, if anything, reinforced by his mother being Volga German, an ethnic group that settled in Russia in the 18th century under Catherine the Great. Divorced from its motherland, the language of the Volga Germans evolved its own way, yet still preserved some original German idioms. Schnittke was delighted to discover one day that some words he knew from that dialect, though not listed in any German dictionary, were in fact used by Mozart in his letters.
Schnittke’s fascination with the old German styles of the Baroque and Classical periods manifested itself even, or particularly, in his work for film, a medium for which he composed extensively from 1962 onwards. On one level a means for him to earn a living, film was also a milieu in which Schnittke felt freest to develop his own style, trying out ideas that he would later use in his concert works. More directly, his Suite in Old Style (1972) reworks music from two of his film scores: the opening ‘Pastoral’ and ‘Ballet’ movements, and its closing ‘Pantomime’, takes music from a film comedy concerning the amorous Adventures of a Dentist (1965); the central ‘Minuet’ and ‘Fugue’ are taken from the documentary film Sport, Sport, Sport (1971). Schnittke originally arranged his Suite for violin and piano, but it has since been arranged for a variety of combinations, including for cello and piano, as performed here.
In the meantime, Schnittke had begun writing extensively for the cello, starting with his Dialogue for cello and seven performers, composed in 1967. He wrote works for three cellists in particular: Natalia Gutman, a pupil of the legendary Mstislav Rostropovich for, whom Schnittke also wrote several works, and their younger contemporary Alexander Ivashkin. Schnittke also had a particularly strong artistic association with Natalia Gutman’s husband, the violinist Oleg Kagan, for whom he composed several works, including his Violin Concerto No. 3. It was very soon after completing this work in 1978 that he presented Gutman with his First Cello Sonata as a surprise gift. Its three movements are played without a break. The short first movement, in effect a prelude or extended upbeat to the following scherzo, starts with a plangent solo from the cellist, eventually joined by the pianist. Then the furious scherzo begins, the cellist’s scurrying, hurtling progress initially punctuated by a baleful bass figure on the piano. Then, as if in some terrible symbiotic relationship, the two instrumentalists furiously drive the music until they reach a hiatus, with fragments of a grotesque waltz pounded out by the piano. The music eventually overloads, and finally ‘explodes’, the cello strumming chords that seem to present a conundrum rather than resolution, while the piano peters out in the treble like a stray piece of fizzing debris. This leads directly to the finale, the cello’s keening opening lament complemented by the piano’s wryly ceremonial style, as themes from the previous two movements resurface in dazed aftermath.
Oleg Kagan was in his early 40s when he became seriously ill with cancer in 1989. Undaunted, he insisted on performing to the end, dying at the age of 43 in 1990. Schnittke was profoundly affected by his death, and in June of 1991, while being interviewed in Hamburg about the recently deceased violinist, he suffered a severe stroke (having previously been brought near to death by a previous stroke in 1985). Earlier in 1991, he had written a Madrigal in Memoriam Oleg Kagan, a slow crescendo of grief originally composed for Kagan’s own instrument; he subsequently rewrote this for solo cello, and it was given its premiere in that form by Gutman on 13 July that year.
The following year, Schnittke composed Musica Nostalgica, a short three-minute piece for Rostropovich. A revisiting of the Minuet theme, which is previously used in his Suite in Old Style, the theme’s initial appearance on solo cello here heightens its affinity to Bach’s solo cello suites. Yet – with a touch typical of Schnittke – the cello eventually bursts the bounds of Baroque good manners, manifesting the melody’s equal affinity to Mahler, and the long echo of its tradition. © Daniel Jaffé

Tracklist:
Alfred Schnittke (1934-1998)
Cello Sonata No. 1
1. I Largo 3:58
2. II Presto 5:42
3. III Largo 12:24
Suite in the Old Style
4. I Pastorale 3:49
5. II Ballett 2:13
6. III Menuett 3:49
7. IV Fuge 2:21
8. V Pantomime 4:11
9. Madrigal in Memoriam Oleg Kagan 11:19
10. Musica Nostalgica 3:56
Leonard Elschenbroich (b. 1985)
11. Shards of Alfred Schnittke 5:27

Personnel:
Leonard Elschenbroich cello
Petr Limonov piano

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Allan Holdsworth – All Night Wrong (2002)
FLAC (tracks) 24 bit/96 kHz  | Time – 55:57 minutes | 1,09 GB | Genre: Jazz, Fusion
Studio Masters, Official Digital Download – Source: e-Onkyo | Front Cover | © Sony Music
Recorded live on May 5th, 2002 at Roppongi Pit Inn.. Mastered at Sony Music Studios, Tokyo

