Studio Masters – HDMusic.me

Heaven or Las Vegas was released in 1990 and is recognized as their most commercially successful release, reaching number seven in the UK album charts. Numerous publications have since declared it one of the best albums of the 90s, Pitchfork calling it “a core of ungodly gorgeous songs that is every bit as moving and relevant today as it ever was.” Label founder Ivo Watts-Russell goes further, candidly revealing in the recent 4ADbiography, Facing The Other Way, that this album wasn’t just his favorite Cocteau’s album, but also his favorite all-time 4AD album, and “by a long shot”, calling it “the perfect record.”

Tracklist:

01-Cherry-Coloured Funk
02-Pitch The Baby
03-Iceblink Luck
04-Fifty-Fifty Clown
05-Heaven Or Las Vegas
06-I Wear Your Ring
07-Fotzepolitic
08-Wolf In The Breast
09-Road, River And Rail
10-Frou-Frou Foxes In Midsummer Fires

Personnel:
Elizabeth Fraser – vocals
Robin Guthrie – guitar
Simon Raymonde – bass

Production:
Producers: Cocteau Twins

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Blue Bell Knoll from Cocteau Twins gets the reissue treatment, remastered some 26 years after its initial release. Strikingly beautiful at points, it features standouts such as ‘Athol-Brose’ and the title track ‘Blue Bell Knoll’, but it’s a slow burner of an album that features them retreading their best path while venturing into unknown territory. ‘Carolyn’s Fingers’ – perhaps the album’s highest point – features Elisabeth Fraser intoning hip-hop rhythms and delightful guitar melodies as played by Robin Guthrie. While not their best work, it’s a must for collectors and newcomers alike.

The first Cocteaus album to feature a full-band lineup since Treasure was also their first full studio record released in America, resulting from the group’s stateside deal with Capitol. Much to longtime fans’ surprise, the Twins in fact were much more content with Capitol than 4AD, hinting at their eventual full departure from that label. This was all well and good, but the trio’s new inspiration didn’t fully translate into their work, unfortunately. While Blue Bell Knoll has some striking moments that are pure Cocteaus at their best — the opening title track is especially lovely with a keyboard loop leading into Fraser’s ever-wonderful vocals, a light rhythm, and a great final Guthrie solo — it’s still the band’s least noteworthy release since Garlands. The feeling throughout is of a group interested in dressing up older approaches that have served them well, but aren’t as distinct; the quite-lush arrangements by Guthrie are fine but the songs are a touch more pedestrian. Blue Bell Knoll has enough initial steam, however, to ensure that there are reasons to listen, happily. “Athol-Brose” has the inspirational feel that the Twins can easily create. “Carolyn’s Fingers,” the clear album standout, is perhaps the strongest individual Cocteau song since “Aikea-Guinea,” with Fraser singing against herself over a rough, hip-hop-inspired rhythm while Guthrie peels off a fantastic main guitar melody and Raymonde contributes some supple bass work. After that amazing opening, things slowly but surely slide back a bit; most of the rest sounds okay enough to listen to, but the heartgripping intensity that defines the Twins at their best isn’t present.

Tracklist:
01 – Blue Bell Knoll
02 – Athol-Brose
03 – Carolyn’s Finger
04 – For Phoebe Still A Baby
05 – The Itchy Glowbo Blow
06 – Cico Buff
08 – Spooning Good Singing Gum
09 – A Kissed Out Red Floatboat
09 – Sucking The Mender
10 – Ella Megalast Burls Forever

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Prolific saxophonist/bandleader Dave Liebman, a living jazz legend and one of the most influential musicians and educators of our times, joins an imaginative duo of percussionists, Tatsuya Nakatani and Adam Rudolph. Together, they create a variety of spontaneous conversations where the reaction to stimulus is a must. Hence, communication plays an essential role throughout “The Unknowable”, the result of their experimental meeting.

The Unknowable is a completely improvised, spontaneous group-composed body of music created by legendary saxophone and flute player Dave Liebman together with celebrated percussionists Adam Rudolph and Tatsuya Nakatani. Dave Liebman, whose legendary, more than fifty year-long, career has seen him work with Miles Davis, Elvin Jones, John Scofield, Chick Corea, Dave Holland, Bob Moses and Richie Beirach, collaborates here with Adam Rudolph, himself one of the deepest percussionists of the last half century, whose collaborations encompass Don Cherry, Pharaoh Sanders, Bill Laswell, Herbie Hancock, Omar Sosa and several members of the AACM, and with Japan-born percussionist and sound innovator Tatsuya Nakatani. The result of this extraordinary meeting of the minds is music that stems from the worlds of free and spiritual jazz, yet goesbeyond; It is incredibly open, has no north, south, east and west, it is simultaneously music of all humanity and of the cosmos.

Tracklist:
01 – Benediction (Opening)
02 – The Simple Truth
03 – Late Moon
04 – The Unknowable
05 – Skyway Dream
06 – Transmutation
07 – The Turning
08 – Distant Twilight
09 – Present Time
10 – Iconograph
11 – Cosmogram
12 – Premonition
13 – Benediction (Closing)

Produced by Dave Liebman, Adam Rudolph, Tatsuya Nakatani.
Recorded in July 2016 at Orange Music Sound Studio, New Jersey.

Musicians:
Dave Liebman – tenor and soprano saxophones, c flute, native american flute, recorder, piri, fender rhodes
Adam Rudolph – handdrumset (knogos, djembe, tarija, zabumba), thumb piano, sintir, mbuti harp, slit drum, percussion, overtone flutes, fender rhodes, live electronic processing
Tatsuya Nakatani – drum kit, gongs, metal percussion, percussion

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Faustina Masigat’s self-titled debut album is rooted in her complicated relationship between traditional music schooling and her own expressive creativity. The lyrics of these tracks resonate with her commitment to self-reflection on artistic maturation by creating a sonic environment of fragile intimacy and vulnerability in the timbre of her voice and the simple guitar accompaniment.

