Studio Masters – HDMusic.me

38 Special is a prime example of an AOR band with deep roots in Southern rock. The band hails from Florida, and vocalist Donnie Van Zant is the brother of none other than Lynyrd Skynyrd’s Ronnie and Johnny Van Zant. The group’s 1982 album, Special Forces, included the flawless Top Ten rocker “Caught Up in You,” which injected the mainstream with a shot of much-needed grit. That album’s follow-up, 1983’s Tour De Force, upped the ante, showing the band’s skills at their peak. Propelled by the effortless blend of melody and power stirred up by Van Zant, vocalist/guitarist Don Barnes, guitarist Jeff Carlisi, bassist Larry Junstrom, and drummers Steve Brookins and Jack Grondin, Tour De Force is loaded with irresistible hooks. The hit single, “If I’d Been the One,” is a stunner steeped in passionate vocals and simple but highly effective rhythm and lead guitar parts. “Back Where You Belong,” which was also a hit, is more of a straightforward pop/rock song. “I Oughta Let Go” is best described as country-rock – or, better still, country-funk – and the fun “Undercover Lover” is a sly, laid-back rocker. But the undiscovered gem here is “Twentieth Century Fox” (no, not the Doors song), a fantastic rocker with great guitar grooves, aggressive vocals, and clever lyrics. ~ Bret Adams

Tracklist:
1. If I’d Been The One 03:54
2. Back Where You Belong 04:01
3. One Time For Old Times 04:31
4. See Me In Your Eyes 03:49
5. Twentieth Century Fox 03:44
6. Long Distance Affair 03:56
7. I Oughta Let Go 03:57
8. One Of The Lonely Ones 04:00
9. Undercover Lover 04:12

Personnel:
Don Barnes (vocals, guitars)
Donnie Van Zant (vocals)
Jeff Carlisi (guitar)
Steve McRay (keyboards)
Steve Brookins, Jack Grondin (drums)
Carol Bristow, Lu Moss (background vocals)

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“Building on the bandmembers’ own personal accomplishments that came from the Rockin’ Into the Night album, .38 Special released an even stronger bunch of songs a year later with Wild-Eyed Southern Boys. Focusing on the same Southern-based rock & roll formula, the efforts from Southern Boys contain a little more guitar zing while complementing the band’s ability to produce marketable radio music. “Hold on Loosely,” with its smooth vocal stride, managed to peak at number 27 in April of 1981, giving .38 Special its first Top 40 single, and the title track, “Honky Tonk Dancer,” and “Back Alley Sally” keep a homespun flavor alive and well, indicating that the band’s Southern roots haven’t been dismissed completely. Even though the bulk of the tracks lean toward .38 Special’s rootin’-tootin’ good-time persona, tracks such as “Fantasy Girl” and “First Time Around” reveal a stronger regard for producing catchy and approachable rock & roll tunes. It’s on Wild-Eyed Southern Boys that .38 Special seemed more confident, harnessing a distinct guitar rock sound that enabled the group to distinguish itself from other FM rock bands. Cracking the Top 20 on the album charts and eventually reaching platinum status, Wild-Eyed Southern Boys marked the onset of the band’s success throughout the course of the decade.” (Mike DeGagne, AMG)

Tracklist:
1. Hold On Loosely 04:41
2. First Time Around 04:02
3. Wild-Eyed Southern Boys 04:18
4. Back Alley Sally 03:13
5. Fantasy Girl 04:07
6. Hittin’ and Runnin’ 04:57
7. Honky Tonk Dancer 04:57
8. Throw Out the Line 03:46
9. Bring It On 05:40

Personnel:
Donnie Van Zant, vocals
Carol Bristow, vocals
Lu Moss, vocals
Don Barnes, guitar, piano, vocals, background vocals
Steve Brookins, drums
Jeff Carlisi, guitar, steel guitar
Jack Grondin, drums
Larry Junstrom, bass
Additional musicians:
Carol Veto, background vocals
Steve McRay, piano
Terry Emery, percussion

Produced by Rodney Mills

Digitally remastered

Download:

https://subyshare.com/zuff2jg58ubs/38SpecialWildEyedSuthernBys198120182496.rar.html

Ohio-bred songwriter Clarence Bucaro will release his latest album Passionate Kind on May 18. He’s offered up a first taste of the album in the form of “Where Do I Go,” a contemplative folk song that considers Bucaro’s place in an increasingly tumultuous social climate.

“These times are overwhelming,” Bucaro says. “Everyone seems confused and angry, even devastated. There’s a lot of disbelief, a lot of questions, a lot of wondering what’s going to happen next.”

Bucaro recorded Passionate Kind at Chicago studio the Loft with producer Tom Schick, known for his work with Wilco and Ryan Adams. The album will release via 2020 Records.