Guitar hero Allan Holdsworth often performs with his peers. Such is the case with this live setting recorded at a venue in Japan during a 2002 tour. On this release, the guitarist leads a trio featuring longtime musical associates, drummer Chad Wackerman, and bassist Jimmy Johnson. To that end, the respective musicians’ talents are well-known entities. Wackerman and Johnson can handle the trickiest time signatures imaginable. Along with the nimble flexibilities and odd-metered excursions witnessed here, they exude a force of power that serves as a meaty foundation for Holdsworth’s mighty licks.

A wonderfully recorded album, Holdsworth’s climactically driven legato-based riffs are intact, as he also implements jazzy chord voicings and delicately stated fabrics of sound. But the trio raises the ante throughout many of these pieces, awash with moments of nuance and controlled firepower. In sum, Holdsworth’s legion of followers should be pleased with a recording that should rank among his finest efforts to date.

Tracklist:
1 Lanyard Loop 5:46
2 The Things You See 6:53
3 Alphrazallan 7:04
4 Funnels 5:01
5 Zone 9:19
6 Water On The Brain Pt. II 5:30
7 Above & Below 8:21
8 Gas Lamp Blues 7:59

Personnel:
Allan Holdsworth – Guitar
Jimmy Johnson – Bass
Chad Wackerman – Drums

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Allan Holdsworth – Atavachron (1986/2017)
FLAC (tracks) 24 bit/96kHz  | Time – 36:46 minutes | 735 MB | Genre: Jazz, Fusion
Studio Masters, Official Digital Download – Source: ProStudioMasters | Front Cover | © Allan Holdsworth
Recorded: Front Page Recorders in Costa Mesa, California

Originally released in 1986, Atavachron from influential guitarist Allan Holdsworth has been remastered for this reissue, part of a 2012 series. Influenced by an episode of Star Trek, the jazz fusion album marks the debut of Holdsworth’s use of the SynthAxe, an electronic controller he embraced on several subsequent recordings.

For a little background, back in the ’80s the SynthAxe was invented. It looked like something that fell out of a UFO. It was guitar-like with sets of strings and other onboard controls that allowed the triggering (playing) of synthesizers. What was unique was that guitarists could therefore play a synthesizer without needing a great amount of keyboard expertise. The SynthAxe was the interface that very uniquely interpreted a guitarist’s skill into synth sounds. For guitarist Allan Holdsworth, it was yet a whole new way to achieve the sounds unvoiced in his soul in ways he just couldn’t do with a standard guitar. Holdsworth has always sought a horn-like voicing with the ability to manipulate a note in a myriad of ways. He is known for being one of the most unique stylists on guitar, but it is the SynthAxe that allows him to go places a guitar can’t reach. This release was special in that it marks Holdsworth’s first use of the SynthAxe alongside electric guitar. The SynthAxe sounds more like a keyboard than a guitar. It has a wider sound spectrum than keyboards and in this release you will hear a myriad of synthscapes and effects. This release offered a semi-progressive symphonic element and served to ever stretch the boundaries of jazz fusion. Beautiful female vocals in one song framed by surrealistic visual musicks of the SynthAxe and keyboardy leads by Holdsworth may have turned guitar fans off, but this effort is clear evidence of the genius Holdsworth was demonstrating release after release. And as expected, Holdsworth continued to strive for that reed voicing and phrasing on his guitar solos, which merely pushed him to his best. –AllMusic Review by John W. Patterson

Tracklist:
1 Non Brewed Condiment 3:39
2 Funnels 6:10
3 The Dominant Plague 5:41
4 Atavachron 4:45
5 Looking Glass 4:31
6 Mr Berwell 6:21
7 All Our Yesterdays 5:25

Personnel:
Allan Holdsworth – guitar, SynthAxe, engineering, mixing, production
Rowanne Mark – vocals (track 6)
William Edward Childs – keyboard (tracks 2, 5)
Alan Pasqua – keyboard (tracks 3, 4, 6)
Gary Husband – drums (except tracks 3, 5, 7)
Chad Wackerman – drums (tracks 3, 7)
Tony Williams – drums (track 5)
Jimmy Johnson – bass

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Allan Holdsworth – I.O.U. (1982/2017)
FLAC (tracks) 24 bit/96kHz  | Time – 37:37 minutes | 874 MB | Genre: Jazz, Fusion
Studio Masters, Official Digital Download – Source: ProStudioMasters | Front Cover | © Allan Holdsworth
Recorded: 1979 on The Barge in England

His first authorized solo LP, 1982’s I.O.U. from influential jazz fusion guitarist Allan Holdsworth has been remastered for this reissue, part of a series of 12 of his solo albums originally released between 1982 and 2003.