Frustrated by academia and emotionally raw from a breakup, Faustina Masigat stepped away from her peers in her mid-twenties. She had come to realize that her personal and artistic maturation had been stifled by her relationships and her overly angular traditional musical schooling. She knew she needed to spend more time alone, committed to a process of unlearning, before she could move forward. As she peeled back the rigid layers of her youth, she began to write the songs that, a few years later, would make up her debut record. Seeking honesty over perfection, her approach to composition became much more intuitive; seated in the natural expression of not only her emotional life, but also that of a spiritual life, an expression of her own femininity, and a means of self improvement through self reflection. She became obsessed with the old, forgotten, second-hand guitars she would find in the “As Is” section of local music shops, believing that magic and songs still lived in the beat-up wood. One album track, “Willie Nelson”, manifested, fully formed, from one of these guitars – an ancient, labeless individual that she called “Red”.

The songwriting on her self-titled debut is all at once heartbreaking, intelligent, meditative and elegant – centered around a voice that is difficult to attach genre to. There is a quiet intensity running through the world that Faustina creates: sweet and heavy, a touch of angst, brutally honest, smoldering. The album is understated, arranged as to allow Faustina’s effortless rapport with pedal steel player Tucker Jackson (The Minus 5, The Delines) to shine clearest. It’s a spacious and lush debut, with all of her vulnerabilities laid bare in songs hemmed together with fragile intimacy.

Tracklist:
01 – One Day
02 – Colored Glass
03 – Done Thinking About It
04 – Intervention
05 – Stay with Me
06 – Poverty
07 – Anthony
08 – Different Ways
09 – I Was His
10 – Willie Nelson
11 – Words Left to Say

Engineered by Rian Lewis. Mixed by Ben Nugent.
Mastered by Timothy Stollenwerk at Stereophonic Mastering, Portland, OR.

Musicians:
Faustina Masigat: Vocals, Acoustic Guitar, Keys
Tucker Jackson: Pedal Steel
Nate Szytel: Percussion
Dan Bindschedler: Cello
Tyler Maxwell Bussey: Banjo
Rian Lewis: Electric Guitar

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This unique double album is the product of the fertile mind of veteran American jazz drummer Gerry Gibbs. The first disc is a tribute to Weather Report, but rather than merely offer lukewarm cover versions, Gibbs reimagines the Weather Report material from the perspective of an acoustic piano-led trio. Gibbs cranks up the creative juices on the second disc, a set of originals ranging from flamenco to pulse-quickening funk, calypso, gospel, Latin jazz, R&B and plenty of all-out swing. Weather or Not is the most audacious and fully-realized project from Gibbs to date, an early crowning achievement from a restless spirit and a triumphant, indefatigable artist.

It is unique and kind of madcap, the sign of a fertile artist plowing through all the ideas swirling around his brain. “Instead of creating one musical concept, I wanted it to sound like 16 trios, so that’s why the music was so eclectic.” Gerry Gibbs is the artist, and his new, two-disc set – one disc devoted to the blazing Weather Report, the second to his own diverse material – leads listeners through a fun house of styles. Disc One is devoted to Weather Report tribute, but it’s not nearly the lukewarm cover collection by aspiring fusioneers you might expect. (Because, perhaps, they might beat Zawinul and company at their own game) Instead, Gibbs opts to re-imagine the material from the POV of an acoustic piano-led trio, the featured instrument played by luminous new talent Alex Collins, with brilliant Austrian-born Hans Glawischnig on bass. The sparks sure do fly on familiar melodies: “Palladium,” “Teen Town,” “Birdland,” naturally, and “Black Market.” There’s lots to dig into here, and you certainly don’t have to be a Weather Report fan to dig it. Disc Two features Gibbs cranking up the creative juices on a set of originals, traversing from flamenco to pulse-quickening funk, calypso, gospel Latin jazz, R&B and plenty of all-out swing. While Gibbs has tackled myriad projects in the past, from 2006‘s Thrasher Big Band project Live at Luna’s to 2010‘s The Electric Thrasher Orchestra Plays The Music of Miles Davis (’67-’75) and 2013‘s Grammy-nominated Thrasher Dream Trio, his 11th release as a bandleader, is his most audacious and fully-realized project to date, an early crowning achievement from a restless spirit and a triumphant, indefatigable artist.

Tracklist:
01 – Teen Town
02 – Palladium
03 – Mr. Gone
04 – Young and Fine
05 – A Remark You Made
06 – Black Market
07 – Sightseeing
08 – Punk Jazz
09 – Scarlet Woman – Boogie Woogie Waltz
10 – Elegant People
11 – Birdland
12 – Directions
13 – Maestro Ron
14 – Just Glad to Be Anywhere
15 – Kojak
16 – Road Trip
17 – Joaquin and Pinky
18 – We Are So Free
19 – The 70’s Song, Patrice Rushen
20 – Only in Dreams
21 – Paul and Sid’s Blues
22 – I’m Simply Waiting
23 – When I Close My Eyes (Part 1)
24 – St. Marteen
25 – The Caribbean Song
26 – Her Last Words (R.I.P)
27 – It’s a Good Day
28 – When I Close My Eyes and Go to a Place I Have Never Been Before (Part 2)

Musicians:
Gerry Gibbs – drums
Hans Glawischnig – bass
Alex Collins – piano

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In 2003 Kalevi Aho received the unusual commission of composing a complete concert programme. Kysymysten kirja, a meditative, philosophical song cycle using the Finnish translation of the Chilean poet Pablo Neruda’s posthumous collection ‘The Book of Questions’. The poems included are made up exclusively of questions, of which Aho has chosen a number, combining them into eleven sets to be performed without a break. The concert leads immediately into the Viola Concerto, and ends with Symphony No.14, ‘Rituals’, scored for sixteen string players, wind quintet and two percussionists.

Aho, who this year celebrates his 60th birthday, is increasingly recognized as one of today’s leading orchestral composers.