Tracklist:
1. Passionate Kind 03:00
2. Where I Live 02:30
3. City of Light 03:04
4. Sleepwalker 03:00
5. Reflection of His Heart 02:40
6. Where Do I Go 03:06
7. Maybe You Should Go 03:31
8. 21 03:08
9. Living Yesterday 02:34
10. Songbird 02:45

Download:

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Deutsche Grammophon is proud to release this truly legendary opera recording from the golden age of stereo, remastered in 96kHz from the original analogue tapes, presented on HighResAudio. The Barber of Seville, or The Futile Precaution is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais’s French comedy Le Barbier de Séville (1775). The première of Rossini’s opera (under the title Almaviva, o sia L’inutile precauzione) took place on 20 February 1816 at the Teatro Argentina, Rome.

Rossini’s Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all “opere buffe”. Even after two hundred years, it remains a popular work.

This particular recording commemorates the 150th anniversary of Rossini’s passing, presenting Abbado’s 1971 reading of Rossini’s Il Barbiere di Siviglia with the London Symphony Orchestra, Teresa Berganza’s tangy Rosina, Luigi Alva’s stylish, nimble Lindoro and Hermann Prey.

“The orchestral playing and conducting are superb, offering both sparkle and a welcome hint of gravitas … The casts, predominantly Italian, feature some wonderful singers … Teresa Berganza, as Rosina and Angelina, is a softer-grained mezzo than we’re used to – no machine-gun coloratura here – but offers her own special charm” – (Gramophone Magazine)

“This is a nicely entertaining Barber, with just the right sense of fun running through it to avoid slapstick and still bring a sophisticated smile to one’s lips. Teresa Berganza is so right, so unexaggerated, so pyrotechnically capable yet filled with good taste, that it’s impossible to find fault with her Rosina. Luigi Alva’s Count is classy and honey-toned up to the top of the staff, where the voice simply stops blooming; he’s also not as good as one might wish with Rossini’s difficult fast music. Hermann Prey’s Figaro is similarly impaired–the coloratura is just not pristine–but his style, attitude, and intelligence are pure gold; he’s vastly entertaining. The other low-voiced men are ideal Rossinians. Abbado holds the whole thing together–this is a very satisfying performance.”

Tracklist:
Gioacchino Rossini (1792-1868)
1. Il Barbiere di Siviglia : Overture (Sinfonia) 07:25
2. Il barbiere di Siviglia / Act 1 : No.1 Introduzione: “Piano, pianissimo” 02:58
3. Il barbiere di Siviglia / Act 1 : “Ecco, ridente in cielo” – “Ehi, Fiorello?” – “Gente indiscreta!” 07:27
4. Il barbiere di Siviglia / Act 1 : “Largo al factotum” – “Ah, ah! che bella vita!” (Figaro / Figaro, Conte, Rosina, Bartolo) 10:50
5. Il barbiere di Siviglia / Act 1 : “Se il mio nome saper voi bramate” – “Oh cielo!” 03:50
6. Il barbiere di Siviglia / Act 1 : No.4 Duetto: “All’idea di quel metallo” 08:46
7. Il barbiere di Siviglia / Act 1 : “Una voce poco fa” – “Sì, sì, la vincerò” (Rosina / Rosina, Figaro, Bartolo, Basilio) 09:40
8. Il barbiere di Siviglia / Act 1 : “La calunnia è un venticello” – “Ah! che ne dite?” (Basilio / Basilio, Bartolo, Figaro, Rosina) 07:42
9. Il barbiere di Siviglia / Act 1 : “Dunque io son” – “Ora mi sento meglio” (Rosina, Figaro / Rosina, Bartolo) 06:22
10. Il barbiere di Siviglia / Act 1 : No.8 Aria: “A un dottor della mia sorte” 06:04
11. Il barbiere di Siviglia / Act 1 : Recitativo: “Finora in questa camera” – No.9 Finale I: “Ehi, di casa!… buona gente!…” 09:09
12. Il barbiere di Siviglia / Act 1 : Alto là! 06:36
13. Il barbiere di Siviglia / Act 1 : “Ma signor…” “Zitto tu!” 05:36
14. Il barbiere di Siviglia / Act 2 : “Ma vedi il mio destino!” – “Pace e gioia sia con voi” – “Insomma, mio Signore” (Bartolo / Conte, Bartolo / Bartolo, Conte, Rosina) 06:35
15. Il barbiere di Siviglia / Act 2 : “Contro un cor che accende amore” – “Bella voce! Bravissima!” (Rosina, Conte / Conte, Rosina, Bartolo) 05:06
16. Il barbiere di Siviglia / Act 2 : “Quando mi sei vicina” – “Bravo, signor barbiere” (Bartolo / Bartolo, Figaro, Rosina, Conte) 03:29
17. Il barbiere di Siviglia / Act 2 : No.13 Quintetto: “Don Basilio!” – Recitativo: “Ah! Disgraziato me!”-Recitativo: “Che vecchio sospettoso!” 11:36
18. Il barbiere di Siviglia / Act 2 : “Il vecchiotto cerca moglie” – “Dunque voi Don Alonso” (Berta / Bartolo, Basilio, Rosina) 4:03
19. Il barbiere di Siviglia / Act 2 : Temporale (Thunderstorm) – “Alfine, eccoci qua” (Figaro, Conte, Rosina) 04:10
20. Il barbiere di Siviglia / Act 2 : “Ah! qual colpo inaspettato!” – “Ah, disgraziati noi!” (Rosina, Figaro, Conte / Figaro, Conte, Rosina, Basilio, Bartolo, Ufficiale) 08:38
21. Il barbiere di Siviglia / Act 2 : No.19 Finaletto II: “Di sì felice innesto” 02:21