After the train-wreck disaster of Holdsworth’s first solo release, the infamous Velvet Darkness, it wasn’t until three years later that he reconsidered doing a real solo release versus the earlier ripoff of an authorized studio mishmash product he suffered. So in 1979 he recorded I.O.U. on a wing and a prayer and loans (ergo, an IOU recording project). With his very successful stints with other groups in the intervening time period, such as UK and Bruford, Holdsworth’s guitar prowess and name were clearly on the map. Holdsworth now needed to be the leader he clearly was and thus release an official solo record. The real Allan Holdsworth unleashed is at last revealed on I.O.U. in his original compositions and well-crafted soloing, versus being merely part of a group and forced to stay within certain boundaries of other bandmates’ design. I.O.U., as a solo release, is high-quality jazz fusion interplay, offering emotive compositions, ethereal guitar atmospherics, complex chordal progressions, and intense legato explosions of guitar that set the standard for many guitarists to come. There is no acoustic guitar this time, but a wee bit of Holdsworth on violin appears in one song. –AllMusic Review by John W. Patterson

Tracklist:
1 The Things You See (When You Haven’t Got Your Gun) 5:50
2 Where Is One 5:32
3 Checking Out 3:34
4 Letters Of Marque 6:57
5 Out From Under 3:32
6 Temporary Fault 3:15
7 Shallow Sea 5:51
8 White Line 4:50

Personnel:
Allan Holdsworth – guitar, violin
Paul Williams – vocals
Gary Husband – piano, drums
Paul Carmichael – bass

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Allan Holdsworth – Metal Fatigue (1985/2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 37:37 minutes | 741 MB | Genre: Jazz, Fusion
Studio Masters, Official Digital Download – Source: ProStudioMasters | Front Cover | © Allan Holdsworth
Recorded: Music Grinder Studios in Hollywood; Mad Hatter Studios in Los Angeles; Front Page Recorders in Costa Mesa, California

This 1985 jazz fusion album from influential guitarist Allan Holdsworth was remastered and reissued as part of a series in 2012. Holdsworth’s core band of keyboardist Alan Pasqua, bassist Jimmy Johnson and drummer Chad Wackerman is augmented by vocalists Paul Korda and Paul Williams and bassist Gary Willis and drummer Gary Husband, who play on the epic 14 minute The Un-Merry-Go-Round.

Criminally unknown and underappreciated, Allan Holdsworth is one of the greatest musicians ever to pick up the electric guitar. Here, on 1985’s Metal Fatigue, everything finally comes together for him. For the majority of this record, Holdsworth is joined by bassist Jimmy Johnson and drummer Chad Wackerman, and these two musicians, virtuosos in their own right, complement Holdsworth beautifully (check out Johnson’s wonderful part in “Home” and lovely solo on “Panic Station”). The leader is known for his extremely legato phrasing and rich harmonic vocabulary, both of which are on display in the solo and frantic fills of “Metal Fatigue.” Anchored by Paul Williams’ vocals, the song is marvelously constructed, with a strong verse melody supported by Holdsworth’s upper-register guitar chords. The guitarist’s much-vaunted whammy bar work is also on full display here. Certain fills in “Metal Fatigue” are almost queasy sounding, as Holdsworth bends and slurs in impossible ways. His use of the tremolo bar comes out not only during his melodic playing, but also during his rhythm playing, where he allows his chords just a trace of shimmer, enough to lend body to his playing but not enough to blur the harmonies. The influence of Holdsworth’s unique style is evident in the work of such rock guitarists as Eddie Van Halen and Alex Lifeson (listen to VH’s “Drop Dead Legs” or Rush’s “YYZ” for a taste of this connection), but the watered-down and otherwise assimilated adaptations of his style pale compared to the unadulterated stuff. One of the most important fusion records of the ’80s is also Holdsworth’s best work. Absolutely essential for those who like their rock with a healthy dose of jazz. –AllMusic Review by Daniel Gioffre