Tracklist:
Kalevi Aho (b.1949)
1. Kysymysten Kirja (The Book of Questions): I. Jos olenkin (If I Just Had) 02:57
2. Kysymysten Kirja (The Book of Questions): II. Ruusun asu (The Rose’s Apparel) 02:07
3. Kysymysten Kirja (The Book of Questions): III. Merenneitojen Kyynelet (A Mermaid’s Tears) 02:35
4. Kysymysten Kirja (The Book of Questions): IV. Minne paattyy sateenkaari? (Where Does the Rainbow End?) 03:06
5. Kysymysten Kirja (The Book of Questions): V. Nainen unessa (The Woman in the Dream) 01:00
6. Kysymysten Kirja (The Book of Questions): VI. Mita merkitysta? (What Meaning?) 01:57
7. Kysymysten Kirja (The Book of Questions): VII. Lapsuuteni Kuollessa (When my Childhood Died) 01:38
8. Kysymysten Kirja (The Book of Questions): VIII. Tunneli (The Tunnel) 01:41
9. Kysymysten Kirja (The Book of Questions): IX. Kun naen meren (When I See the Sea) 01:20
10. Kysymysten Kirja (The Book of Questions): X. Kukkiva omenapuu (The Flowering Apple Tree) 01:22
11. Kysymysten Kirja (The Book of Questions): XI. Perhoset (Butterflies) 04:40
12. Viola Concerto: I. quarter note = 58 05:19
13. Viola Concerto: II. Presto 03:36
14. Viola Concerto: III. quarter note = 76 05:11
15. Viola Concerto: IV. Cadenza 04:21
16. Viola Concerto: V. Allegretto 05:59
17. Symphony No. 14, “Rituaaleja” (Rituals): I. Loitsu I (Kiihko) (Incantation I (Zeal)) 10:53
18. Symphony No. 14, “Rituaaleja” (Rituals): II. Interludi (Interlude I) 02:08
19. Symphony No. 14, “Rituaaleja” (Rituals): III. Loitsu II (Kaiho ja vimma) (Incantation II (Yearning and Fury)) 04:55
20. Symphony No. 14, “Rituaaleja” (Rituals): IV. Kulkue (Procession) 06:19
21. Symphony No. 14, “Rituaaleja” (Rituals): V. Interludi II (Interlude II) 02:15
22. Symphony No. 14, “Rituaaleja” (Rituals): VI. Loitsu III (Lopetuksen mantra) (Incantation III (Mantra of the Ending)) 04:03

Personnel:
Monica Groop (mezzo-soprano)
Anna Kreetta Gribajcevic (viola)
Herman Rechberger (darabuka & djembe)
Chamber Orchestra of Lapland, John Storgårds

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With more than one million copies sold, the original soundtrack of Gérard Corbiau’s film Farinelli established the international reputation of Les Talens Lyriques. In 1994, in order to reinvent the voice of Carlo Broschi aka Farinelli (1705-1782), a computer was used to mix the timbres of Derek Lee Ragin, countertenor, and Ewa Mallas-Godlewska, soprano. No less would have been sufficient to incarnate the octaves and the phenomenal power of this singer, history’s first rock star.

Now Ann Hallenberg, a flavorful and ambiguous mezzo, has been chosen by Christophe Rousset to portray Farinelli. “There were two periods in Farinelli’s career. The first was virtuosic, flamboyant, during which he was financially successful and gave many performances. The second one was more melancholic, introverted, and sensitive. Ann is able to do justice to both of these.”

Following their sell-out Farinelli concerts, Christophe Rousset and the Swedish mezzo-soprano Ann Hallenburg release their much-anticipated recording: Farinelli – A Portrait, out now on Aparté. The recording, made from a live radio broadcast in Norway, includes works by composers Broschi, J.C Bach, Giacomelli, Porpora, Hasse and Leo that were sung by the world’s most famous 18th century castrato. The success of the soundtrack to the film Farinelli (1994), which sold more than a million discs worldwide, firmly established Les Talens Lyriques on the international Baroque scene two decades ago. To mark the ensemble’s 25th anniversary, an exclusive sampler of 25 tracks accompanies the Farinelli disc, with music from Les Talens Lyriques’ rich collection of recordings. The Farinelli disc coincides with the release of the Handelian diptych Alcina/Tamerlano by Les Talens Lyriques and Rousset with Outhere. Rousset and Hallenberg have formed a fierce partnership over the past years through their Farinelli collaboration, presenting these long-forgotten gems of the Italian operatic repertoire across Europe to critical acclaim and packed concert halls. Today only few singers can master the pyrotechnics, vocal range and breath control that the castrati uniquely possessed in the past.

Hallenberg, who was awarded with a 2016 International Opera Award, also features on the Blu-ray of the Handel double bill production by Pierre Audi of Alcina and Tamerlano, performed by Les Talens Lyriques and conducted by Christophe Rousset. Originally staged by Audi in the beautiful baroque Drottingholms Slottsteater in Stockholm in 2000, this production was revived and filmed in 2015 at La Monnaie, featuring Sandrine Piau in her role debut as Alcina and Christophe Dumoux as Tamerlano.

Tracklist:
01. Artasere, Act III, Scene 1: Aria “Son qual nave ch’agitata” (Arbace) (Live)
02. Idaspe, Act II, Scene 11: Aria “Ombra fedele anch’ io” (Dario) (Live)
03. Adriano in Siria, Act I, Scene 2: Aria “Già presso al termine” (Farnaspe) (Live)
04. Semiramide riconosciuta, Act II, Scene 5: Aria “Si pietoso il tuo labro” (Mirteo) (Live)
05. Polifemo, HelN 31, Act I: Alto Giove (Acio) (Live)
06. Adriano in Siria, Act II, scene 7: Aria “Passagier che incerto” (Farnaspe) (Live)
07. Cleofide, Act I: Ouverture (Live)
08. Catone in Utica, Act I, Scene 7: Aria “Che legge spietata” (Arbace) (Live)
09. Catone in Utica, Act I: Aria “Cervo in bosco” (Arbace) (Live)
10. Alcina, HWV 34, Act III: Aria “Sta nell’Ircana” (Ruggiero) (Live)
11. Rinaldo, HWV 7a, Act II: Aria “Lascia ch’io pianga” (Almirena) (Live)
12. Semiramide riconosciuta, Act III, Scene 4: Aria “In braccio a mille furie” (Mirteo) (Live)

Composers:
Broschi, Riccardo (1698-1756)
Giacomelli, Geminiano (c.1692-1740)
Handel, George Frideric (1685-1759)
Hasse, Johann Adolph (1699-1783)
Leo, Leonardo (1694-1744)
Porpora, Nicola Antonio (1686-1768)
Vinci, Leonardo (1690-1730)

Personnel:
Ann Hallenberg, mezzo-soprano
Les Talens Lyriques
Christophe Rousset, direction