Personnel:
Hermann Prey, baritone (Figaro)
Teresa Berganza, mezzo-soprano (Rosina)
Luigi Alva, tenor (Almaviva)
Enzo Dara, baritone (Bartolo)
Paolo Montarsolo, bass (Basilio)
Stefania Malagù, mezzo-soprano (Berta)
Renato Cesari, baritone (Fiorello)
Luigi Roni, bass (Un Ufficiale)
The Ambrosian Opera Chorus
London Symphony Orchestra
Claudio Abbado, conductor

Digitally remastered

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Distinguised for the clarity and the delicacy of his playing, his sound palette and his capabilities allow him to play Beethoven, Liszt, as Mozart, Schumann, Debussy, Ravol, Bartók … His musical tastes are also Rameau, Albeniz, or even Chabrier.

For his first record, the young French pianist Clément Lefebvre has selected Couperin and Rameau, whom he presents here in the very original form of an expressive journey through a single day, from morning to night. On the way, Lefebvre moves from one composer to another and playing on their suggestive titles, he underlines what unites and divides them with a subtle intelligence. Clément Lefebvre showed a keen interest in music from a young age. He started playing piano at the age of four, before discovering percussion. After studies and winning prizes in these two instruments at the Conservatoire de Lille, he decided to concentrate fully on the piano. Hortense Cartier-Bresson taught him at the Conservatoire de Boulogne-Billancourt and prepared him for the entrance competition for the Conservatoire de Paris (CNSMD). Clément Lefebvre entered the prestigious institution in 2010 and learned with Roger Muraro, Isabelle Dubuis, Claire Désert, Pierre-Laurent Aimard, and Alain Planès. He also received masterclasses from Philippe Bianconi, Xu Zhong, Michael Lewin, Christian Ivaldi, Emmanuel Strosser as well as from members of the Wanderer Trio. Clément Lefebvre won the First Prize and the Audience Prize at the 2016 James Mottram international piano competition in Manchester. A soloist, he also enjoys chamber music, whether with the Alban Berg Piano Quartet which he founded with a few friends, or as part of a duet with pianist Alexandre Leroy. – François Hudry

Tracklist:
01. La dauphine
02. Quatrième livre de pièces de clavecin (1730), 22e ordre en Ré Majeur: III. Le point du jour
03. Troisième livre de pièces de clavecin (1722), 13e ordre en Si Mineur: II. Les rozeaux
04. Quatrième livre de pièces de clavecin (1730), 23e ordre en Fa Majeur: III. L’Arlequine
05. Quatrième livre de pièces de clavecin (1730), 22e ordre en Ré Majeur: IV. L’anguille
06. Quatrième livre de pièces de clavecin (1730), 21e ordre en Mi Mineur: III. La Couperin
07. Quatrième livre de pièces de clavecin (1730), 23e ordre en Fa Majeur: II. Les tricoteuses
08. Troisième livre de pièces de clavecin (1722), 13e ordre en Si Mineur: IV. les folies françoises ou les dominos
09. Troisième livre de pièces de clavecin (1722), 17e ordre en Mi Mineur: II. Les petits moulins à vent
10. Quatrième livre de pièces de clavecin (1730), 26e Ordre en Fa Dièse Mineur: V. La pantomime
11. Troisième livre de pièces de clavecin (1722), 15e ordre en La Majeur: II. Le dodo, ou l’amour au berceau
12. Troisième livre de pièces de clavecin ou nouvelles suites de pièces de clavecin, suite en La (1728): I. Allemande
13. Troisième livre de pièces de clavecin ou nouvelles suites de pièces de clavecin, suite en La (1728): II. Courante
14. Troisième livre de pièces de clavecin ou nouvelles suites de pièces de clavecin, suite en La (1728): III. Sarabande
15. Troisième livre de pièces de clavecin ou nouvelles suites de pièces de clavecin, suite en La (1728): IV. Les trois mains
16. Troisième livre de pièces de clavecin ou nouvelles suites de pièces de clavecin, suite en La (1728): V. Fanfarinette
17. Troisième livre de pièces de clavecin ou nouvelles suites de pièces de clavecin, suite en La (1728): VI. La triomphante
18. Troisième livre de pièces de clavecin ou nouvelles suites de pièces de clavecin, suite en La (1728): VII. Gavotte et six doubles

Personnel:
Clement Lefebvre, piano

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In late 2016, I sang at a couple’s wedding. It was one of the most beautiful weddings, simply because I could feel the love in the room – between the couple, their friends, their families. Sometimes there is just magic. The glowing bride was also pregnant. In December of that year, I received a message from the father of the groom (who is the one who originally found me and asked me to sing at the wedding), to let me know that their child, his grandson, was stillborn. Also to let me know that my own music was providing a comforting soundtrack during this difficult and heartbreaking time.