Tracklist:
1 Metal Fatigue 4:54
2 Home 5:29
3 Devil Take The Hindmost 5:33
4 Panic Station 3:31
5 The Un-Merry-Go-Round 14:06
6 In The Mystery 3:49

Personnel:
Allan Holdsworth – guitar, engineering, production
Paul Williams – vocals (tracks 1, 4)
Paul Korda – vocals (track 6)
Alan Pasqua – keyboard
Chad Wackerman – drums (except tracks 5, 6)
Gary Husband – drums (track 5)
“Mac Hine” – drum machine (track 6)
Jimmy Johnson – bass (except track 5)
Gary Willis – bass (track 5)

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George Antheil – Symphonies Nos. 4 & 5 – BBC Philharmonic, John Storgards (2017)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:05:45 minutes | 1,15 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: theCLASSICALshop | Booklet, Front Cover | © Chandos Records
Recorded: MediaCityUK, Salford; 21 November 2015 (Over the Plains, Symphony No. 5) and 30 April 2016 (Symphony No. 4)

Alongside its ongoing much-lauded Copland series, the BBC Philharmonic embarks on a new American journey, this time with its chief guest conductor, John Storgårds.

Known as the ‘bad boy of music’, George Antheil began his career with a reputation as an enfant terrible, composing shockingly avant-garde works such as his ever-popular Ballet mécanique, inspired by the dynamism and dissonances of Stravinsky’s early ballets. Although he is well-established on the film music scene, too, it is his symphonic output – sampled here – that today survives in the concert hall.

This new series documents the evolution of his musical style, which moved towards a fundamentally tonal and melody-based idiom, Antheil joining the growing ranks of famous US symphonists. The war-inspired Fourth Symphony and ‘joyous’ Fifth clearly represent this compositional shift, breaking with what the composer called the ‘now passé’ modernism.

Also here is the premiere recording of the Texas-inspired Over the Plains, memorable for its allusions to cowboy music and offering some unexpectedly dramatic and atmospheric twists along the way.

Tracklist:
George Antheil (1900–1959)
1. Over the Plains (1945) 7:34
Symphony No.4 ‘1942’ (1942)
2. I Moderato – Poco più mosso – Poco meno – Più mosso – Allegretto – Poco più mosso – Poco meno marcato -10:53
3. II Allegro – Poco meno mosso – More mysterious, slower than before -9:28
4. III Scherzo. Allegro molto – Marcato – Poco meno mosso -5:20
5. IV Allegro non troppo – Più mosso – Meno mosso – Più mosso – Meno mosso -7:52
Symphony No.5 ‘Joyous’ (1947-48)
6. I Allegro – Molto marcato – Più mosso, poco più animato -9:06
7. II Adagio molto – Poco più mosso – A tempo I – Poco più mosso, molto cantabile e espressivo -7:55
8. III Finale. Allegretto (maestoso) – Allegro giocoso (più mosso) -6:52

Personnel:
BBC Philharmonic
John Storgårds, conductor

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Marillion – Brave (Deluxe edition) (1994/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 03:15:23 minutes | 3,9 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Rhino

The deluxe set with the optical discs features a brand new stereo remix by Steven Wilson, the original 1994 mix by Dave Meegan, and two CDs of Live At La Cigale performance from ’94. The audio has been newly remixed by Michael Hunter, and features a performance of Brave in its entirety. This is now the complete performance as it has been expanded with nine unreleased tracks

Rebounding from the inconsistent Holidays in Eden, Marillion retreated to the studio for 15 months to write and record the concept album Brave. Telling the story of an abused girl wandering on Severn Bridge, the album is a solid mix of symphonic tracks with a pronounced rock edge. A band known for trilogies, the final set of “The Great Escape,” “The Last of You,” and “Falling From the Moon” form one of the most dynamic showcases for vocalist Steve Hogarth and guitarist Steve Rothery. Brave remains the most complex Marillion release to date, with layers and layers of sound. A full-length movie of Brave, directed by Richard Stanley, was released in Europe in conjunction with the album.