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Pourquoi ce titre surprenant « L’oreille de Proust » ? Parce que Proust était fou de musique et que ses goûts, à une époque où les salons parisiens accueillaient de la musique de chambre, des joutes pianistiques, d’innombrables mélodies, des transcriptions d’ouvres orchestrales, d’opéras, épousaient tout cet univers extrêmement varié . Le disque enregistré à quatre mains par Anne-Lise Gastaldi et David Saudubray restitue exactement cette période en la présentant sous l’angle, particulièrement singulier, du romancier.Pourquoi cet angle Proustien est-il singulier et intéressant ? Parce l’ouvre et la correspondance de Proust sont truffées d’anecdotes, de témoignages, d’échanges sur les compositeurs de l’époque qui sont ceux du disque (Proust écouta Debussy et Wagner au Théâtrophone, écrivit une lettre quasiment d’amour à Fauré, assista à la première du Sacre du Printemps de Stravinsky), parce qu’il fut un proche de la famille de Bizet.Dans ce projet on trouve, dans un album à feuilleter, l’histoire des ouvres interprétées par Anne-Lise Gastaldi et David Saudubray, illustrée par les cartes postales anciennes du Cabourg proustien.

Tracklist:
01. Carmen (arrangement de Rebrovic): Carmen (pot-pouri)
02. 6 Épigraphes antiques, L. 131: III. Pour que la nuit soit propice
03. Symphonie No. 6 en Fa Majeur, Op. 68 “Pastorale”: IV. La tempête
04. Divertissement à la hongroise, D.818, Op. 54: III. Finale
05. Souvenir de Bayreuth
06. Dolly, Op. 56: III. Le jardin de Dolly
07. Le Sacre du printemps: V. Rituel des Ancêtres

Composers:
Beethoven, Ludwig van (1770-1827)
Bizet, Georges (1838-75)
Debussy, Claude Achille (1862-1918)
Fauré, Gabriel Urbain (1845-1924)
Schubert, Franz Peter (1797-1828)
Stravinsky, Igor Feodorovich (1882-1971)

Personnel:
Anne-Lise Gastaldi (piano)
David Saudubray (piano)

Download:

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‘….We tackled the challenge of performing and recording without a conductor. Of course, when I otherwise perform this concerto with a conductor, I intensely learn and think through the orchestra part in my head. It is a challenge I am aware of, and I thus probably would never have had dared to perform this concerto without a conductor. But since I’ve often performed the Beethoven Concerto with the Camerata Bern without a conductor, I started thinking that the Brahms Concerto just might work as well. Over the past 7-9 years we have become so well-acquainted with one another on a musical and personal level that by now we manage to communicate with blindfolds on. I probably would not have dared to embark on this adventure with any other ensemble. The most important thing is that each musician should remain in a “chamber music” attitude while providing the necessary symphonic energy and assuming his/her share of responsibility…. ‘ from the liner notes by Antje Weithaas.

Tracklist:
Johannes Brahms (1833–1897)
01. Concerto for Violin and Orchestra in D Major, Op. 77: I. Allegro ma non troppo
02. Concerto for Violin and Orchestra in D Major, Op. 77: II. Adagio
03. Concerto for Violin and Orchestra in D Major, Op. 77: III. Allegro giocoso, ma non troppo vivace
04. Quintet for 2 Violins, 2 Violas and Cello No. 2 in G Major, Op. 111: I. Allegro ma non troppo, ma con brio
05. Quintet for 2 Violins, 2 Violas and Cello No. 2 in G Major, Op. 111: II. Adagio
06. Quintet for 2 Violins, 2 Violas and Cello No. 2 in G Major, Op. 111: III. Un poco allegretto
07. Quintet for 2 Violins, 2 Violas and Cello No. 2 in G Major, Op. 111: IV. Vivace ma non troppo presto

Personnel:
Antje Weithaas, solo violin
Camerata Bern

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„What we are about to hear is not a performance by conceptual artists who have decided to set a discarded Bechstein or Blüthner on fire – no, we are going to hear piano pieces by Galina Ivanovna Ustvolskaya.“ The words of the renowned Dutch music critic quoted above offer a precise, vivid description of the musical output of one of the most enigmatic composers of our time.

It is hard to apply the usual musicological jargon to Ustvolskaya‘s music. She was not the apocalypse of the 20th century; she was its echo. Thanks to providence, she was never sent to one of Stalin’s concentration camps: destiny allowed her to live in seclusion as an artist never blinded by hopes of success. In choosing solitude, she was by no means a Romantic “hero” fleeing from reality, overtly proud of fulfilling a mission or playing an exclusive role. Her seclusion, instead, was the bitter loneliness of a noble soul trembling in view of the world’s utter imperfection. She mourns for it. She prays for us. Ustvolskaya chose to live the life of a hermit. Contact with other human beings was something she often found difficult – even with musicians who really liked her. As she put it herself: “My sincerest wish would be to crawl into a barrel like Diogenes and just live secluded therein. That would be the best option for my life……………..“. (Excerpts from the liner notes by Iosif Raiskin)

„Markus Hinterhäuser’s complete Ustvolskaya piano sonata cycle, recorded in 1998, never did quite cut the mustard like Marianne Schroeder’s 1994 Hat Hut performances. And then, in 2006, Sabine Liebner moved Ustvolskaya interpretation to new heights with a cycle for Neos that felt intelligently integrated and sounded brazenly strepitous. So whither Hinterhäuser now?

He remains, I’m afraid to say, a definite third choice – never a disastrous, confiscate-his-instrument third, but his cycle has simply been superseded by subsequent events. Liebner never mistakes Ustvolskaya’s austere, stentorian sound world for simple greyness but Hinterhäuser sometimes slips perilously close. Through sheer physical insistence, in Liebner’s hands the Third Sonata (1952) is shell-shocked by its own existence; melodic fragments cut like serrated knives, obsessively struck chains of cluster formations make the piano resonate like you never heard before. The surface of Hinterhäuser’s performance hints at those possibilities but it’s neat and chanceless.