As a huge lover of music, he told me that he wanted to write a song for his Grandson, to give to his son and daughter in law, to capture the love they all felt for this child and to honour his memory. He asked me if I could help him write this song. With a heavy heart, I of course said yes.

Over the next few months, the Grandpa sent me pages of thoughts, poetry, words and feelings. I was inspired by those words. I also drew inspiration from my own friends who have lost children, whether that be from SIDS, stillbirth, or even later in life in other tragic circumstances. Anyway, we really wrote this song together.

It was then produced and recorded in Holland, with my long time friend and collaborator Jack van de Ven. The musicians who performed on my previous album worked their magic and made the song what it is. I recorded my vocals in Australia, so it was very much an international project. The Grandpa also asked Jack and I to perform and record a second song, Here For You, written by a close family friend, Anneke Roobol, which is also part of this release.

The songs were then packaged together into a Winterbear album that the Grandpa gave to his son and daughter in law. As you can imagine, it was quite overwhelming for them. They were and are extremely touched and grateful for the incredible gift he gave. When I was last in Holland, I performed the song live for the family in an intimate house concert. It was, by a long shot, the hardest thing I’ve ever had to do, but also the most beautiful and moving moment I have ever had the honour to be apart of. They told me that they listen to Winterbear every day and that it brings them peace and comfort.

The song was only meant to be for them, but as time went on, it became bigger than that and we decided to film this video and release the song into the world. We all hope that it will touch other people who have lost their children. That it might bring a small amount of hope or peace in the face of this kind of loss.

I’m really proud of myself and of the entire team behind this project. For me, music was always about human connection. The ability to touch people, to bring them together through joy, love, heartache, forgiveness or pain. Music is the language we all understand and I feel very lucky to have it as such a huge part of my life.

Tracklist:
1. All These Years feat. Jaimi Faulkner 04:01
2. Solid Ground 04:25
3. Brothers 04:53
4. Winter Bear 04:10
5. Heartbeat 03:54
6. Oh My Love 03:41
7. Time 03:42
8. Starting Again 03:27
9. One More Chance 04:06
10. Still You 04:14
11. Call Me Your Lover 02:39

Personnel:
Coby Grant, vocals
Jack van de Ven, piano
Marco Dirne, bass
Clemens Blacquire, guitars
Lean Robbemont, drums

Recorded at Sci Sonic in Melbourne, Real Music Room, Rotterdam; Audioworkx in Hoogeloon
Engineered by Paul van de Geijn
Produced by Jack van de Ven, Coby Grant and “Grandpa”

Download:

https://subyshare.com/mhg12u8qnztm/C0byGrantS0lidGr0und20182448.rar.html

This album has a program that creates a musical atmosphere complete with barking dogs, the quarry, gunshots, and most importantly the sound of horns and trumpets to resemble the setting of a hunter. The theme of hunting is very clear to audiences because of the brass instrumentation and sonic renditions of nature.

Hunting cannot be thought about in isolation from the sounds accompanying it – the barking of dogs, the shrieks of frightened quarry, the shots, and the sound of horns and trumpets. Signal instruments and the atmosphere of chase gave rise to the special genre of “hunting music”. The quintessential hunting-related instrument is the French horn, which became widely used in Bohemia after 1760, owing to Count Franz Anton von Sporck. Yet hunting music, for a variety of ensembles (including the wind Harmonie), was also played at feasts and other social events. Hunting-themed pieces – cassations, serenades, partitas (many of them termed caccia or la chasse) – indicated their connection with hunting by the selection of instruments, the typical harmonies and melodies, as well as by featuring onomatopoeic effects, such as the sounds of animals and birds, and sonic renditions of buoyant merry-making in the wake of the hunting expedition. The music featured on the present CD was written by three Czech representatives of high Classicism. Jiří Družecký and Jan Nepomuk Vent composed numerous popular pieces for wind instruments. Pavel Vranický, a friend of Haydn and Beethoven, who both chose him to conduct their works, was a distinguished theatre figure in Vienna. Let yourself be immersed in the captivating hunting atmosphere and the subsequent feast.

Deep forests, the sound of bugles and game – an invitation to a hunt from the Czech classical masters.