Tracklist

Disc 1 2018 Steven Wilson Remix
01. Bridge
02. Living With the Big Lie
03. Runaway
04. Goodbye to All That/Wave/Mad/The Opium Den/The Slide/Standing in the Swing
05 Hard As Love
06. The Hollow Man
07. Alone Again in the Lap of Luxury/Now Wash Your Hands (Medley)
08. Paper Lies
09. Brave
10. The Great Escape/The Last of You/Fallin’ from the Moon (Medley)
11. Made Again

Disc 2 Live At La Cigale Theatre, Paris, 29th April 1994. 2018 Michael Hunter Remix
01. River
02. Bridge
03. Living With The Big Lie
04. Runaway
05. Goodbye To All That
06. Wave
07. Mad
08. The Opium Den
09. The Slide
10. Standing In The Swing
11. Hard As Love
12. The Hollow Man
13. Alone Again In The Lap Of Luxury
14. Now Wash Your Hands
15. Paper Lies
16. Brave
17. The Great Escape/The Last of You/Fallin’ From the Moon
18. Made Again

Disc 3 Live At La Cigale Theatre, Paris, 29th April 1994, 2018 Michael Hunter Remix
1. Cover My Eyes (Pain and Heaven)
2. Slàinte Mhath
3. No One Can
4. Sympathy
5. Easter
6. Garden Party
7. Waiting to Happen
8. Hooks in You
9. The Space…

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Ludwig van Beethoven – Late String Quartets – Tokyo String Quartet (2010)
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 02:54:38 minutes | 6,89 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Harmonia Mundi
Recorded in May, 2008 at the Fisher Center for the Performing Arts, Bard College, Annandale-on-Hudson, New York State (opp.127 & 131); and August-September, 2008 at Oji Hall, Tokyo, Japan (opp.130,132,133)

Though stated in the booklet, Quartet no. 16 op. 135 is not included in this set. because it was not recorded in DSD.

It reads like irony from a master of the art. Reflecting on a performance of the Quartet in C sharp minor, op.131, George Bernard Shaw characterized Beethoven’s formidable late quartets as ‘. . . simple, unpretentious [and] perfectly intelligible . . . ’. Yet Shaw was serious in his contrarian estimation, preferring the valedictory works to the ‘wayward caprices of self-conscious genius’ which, to his ear, were the quartets of Beethoven’s middle period.

‘Are they always to be avoided’, asked Shaw, referring to the quartets commencing with op.127, ‘because the professors once pronounced them obscure and impossible?’ For decades, regrettably, the answer was yes. We thank Joseph Kerman for this sobering statistic: ‘. . . in the twenty-five year period after Beethoven’s death, Vienna – that great musical center – can boast a grand total of no more than seven public performances of any of these works.’

Tastes, however, change. In 1928, just a century after the composer’s death, music aficionado J. W. N. Sullivan wrote in his Beethoven biography that ‘In the last string quartets spiritual experiences are communicated of which it is very difficult to mention even the elements. And yet it is just this music that most moves us and impresses us as containing the profoundest and most valuable experiences that any artist has yet conveyed . .

Tracklist:
Ludwig van Beethoven (1770-1827)
String Quartet no.12 op.127 (1824)
in E-flat major / Mi bémol majeur / Es-dur
1 I. Maestoso – Allegro 6’33
2 II. Adagio, ma non troppo e molto cantabile 13’41
3 III. Scherzando vivace 8’19
4 IV. Finale 6’55
String Quartet no.14 op.131
in C-sharp minor / ut dièse mineur / cis-moll
5 I. Adagio ma non troppo e molto espressivo 6’17
6 II. Allegro molto vivace 2’58
7 III. Allegro moderato – Adagio 0’46
8 IV. Andante ma non troppo e molto cantabile 13’48
9 V. Presto 5’02
10 VI. Adagio quasi un poco andante 1’56
11 VII. Allegro 6’34
String Quartet no.13 op.130
in B-flat major / Si bémol majeur / B-dur
12 I. Adagio ma non troppo – Allegro 13’04
13 II. Presto 2’03
14 III. Andante con moto ma non troppo 6’59
15 IV. A la danza tedesca. Allegro assai 3’34
16 V. Cavatina. Adagio molto espressivo 6’17
17 Grosse Fuge, op.133 16’19
18 VI. Finale. Allegro 10’06
String Quartet no.15 op.132 (1825)
in A minor / la mineur / a-moll
19 I. Assai sostenuto – Allegro 9’17
20 II. Allegro ma non tanto 9’10
21 III. Molto adagio 16’04
22 IV. Alla Marcia, assai vivace 2’17
23 V. Allegro appassionato 6’43

Personnel:
Tokyo String Quartet
Martin Beaver, Kikuei Ikeda, Violins
Kazuhide Isomura, Viola
Clive Greensmith, Cello

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