The Sixth Sonata (1988) reduces Ustvolskaya’s now-familiar trademark gestures to an archetypal essence. In Liebner, ghosts of sonatas past swarm; in Hinterhäuser the piece merely sounds like a sparser version of the first five. Given that Liebner also offers Ustvolskaya’s 12 Preludes, feeder works for the gestural vocabulary of the sonatas, really it’s a no-brainer.“ (Gramophone)

Tracklist:
Galina Ustvolskaya (1919 – 2006)
01. Sonata No. 1: I.
02. Sonata No. 1: II.
03. Sonata No. 1: III.
04. Sonata No. 1: IV.
05. Sonata No. 2: I.
06. Sonata No. 2: II.
07. Sonata No. 3
08. Sonata No. 4: I.
09. Sonata No. 4: II.
10. Sonata No. 4: III.
11. Sonata No. 4: IV.
12. Sonata No. 5
13. Sonata No. 6

Personnel:
Antonii Baryshevskyi, piano

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The artistry of Audrey Vigoureux joins two facets of pianistic playing in a unique synthesis: the fire of a passionate commitment and the crystalline clarity of a strong thought. By means of a very deep textual reading, full of intelligence and humility, she finds the foundations of a prodigiously lively spontaneity. Where others oscillate between their consciousness and their madness, the one making concessions to the other, Audrey Vigoureux achieves a continuous balance between the two. Each note she plays is underlined by a double commandment: to master and to vibrate. Audrey Vigoureux chose to record Bach and Beethoven, two composers inhabited by the fire of the fantasy, and by the crystal of the fugue. Beethoven subtitled two sonatas “Quasi una Fantasia”. The Opus 27 no. 1 is thus not a Fantasy, but a Sonata “like a Fantasy”. The composer now feels constrained within the canons of the Sonata… The Op.27 no.1 announces an unprecedented fusion in the history of music. The fusion truly operates in the Sonata op.110, stretched between extreme freedom of inspiration and formal ambition. Deeply Beethovenian, the pianist gives to Bach a lyrical breath, that he is too often missing, while taking advantage of the extraordinary clarity of her sound range in order to highlight the polyphonies. If this music maintained a barrier between Fantasy and Fugue, Audrey Vigoureux understood that the interpreter must question it and play fantasies with rigor and fugues with fantasy…

Tracklist:
01. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1 “Quasi una fantasia”: I. Andante-Allegro-Andante
02. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1 “Quasi una fantasia”: II. Allegro molto e vivace
03. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1 “Quasi una fantasia”: III. Adagio con espressione
04. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1 “Quasi una fantasia”: IV. Allegro vivace
05. Fantasy & Fugue in A Minor, BWV 904: I. Fantasy
06. Fantasy & Fugue in A Minor, BWV 904: II. Fugue
07. Fantasy & Fugue in C Minor, BWV 906: I. Fantasy
08. Fantasy & Fugue in C Minor, BWV 906: II. Fugue
09. Piano Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo
10. Piano Sonata No. 31 in A-Flat Major, Op. 110: II. Allegro molto
11. Piano Sonata No. 31 in A-Flat Major, Op. 110: III. Adagio, ma non troppo-Fuga (Allegro, ma non troppo)

Composers:
Bach, Johann Sebastian (1685-1750)
Beethoven, Ludwig van (1770-1827)

Personnel:
Audrey Vigoureux, piano

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Augustin Hadelich & Joyce Yang – Franck, Kurtág, Previn & Schumann: Music for Violin & Piano (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:07:27 minutes | 1,14 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front cover | © Avie Records

Violinist Augustin Hadelich and pianist Joyce Yang, two of the most esteemed artists of their generation, pair for a program that mirrors their many acclaimed joint recital appearances, with works by Franck, Kurtág, Previn and Schumann.

Grammy Award-winning violinist Augustin Hadelich is one of the most impressive musicians of his generation. Pianist Joyce Yang, youngest ever medalist of the Van Cliburn Competition, is a consistently electrifying presence on stage. Together these young artists produce a plethora of pyrotechnics and an abundance of musical imagination. This unique recital program pairs two 19th-century repertory staples – Sonatas by Franck and Schumann – with 20th century fare by Kurtág and Previn, a combination Augustin and Joyce have performed to widespread acclaim in their frequent joint performances.

Tracklist:
01. Tango Song and Dance: I. Tango
02. Tango Song and Dance: II. Song
03. Tango Song and Dance: III. Dance
04. Violin Sonata No.1 in A Minor, Op. 105: I. Mit leidenschaftlichem Ausdruck
05. Violin Sonata No.1 in A Minor, Op. 105: II. Allegretto
06. Violin Sonata No.1 in A Minor, Op. 105: III. Lebhaft
07. Tre Pezzi, Op.14e: I. Öd und traurig
08. Tre Pezzi, Op.14e: II. Vivo
09. Tre Pezzi, Op.14e: III. Aus der Ferne
10. Violin Sonata in A Major, FWV 8: I. Allegretto ben moderato
11. Violin Sonata in A Major, FWV 8: II. Allegro
12. Violin Sonata in A Major, FWV 8: III. Recitativo-Fantasia. Ben moderato
13. Violin Sonata in A Major, FWV 8: IV. Allegretto poco mosso

Composers:
Franck, César Auguste (1822-90)
Kurtág, György (b.1926)
Previn, André (b.1929)
Schumann, Robert (1810-56)

Personnel:
Augustin Hadelich (violin)
Joyce Yang (piano)

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It was between 1900 and 1930 that Ravel composed these works; from the Menuet Antique right up to La Valse, Europe, and indeed the world, are full of frenzy, acceleration, fury and finally explosion. Did this monstrous machine ever stop? It was at the end of 2015, that Hélène Tysman recorded this disc, and two phrases in particular which inspired her for this programme still resonate: the quotation of Henri de Régnier, highlighting the Valses Nobles et sentimentales, who talks of “the delicious and ongoing pleasure of a useless occupation”, and the exchanges between two aristocrats, present at a soirée preceding the 1830 revolution, who observe; “we are dancing on a volcano”, a phrase which would inspire Jean Renoir for La règle du jeu in 1939.