Tracklist:
Jiří Družecký (1745 – 1819)
1. Partita Berdlersgarn: I. Allegro 05:14
2. Partita Berdlersgarn: II. Menuetto 04:12
3. Partita Berdlersgarn: III. Allegro con variazioni 03:05
Jan Nepomuk Vent (1745 – 1801)
4. Partita in Dis: I. Presto 02:47
5. Partita in Dis: II. Favoritto – Alternativo 02:27
6. Partita in Dis: III. Menuetto 03:22
7. Partita in Dis: IV. Romance 04:57
8. Partita in Dis: V. Finale – Presto 02:58
Pavel Vranický (1756 – 1808)
9. Sinfonia in D, Op. 25: I. Allegro maestoso 09:12
10. Sinfonia in D, Op. 25: II. Menuetto 04:41
11. Sinfonia in D, Op. 25: III. Adagio 06:51
12. Sinfonia in D, Op. 25: IV. La Caccia 07:09

Personnel:
Collegium Musicum Pragensae
Prague Symphony Orchestra
František Vajnar, conductor

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The Grammy and Brit nominated Courtney Barnett returns with her second album – ‘Tell Me How You Really Feel.’ It follows her critically acclaimed 2015 debut album ‘Sometimes I Sit And Think And Sometimes I Just Sit’, and a recent top 10 collaborative record, ‘Lotta Sea Lice’, with Kurt Vile. One of the most distinctive voices in music, Courtney is known for mixing witty observations with unflinching self-assessment – fast forward to now and although all of the clever turns of phrase and an eye for story telling are still there; this new collection of songs see a more serious and outwardly tone capturing the current social landscape yet still retaining moments of intimacy and warmth. As the world becomes more familiar with Courtney Barnett these songs feel comforting and emphatic yet that raw energy and the ability to make the listener think still remain.

Courtney Barnett’s second studio album is as magnificent as it is simple. But not simplistic, no, just simple. The young Australian creates a rock’n’roll of an almost disarming purity and clarity. For the simple reason that the songs presented here are absolutely brilliant. Indeed, songs. That “detail” that can make or break an album… Just like the compilation of her first two EPs ( A Sea of Split Peas), her first album (Sometimes I Sit And Think, And Sometimes I Just Sit), and her duo album with Kurt Vile (Lotta Sea Lice), this Tell Me How You Really Feel strings together ten trips that perfectly blend cynical humour and sincere confession. Most importantly, Courtney Barnett appears more introspective than in years past. And because things are firing on all cylinders for her, both in her career (with an impressive critical and popular success on the global stage) and personal life (she’s been sharing her life with her peer Jen Cloher for quite a long time now), it becomes clear that the Australian artist took her time to polish perfectly each of these ten compositions. Even more impressive as she combines well-worn themes (her loves, anxieties, frustrations and opinions) while never sounding cliché. As per usual, Courtney Barnett wraps her prose in an impeccable indie rock on the guitar, that never feels overproduced. She’s been influenced by big names such as Lou Reed, Kurt Cobain, Neil Young and Jonathan Richman, including a collaboration on two tracks with the Deal sisters, Kim and Kelley, from The Breeders. What was Neil Young saying again on his famous Hey Hey, My My? Rock’n’roll can never die? – Marc Zisman

Tracklist:
1. City Looks Pretty
2. Charity
3. Need A Little Time
4. Nameless, Faceless
5. Im Not Your Mother, Im Not Your Bitch
6. Crippling Self Doubt And A General Lack Of Self Confidence
7. Help Your Self
8. Walkin On Eggshells
9. Sunday Roast

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Cristo Barrios and Andrew West write of their new release Deep Light: “We were inspired to gather together this collection of chamber works for reasons beyond the obvious prestige of the individual composers and the importance of their works. We wanted to present the listener with a satisfying musical journey, as much through the formal variety as the expressive content of the pieces, full of contrasts that are to be found among different movements of the same piece, as well as among the five works on the recording. Rather than offering a historical overview of the programme, we would prefer to look briefly at our choice of title, Deep Light, and its various meanings. On the one hand, it aims to evoke the luminosity that lies in the depth of feeling, represented here by two major works of the German Romantic clarinet repertoire, the Grand Duo Concertant by Carl Maria von Weber and Robert Schumann’s Phantasiestücke. Emotionally profound in their darker, slower movements, these works also display an exalted brightness in their exuberant finales. On the other hand, however, the deep and the light are simply synonyms for the serious and the playful. Seen in this way, the two German works provide the weight on the album, while the three others fall more into the second category. It is our hope that the contrasting styles and the unusual juxtaposition of repertoire will stimulate those familiar with these works into fresh ways of listening, and provide those new to them with the delight of discovery.”

Tracklist:
1. Grand duo concertant in E-Flat Major, Op. 48, J. 204: I. Allegro con fuoco 06:07
2. Grand duo concertant in E-Flat Major, Op. 48, J. 204: II. Andante con moto 05:38
3. Grand duo concertant in E-Flat Major, Op. 48, J. 204: III. Rondo. Allegro 06:25
4. 5 Bagatelles, Op. 23: No. 1, Prelude 03:49
5. 5 Bagatelles, Op. 23: No. 2, Romance 04:21
6. 5 Bagatelles, Op. 23: No. 3, Carol 02:09
7. 5 Bagatelles, Op. 23: No. 4, Forlana 02:51
8. 5 Bagatelles, Op. 23: No. 5, Fughetta 02:19
9. 6 Studies in English Folksong: No. 1, Adagio 01:40
10. 6 Studies in English Folksong: No. 2, Andante sostenuto 01:20
11. 6 Studies in English Folksong: No. 3, Larghetto 01:39
12. 6 Studies in English Folksong: No. 4, Lento 01:24
13. 6 Studies in English Folksong: No. 5, Andante tranquillo 01:44
14. 6 Studies in English Folksong: No. 6, Allegro vivace 00:57
15. Fantasiestücke, Op. 73: No. 1, Zart und mit Ausdruck 03:44
16. Fantasiestücke, Op. 73: No. 2, Lebhaft, leicht 03:27
17. Fantasiestücke, Op. 73: No. 3, Rasch und mit Feuer 03:59
18. Tema con variazioni 08:58