Tracklist:
Maurice Ravel (1875-1937)
01. Menuet antique, M. 7
02. Gaspard de la Nuit, M. 55: I. Ondine
03. Gaspard de la Nuit, M. 55: II. Le Gibet
04. Gaspard de la Nuit, M. 55: III. Scarbo
05. Menuet sur le nom de Haydn, M. 58
06. Valses nobles et sentimentales, M. 61: I. Modéré – assez franc
07. Valses nobles et sentimentales, M. 61: II. Assez lent – avec une expression intense
08. Valses nobles et sentimentales, M. 61: III. Modéré
09. Valses nobles et sentimentales, M. 61: IV. Assez animé
10. Valses nobles et sentimentales, M. 61: V. Presque lent – dans un sentiment intime
11. Valses nobles et sentimentales, M. 61: VI. Vif
12. Valses nobles et sentimentales, M. 61: VII. Moins vif
13. Valses nobles et sentimentales, M. 61: VIII. Épilogue – Lent
14. Pavane pour une infante défunte, M. 19
15. La Valse, M. 72

Personnel:
Hélène Tysman, piano

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Franz Liszt drove a wedge between music fans open to innovative ideas and more traditional listeners. As the creator of the symphonic poem genre and programme music, he initiated a veritable trend of thought towards a new poetics. Inversely, partisans of Brahms felt that Liszt ran counter to the very essence of abstract music. On this digital only release, pianist Jan Michiels relives from the inside this “war of the Romantics” between progressives and conservatives through refined, intelligent readings of works by Liszt, Brahms and Schumann. But the pianist also offers a reconciliation from Schönberg, in its transcription for solo piano, combining the “traditional” on the motif with a form based on Liszt’s strokes of inspiration.

Tracklist:
Franz Liszt (1811-86)
01. Piano Sonata in B Minor, S. 178
02. Fünf Gesänge der Frühe, Op. 133: I. Im ruhigen Tempo (D Major)
03. Fünf Gesänge der Frühe, Op. 133: II. Belebt, nicht zu rasch (D Major)
04. Fünf Gesänge der Frühe, Op. 133: III. Lebhaft (A Major)
05. Fünf Gesänge der Frühe, Op. 133: IV. Bewegt (A Major)
06. Fünf Gesänge der Frühe, Op. 133: V. Im Anfange ruhiges, im Verlauf bewegtes Tempo (D Major)
07. Variations on a Theme by Robert Schumann in F-Sharp Minor, Op. 9
08. Kammersymphonie No. 1, Op. 9 (Transcription Eduard Steuermann)
09. Gretchen, Zweiter Satz aus der Faust-Symphonie, S. 513

Personnel:
Jan Michiels (piano)

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Seeing as how Townes Van Zandt and Guy Clark aren’t with us any more, we’d best make the most of our remaining time with John Prine! A great songwriter who is little-known this side of the Atlantic, but adored by a cult following back home, Prine started as a protégé of Kris Kristofferson, and is anything but a sub-Dylan. Prine has even become known as one of the most underrated portraitists of his generation. And while his wry humour always protects him from any temptation towards soppiness, he also knows how to touch the heart. With Prine, above all, anti-establishment spirit is never far from the surface. It’s rare to see caustic wit and pure emotion blended together with such talent… After a superb record full of mixed duets with Kacey Musgraves, Lee Ann Womack, Alison Krauss, Susan Tedeschi, Iris DeMent, Amanda Shires and Miranda Lambert, John Prine has brought out his first record in 13 years made up entirely of new songs.

Produced with a certain reserve and sparseness by the now much-sought-after Dave Cobb, The Tree Of Forgiveness brings in few fellow writers (Dan Auerbach of the Black Keys, Roger Cook, Keith Sykes and Phil Spector) and a few fellow performers (Brandi Carlile, Jason Isbell and Amanda Shires). At 71 years of age, the songwriter from Chicago has a voice to match his age. It has been ravaged by sickness and cigarettes, but its sound perfectly matches what he is singing. More a storyteller than an entertainer, Prine has hit the right balance between rather original mad old man and the sage who regards the world with a certain detachment and a good dose of humour. The work also speaks of death (over the last twenty years his cancer has come and gone) and his loves… Even if we have come a long way from his masterpieces of the 1970s (the self-titled John Prine but also Sweet Revenge and Bruised Orange), this 2018 work is still a lot of fun.

Tracklist:
01. Knocking on Your Screen Door 02:19
02. I Have Met My Love Today 01:50
03. Crazy Bone 04:05
04. Summers End 03:29
05. Caravan of Fools 02:28
06. The Lonesome Friends of Science 04:41
07. No Ordinary Blue 02:56
08. Boundless Love 03:35
09. God Only Knows 03:46
10. When I Get to Heaven 03:42

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Live In Vienna, December 1st, 2016 is a new 3-disc set by King Crimson. Featuring a rendition of Fracture, one of the most acclaimed KC compositions and last performed live in 1974, the three-disc set will be released on April 6th.

Mixed from the original multitracks discs one and two feature the complete first and second sets from the evening’s show. Disc three includes a series of soundscapes edited into newly sequenced pieces. Drawn from the introduction music (composed/improvised afresh for each night) & featuring Robert Fripp, Mel Collins & Tony Levin, this essential component of current live KC shows also receives its most complete presentation to date. In addition, the third disc includes the long awaited live recorded debut of Fracture by the 2016 line-up as performed in Copenhagen.

Tracklist:

Disc 1: First Set: Vienna, 2016 (01:06:10)
01. Walk On – Monk Morph Music of the Chamber (02:31)
02. The Hell Hounds of Krim (03:40)
03. Pictures of a City (08:41)
04. Dawn Song (02:19)
05. Suitable Grounds for the Blues (04:47)
06. VROOOM (05:14)
07. The ConstruKction of Light (06:37)
08. The Court of the Crimson King (07:19)
09. The Letters (06:15)
10. Sailor’s Tale (06:19)
11. Interlude (02:44)
12. Radical Action II (02:16)
13. Level Five (07:28)

Disc 2: Second Set: Vienna, 2016 (01:13:02)
01. Fairy Dust of the Drumsons (01:42)
02. Peace (01:56)
03. Cirkus (07:33)
04. Indiscipline (08:50)
05. Epitaph (08:47)
06. Easy Money (10:07)
07. Devil Dogs of Tessellation Row (03:05)
08. Red (06:42)
09. Meltdown (04:16)
10. Larks’ Tongues in Aspic, Pt. Two (07:01)
11. Starless (13:03)

Disc 3: Encores and Expansions (48:16)
01. Heroes (05:24)
02. Fracture (10:56)
03. 21st Century Schizoid Man (13:07)
04. Schoenberg Softened His Hat (11:46)
05. Ahriman’s Ceaseless Corruptions (06:05)
06. Spenta’s Counter Claim (00:58)

Personnel:
Mel Collins: saxophones, flutes
Robert Fripp: guitar, keyboards
Tony Levin: basses, stick, voice
Pat Mastelotto: drums
Gavin Harrison: drums
Jakko Jakszyk: guitar, voice;
Jeremy Stacey: drums, keyboards

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La Follia, Orchestre de chambre d’Alsace & Hugues Borsarello – Mozart: 5 Violin Concertos (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:50:48 minutes | 1,91 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front cover | © ARTIES RECORDS

A Violin which sings, an major interpretation of Mozart. The violinist Hugues Borsarello, accompanied by Follia Orchestre de chambre of Alsace, proposes us a quite new version where he takes to the extreme his search for the purity and for the perfection of sound. Heattempts to develop what seems essential to him in the art of interpreting: the speech, the nature of the phrasing and the sound. Deconstruct to overtake, not avoid the technical stake but rethink it.

Tracklist:
Wolfgang Amadeus Mozart (1726-1791)
01. Concerto pour violon et orchestre No. 1 en Si Bémol Majeur, K. 207: I. Allegro moderato
02. Concerto pour violon et orchestre No. 1 en Si Bémol Majeur, K. 207: II. Adagio
03. Concerto pour violon et orchestre No. 1 en Si Bémol Majeur, K. 207: III. Presto
04. Concerto pour violon et orchestre No. 2 en Ré Majeur, K. 211: I. Allegro moderato
05. Concerto pour violon et orchestre No. 2 en Ré Majeur, K. 211: II. Andante
06. Concerto pour violon et orchestre No. 2 en Ré Majeur, K. 211: III. Rondo-allegro
07. Concerto pour violon et orchestre No. 3 en Sol Majeur, K. 216: I. Allegro moderato
08. Concerto pour violon et orchestre No. 3 en Sol Majeur, K. 216: II. Adagio
09. Concerto pour violon et orchestre No. 3 en Sol Majeur, K. 216: III. Rondo
01. Concerto pour violon et orchestre No. 4 en Ré Majeur, K. 218: I. Allegro moderato
02. Concerto pour violon et orchestre No. 4 en Ré Majeur, K. 218: II. Andante cantabile
03. Concerto pour violon et orchestre No. 4 en Ré Majeur, K. 218: III. Rondo
04. Concerto pour violon et orchestre No. 5 en La Majeur, K. 219: I. Allegro aperto-Adagio-Allegro aperto
05. Concerto pour violon et orchestre No. 5 en La Majeur, K. 219: II. Adagio
06. Concerto pour violon et orchestre No. 5 en La Majeur, K. 219: III. Rondo

Personnel:
Hugues Borsarello, violin
La Follia Chamber Orchestra

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Dialogue is the story of a poetic exchange between Laurence Oldak and two composers a century apart: Alexander Scriabin, the centenary of whose death is being commemorated on 14 April 2015, and Kirill Zaborov, a talented contemporary Franco-Russian composer.

This recording has its origin in the encounter between the pianist and the latter, whose music, full of imagery, betrays his Slavic origins and romantic inspiration. In a refined interpretation full of expressiveness, Laurence Oldak thus proposes a ‘Russian alliance’ and invites us to discover four pieces by the young composer – including his Dix Apparitions, which she premiered in November 2012 –, interspersing them with works by Scriabin, including the complete cycle of Huit Études, Op. 42 and the very intense Sonata No. 4, Op. 30.

Tracklist:
01. Prélude et nocturne pour la main gauche seule, Op. 9: I. Prélude
02. Prélude et nocturne pour la main gauche seule, Op. 9: II. Nocturne
03. Huit études, Op. 42: Étude No. 1
04. Huit études, Op. 42: Étude No. 2
05. Huit études, Op. 42: Étude No. 3
06. Huit études, Op. 42: Étude No. 4
07. Huit études, Op. 42: Étude No. 5
08. Huit études, Op. 42: Étude No. 6
09. Huit études, Op. 42: Étude No. 7
10. Huit études, Op. 42: Étude No. 8
11. Suite entrelacs: Entrelacs No. 1
12. Suite entrelacs: Entrelacs No. 2
13. Suite entrelacs: Entrelacs No. 3
14. Dix apparitions: Première apparition
15. Dix apparitions: Deuxième apparition
16. Dix apparitions: Troisième apparition
17. Dix apparitions: Quatrième apparition
18. Dix apparitions: Cinquième apparition
19. Dix apparitions: Sixième apparition
20. Dix apparitions: Septième apparition
21. Dix apparitions: Huitième apparition
22. Dix apparitions: Neuvième apparition
23. Dix apparitions: Dixième apparition
24. Quatrième sonate pour piano, Op. 30: I. Andante
25. Quatrième sonate pour piano, Op. 30: II. Prestissimo volando
26. Douze études, Op. 8: Étude No. 2
27. Douze études, Op. 8: Étude No. 11
28. Hommage à la mémoire de Dimitri Chostakovitch
29. Deux préludes: Prélude No. 1
30. Deux préludes: Prélude No. 2
31. Neuf mazurkas, Op. 25: Mazurka No. 3

Composers:
Alexander Scriabin (1872-1915)
Kirill Zaborov (1970)

Personnel:
Laurence Oldak, piano

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The Salon of Scylla and Glaucus is a moment of chamber music, music behind closed doors, closed but paradoxically opened, where one can enter in resonance and lose his way between what is similar and yet different.

Here is the opportunity to pay to a generation of brilliant composers around Jean-Marie Leclair a colorful tribute made of a mosaic of movements, hesitations and passionate portraits, like a musical snapshot of an intimate and instrumental world in contrast to the Parisian opera and theater of the Royal Academy under Louis XV the Beloved.

This is also the opportunity to get together with noble instrumentalists and friends to let them or not take the floor at their convenience and desire… Viola da gamba, violins and cello are joining the harpsichord to make out of a simple keyboard piece an elegant and improvised concert, out of an overture a twirling trio. And these Characters, in turn virtuosos or abandoned but also witnesses of mixtures and fragments of an inspired era, remind us that “the most delicate pleasure is to make that of others.”