Personnel:
Cristo Barrios, clarinet
Andrew West, piano

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Launching its complete cycle of Beethoven’s string quartets, the Cuarteto Casals presents this first installment featuring initial examples of the genre from each of the three key periods in the composer’s career: his formative years, the so called ‘heroic’ middle period, and that of his artistic maturity. The ingenious juxtaposition shows how much his superhuman quest for perfection enriched a compositional language of breathtaking originality in tandem with a depth of expression without precedent in this genre, of which Beethoven is the uncontested master.

Tracklist:
1. String Quartet No. 1 in F Major, Op. 18 No. 1: I. Allegro (08:30)
2. String Quartet No. 1 in F Major, Op. 18 No. 1: II. Andante con moto (08:13)
3. String Quartet No. 1 in F Major, Op. 18 No. 1: III. Allegro (03:04)
4. String Quartet No. 1 in F Major, Op. 18 No. 1: IV. Presto (06:13)
5. String Quartet No. 3 in D Major, Op. 18 No. 3: I. Allegro (07:13)
6. String Quartet No. 3 in D Major, Op. 18 No. 3: II. Andante con moto (06:21)
7. String Quartet No. 3 in D Major, Op. 18 No. 3: III. Allegro (02:40)
8. String Quartet No. 3 in D Major, Op. 18 No. 3: IV. Presto (05:59)
9. String Quartet No. 4 in C Minor, Op. 18 No. 4: I. Allegro (07:44)
10. String Quartet No. 4 in C Minor, Op. 18 No. 4: II. Andante con moto (06:31)
11. String Quartet No. 4 in C Minor, Op. 18 No. 4: III. Allegro (03:09)
12. String Quartet No. 4 in C Minor, Op. 18 No. 4: IV. Presto (04:29)

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Tracklist:
1. Piano Sonata No. 9 in F Major, Op. 14 No. 1 (Arr. for String Quartet): I. Allegro moderato (06:04)
2. Piano Sonata No. 9 in F Major, Op. 14 No. 1 (Arr. for String Quartet): II. Allegretto (02:56)
3. Piano Sonata No. 9 in F Major, Op. 14 No. 1 (Arr. for String Quartet): III. Allegro (03:25)
4. String Quartet No. 7 in F Major, Op. 59 No. 1: I. Allegro (10:05)
5. String Quartet No. 7 in F Major, Op. 59 No. 1: II. Allegretto vivace e sempre scherzando (08:23)
6. String Quartet No. 7 in F Major, Op. 59 No. 1: III. Adagio molto e mesto (11:50)
7. String Quartet No. 7 in F Major, Op. 59 No. 1: IV. Thème russe. Allegro (07:38)

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Tracklist:
1. String Quartet No. 12 in E-Flat Major, Op. 127: I. Maestoso. Allegro (05:55)
2. String Quartet No. 12 in E-Flat Major, Op. 127: II. Adagio ma non troppo e molto cantabile (13:59)
3. String Quartet No. 12 in E-Flat Major, Op. 127: III. Scherzo vivace. Trio (07:54)
4. String Quartet No. 12 in E-Flat Major, Op. 127: IV. Finale. Allegro (06:47)
5. String Quartet No. 16 in F Major, Op. 135: I. Allegretto (06:27)
6. String Quartet No. 16 in F Major, Op. 135: II. Vivace (03:12)
7. String Quartet No. 16 in F Major, Op. 135: III. Lento assai, cantante e tranquillo (06:28)
8. String Quartet No. 16 in F Major, Op. 135: IV. Grave, ma non troppo tratto. Allegro (09:52)

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Careful, you don’t want to miss this! For ten years, there have been so many Goldberg Variations invading the market, both on piano and on harpsichord, that we didn’t expect to be so surprised, to feel such amazement. After several absolutely fascinating projects, first with Pan Classics (Scarlatti, Soler), then a first album with Harmonia Mundi devoted to Padre Soler rare Sonatas (awarded with a Qobuzism), here again comes Spanish harpsichordist Diego Ares—born in Vigo in 1983—playing Johann Sebastian Bach, with probably one of the Cantor’s most complex works; Diego Ares astonishes with his rigor, his imagination and his freedom, both in the phrasing, the registrations, the ornamentation, the sense of surprise (Variation 25). The harmonies sound implacable, often harsh, yet still radiate in a supreme way (Variation 28); this is the left hand, full and musical, but above all incredibly flexible, that is also able to rear up, to create sometimes surprising suspensions in time, always fluid and coherent, which opens real places of communication and distinguish the amazing narrative sense deployed by Diego Ares throughout this interpretation. – Pierre-Yves Lascar