Tracklist:
01. Ouvertures et sonates en trio, Op. 13: Ouverture III in A Major for Two Violins and Continuo (Grave-Allegro)
02. Six sonates suivies d’un nombre de pièces, Op. 40: Rondeau in A Minor for Cello and Continuo
03. Sonates à deux violons, Op. 3: Sonata V in E Minor for Two Violins (II. Andante)
04. Pièces de viole: Suite No. 2 in G Major “La Leclair”
05. Second Livre De Sonates, Op. 2: Sonata VIII In D Major For Violin, Viola Da Gamba And Continuo (III. Sarabanda-IV. Allegro Assai)
06. Quatrième livre de pièces de clavecin: La de Sartine
07. Sonates, Book III: Sonata III in C Major for Cello and Continuo (Adagio)
08. Troisième livre de sonates, Op. 5: Sonata VI in C Minor for Violin and Continuo “Le Tombeau” (I. Grave-II. Allegro ma non tropo)
09. Pièces de clavecin, Book I: La marche des Scythes
10. Sonates, Book IV: Sonata VI in C Major for Cello and Continuo (II. Largo-III. Allegro)
11. Ouvertures et sonates en trio, Op. 13: Ouverture III in A Major for Two Violins and Continuo (Dolce-Largo)
12. Pièces de viole : Suite No. 5 in C Minor “La Rameau”
13. Troisième livre de sonates, Op. 5: Sonata VI in C Minor for Violin and Continuo “Le Tombeau” (III. Gavotte 1 & 2-IV. Allegro)

Personnel:
Les Nouveaux Caractères
Jasmine Eudeline, violin
Benjamin Chénier, violin (on tracks 1, 3, 11, 13)
Martin Bauer, viola da gamba
Frédéric Baldassare, cello
Sébastien d’Hérin, conductor & harpsichord

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Florence, 1600: Giulio Caccini and Jacopo Peri, two virtuoso singers and rival composers. Striving to rediscover the expressive powers of ancient Greek tragedy, they revolutionized the art of singing and created a new style, which eventually would give birth to opera. In reaction to Renaissance polyphony, these monodies were intended to be sung with the simple accompaniment of a plucked instrument in order to express the full range of human passions. Peri and Caccini would often accompany themselves but they would also perform with certain family members. Thus brother and sister in this duo follow most naurally a tradition passed on by those great musicians.

Tracklist:
Giulio Caccini (1551-1618)
01. Dolcissimo sospiro
02. A quei sospiri ardenti
03. Mentre che fra doglie e pene
04. Vedrò ‘l mio sol
05. Toccata del quarto tono
06. Tu dormi e ‘l dolce sonno
07. Tra le donne onde s’onora
08. Le nuove musiche: Amarilli mia bella
09. Tutto ‘l dì piango
10. Odi, Euterpe, il dolce canto
11. Movetevi à pietà del mio tormento
12. Torna, deh torna, pargoletto mio
13. Intavolatura di liuto, et di chitarrone, Book 1: Aria di sarabanda in varie partite (Arr. for Harp)
14. Un dì, soletto
15. Perfidissimo volto
16. Non ha ‘l ciel cotanti lumi
17. Tutto ‘l dì piango e poi la notte quando
18. Al fonte, al prato
19. Canzona
20. Pien d’amoroso affeto

Composers:
Caccini, Giulio (c.1545-1618)
Luzzaschi, Luzzasco (1545-1607)
Peri, Jacopo (1561-1633)
Piccinini, Alessandro (1566-c.1638)

Personnel:
Marc Mauillon, tenor
Angélique Mauillon, harp

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Cocteau Twins – Heaven Or Las Vegas (1990/2014) [Official Digital Download 24bit/96kHz]

Cocteau Twins – Blue Bell Knoll (1988/2014) [Official Digital Download 24bit/96kHz]

Dave Liebman, Adam Rudolph, Tatsuya Nakatani – The Unknowable (2018) [Official Digital Download 24bit/48kHz]

Faustina Masigat – Faustina Masigat (2018) [Official Digital Download 24bit/44,1kHz]

Gerry Gibbs & Thrasher People – Weather Or Not (2017) [Official Digital Download 24bit/96kHz]

Chamber Orchestra of Lapland, John Storgards – Kalevi Aho: Rituals (2009) [Official Digital Download 24bit/44,1kHz]

Ann Hallenberg, Les Talens Lyriques & Christophe Rousset – Farinelli (2016) [Official Digital Download 24bit/88,2kHz]

Anne-Lise Gastaldi & David Saudubray – L’Oreille de Proust (2015) [Official Digital Download 24bit/96kHz]

Antje Weithaas & Camerata Bern – Brahms: Violin Concerto & String Quintet, Op. 111 (2015) [Official Digital Download 24bit/96kHz]

Antonii Baryshevskyi – Galina Ustvolskaya: Piano Sonatas Nos. 1 – 6 (2017) [Official Digital Download 24bit/48kHz]

Audrey Vigoureux – Bach & Beethoven: Quasi una fantasia (2015) [Official Digital Download 24bit/48kHz]

Augustin Hadelich & Joyce Yang – Franck, Kurtag, Previn & Schumann: Music for Violin & Piano (2016) [Official Digital Download 24bit/96kHz]

Helene Tysman – Des antiques aux demons (2016) [Official Digital Download 24bit/48kHz]

Jan Michiels – The War of the Romantics (2016) [Official Digital Download 24bit/44,1kHz]

John Prine – The Tree of Forgiveness (2018) [Official Digital Download 24bit/96kHz]

King Crimson – Live in Vienna, 1 December 2016 (2018) [Official Digital Download 24bit/48kHz]

La Follia, Orchestre de chambre d’Alsace & Hugues Borsarello – Mozart: 5 Violin Concertos (2014) [Official Digital Download 24bit/96kHz]

Laurence Oldak – Scriabin & Zaborov: Dialogue (2015) [Official Digital Download 24bit/96kHz]

Les Nouveaux Caracteres, Sebastien d’Herin – The Salon of Scylla and Glaucus (2015) [Official Digital Download 24bit/96kHz]

Marc Mauillon & Angelique Mauillon – Li Due Orfei (2016) [Official Digital Download 24bit/96kHz]