Tracklist:
CD1
01. Goldberg-Variationen, BWV 988: Adagio in G-Major
02. Goldberg-Variationen, BWV 988: Aria
03. Goldberg-Variationen, BWV 988: Variatio 1. a 1 Clav.
04. Goldberg-Variationen, BWV 988: Variatio 2. a 1 Clav.
05. Goldberg-Variationen, BWV 988: Variatio 3. Canone all’Unisuono. a 1 Clav.
06. Goldberg-Variationen, BWV 988: Variatio 4. a 1 Clav.
07. Goldberg-Variationen, BWV 988: Variatio 5. a 1 ôvero 2 Clav.
08. Goldberg-Variationen, BWV 988: Variatio 6. Canone alla Seconda. a 1 Clav.
09. Goldberg-Variationen, BWV 988: Variatio 7. a 1 ôvero 2 Clav. al tempo di Giga.
10. Goldberg-Variationen, BWV 988: Variatio 8. a 2 Clav.
11. Goldberg-Variationen, BWV 988: Variatio 9. Canone alla Terza. a 1 Clav.
12. Goldberg-Variationen, BWV 988: Variatio 10. Fugetta. a 1 Clav.
13. Goldberg-Variationen, BWV 988: Variatio 11. a 2 Clav.
14. Goldberg-Variationen, BWV 988: Variatio 12. Canone alla Quarta. a 1 Clav.
15. Goldberg-Variationen, BWV 988: Variatio 13. a 2 Clav.
16. Goldberg-Variationen, BWV 988: Variatio 14. a 2 Clav.
17. Goldberg-Variationen, BWV 988: Variatio 15. Canone alla Quinta. a 1 Clav. Andante.
CD2
01. Goldberg-Variationen, BWV 988: Variatio 16. Ouverture. a 1 Clav.
02. Goldberg-Variationen, BWV 988: Variatio 17. a 2 Clav.
03. Goldberg-Variationen, BWV 988: Variatio 18. Canone alla Sexta. a 1 Clav.
04. Goldberg-Variationen, BWV 988: Variatio 19. a 1 Clav.
05. Goldberg-Variationen, BWV 988: Variatio 20. a 2 Clav.
06. Goldberg-Variationen, BWV 988: Variatio 21. Canone alla Settima. a 1 Clav.
07. Goldberg-Variationen, BWV 988: Variatio 22. a 1 Clav. alla breve.
08. Goldberg-Variationen, BWV 988: Variatio 23. a 2 Clav.
09. Goldberg-Variationen, BWV 988: Variatio 24. Canone all’Ottava. a 1 Clav.
10. Goldberg-Variationen, BWV 988: Variatio 25. a 2 Clav. adagio
11. Goldberg-Variationen, BWV 988: Variatio 26. a 2 Clav.
12. Goldberg-Variationen, BWV 988: Variatio 27. Canone alla Nona. a 2 Clav.
13. Goldberg-Variationen, BWV 988: Variatio 28. a 2 Clav.
14. Goldberg-Variationen, BWV 988: Variatio 29. a 1 ôvero 2 Clav.
15. Goldberg-Variationen, BWV 988: Variatio 30. a 1 Clav. Quodlibet.
16. Goldberg-Variationen, BWV 988: Aria da Capo è Fine

Personnel:
Diego Ares, harpsichord

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It was the awakening (Despertando) of a tinge of longing which inspired Diego Pinera to record this album. More than seventeen years after having left his native Uruguay, he re-visits his roots, the influences which first left their mark on him, and the legacy which made him the musician he is today.

His choice of compositions is highly personal: tunes by Gato Barbieri and Ernesto Lecuona are clear cultural references to Argentina and Cuba (Pinera also studied in Havana). His own composition “Osvaldo por Nueve” is a homage to his first teacher and mentor Osvaldo Fattoruso. It is also Pinera’s modern take on the ‘candombe’ folklore tradition, popular in Uruguay. The track “Yakarito Terere” is personal too: a composition by his father, inspired by a memory from childhood, of regular excursions into the hinterland of Montevideo.

Pinera’s encounters with Latin American music, and with jazz in all its breadth, have led him to develop an unmistakable style which serves as the artistic filter for “Despertando”: through the combination of his advanced conception of rhythm, a jazz sound with a Latin touch, and the freedom of improvisation, this album becomes a portrait of the artist in full, and one in which his strong character comes across vividly.

Pinera’s fellow musicians also inhabit this field of creative tension. Each of them has a very different musical background, and together they combine to make a concept of jazz which is stylistically open, deeply marked by their origins, and coloured by Latin American music.

This unusual chemistry between the musicians – and also their extraordinary talent – keep the music fresh and airy; there is musical complexity and virtuosity in abundance, but it is imbued with great subtlety.

“Despertando” avoids all temptation to wallow in nostalgia. What Pinera has achieved is to re-invent the place he dreams about, to awaken Latin jazz in a way which is deep-rootedly his own, and is able to stand on its own terms. Far removed from folklore, cliché and superficiality, this is not a reversion to the past, but to the present.

Tracklist:
01. Osvaldo por Nueve 04:07
02. Caravan 03:32
03. Despertando 04:33
04. Yakarito Terere 05:05
05. St. Thomas 03:53
06. Last Tango in Paris 03:12
07. La Comparsa 03:37
08. Vulnerability 04:41
09. A Puerto Padre 04:02
10. Duerme Negrito 04:48
11. Once Pasos 03:21

Personnel:
Diego Pinera, drums, percussion & steel drum
Tino Derado, piano & accordion
Omar Rodriguez Calvo, bass
Daniel Manrique-Smith, flutes
Julian Wasserfuhr, trumpet & flugelhorn

Recorded April 24 & 25, 2017 by Klaus Scheuermann at Hansa Studios Berlin
Mixed and mastered by Klaus Scheuermann
Produced by Siggi Loch

Download:

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On the surface, this feel-good full-length is a tribute to Colorado’s crisp mountain air: It was written and recorded in Telluride, where a team of Nashville songwriters took up in a sprawling, ranch-style studio. But these songs are more about reaching inward than gazing out. Inspired by fans he met on the road who shared stories of hope and grit, Bentley casts scaling mountains as a metaphor for persevering, bidding us to explore the great outdoors (“Son of the Sun”), find ourselves (“Burning Man”), and keep on climbing no matter what (“You Can’t Bring Me Down”). “Only a mountain,” he sings on the uplifting title track. “It ain’t hard if you don’t stop.”

Tracklist:
1. Burning Man (feat. Brothers Osborne) (03:58)
2. The Mountain (04:44)
3. Living (03:42)
4. Woman, Amen (02:59)
5. You Can’t Bring Me Down (04:46)
6. Nothing On But the Stars (03:47)
7. Goodbye in Telluride (03:09)
8. My Religion (03:05)
9. One Way (03:37)
10. Son of the Sun (03:10)
11. Stranger to Myself (03:24)
12. Travelin’ Light (feat. Brandi Carlile) (03:14)
13. How I’m Going Out (03:38)

Download:

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Dominique Merlet – J.S. Bach: Das Wohltemperierte Klavier I, BWV 846-869 (2018)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:49:08 minutes | 1,79 GB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © Le Palais des Dégustateurs

It was the start of a career that was going to develop quickly on all continents. He played in most European countries as well as the United States, Canada, Brazil, South Korea, China, Australia and Japan and took part in many important festivals such as Paris, Berlin, Bordeaux, Hong Kong, Besançon, Shanghai, Seoul Spring Festival, La Roque d’Anthéron and Duszniki.

Tracklist:
CD1
01. Prélude No. 1 en Do Majeur, BWV 846
02. Fugue No. 1 en Do Majeur, BWV 846
03. Prélude No. 2 en Do Mineur, BWV 847
04. Fugue No. 2 en Do Mineur, BWV 847
05. Prélude No. 3 en Do Dièse Majeur, BWV 848
06. Fugue No. 3 en Do Dièse Majeur, BWV 848
07. Prélude No. 4 en Do Dièse Mineur, BWV 849
08. Fugue No. 4 en Do Dièse Mineur, BWV 849
09. Prélude No. 5 en Ré Majeur, BWV 850
10. Fugue No. 5 en Ré Majeur, BWV 850
11. Prélude No. 6 en Ré Mineur, BWV 851
12. Fugue No. 6 en Ré Mineur, BWV 851
13. Prélude No. 7en Mi Bémol Majeur, BWV 852
14. Fugue No. 7en Mi Bémol Majeur, BWV 852
15. Prélude No. 8 en Ré Dièse Mineur, BWV 853
16. Fugue No. 8 en Ré Dièse Mineur, BWV 853
17. Prélude No. 9 en Mi Majeur, BWV 854
18. Fugue No. 9 en Mi Majeur, BWV 854
19. Prélude No. 10 en Mi Mineur, BWV 855
20. Fugue No. 10 en Mi Mineur, BWV 855
21. Prélude No. 11 en Fa Majeur, BWV 856
22. Fugue No. 11 en Fa Majeur, BWV 856
23. Prélude No. 12 en Fa Mineur, BWV 857
24. Fugue No. 12 en Fa Mineur, BWV 857
CD2
01. Prélude No. 13 en Fa Dièse Majeur, BWV 858
02. Fugue No. 13 en Fa Dièse Majeur, BWV 858
03. Prélude No. 14 en Fa Dièse Mineur, BWV 859
04. Fugue No. 14 en Fa Dièse Mineur, BWV 859
05. Prélude No. 15 en Sol Majeur, BWV 860
06. Fugue No. 15 en Sol Majeur, BWV 860
07. Prélude No. 16 en Sol Mineur, BWV 861
08. Fugue No. 16 en Sol Mineur, BWV 861
09. Prélude No. 17 en La Bémol Majeur, BWV 862
10. Fugue No. 17 en La Bémol Majeur, BWV 862
11. Prélude No. 18 en Sol Dièse Mineur, BWV 863
12. Fugue No. 18 en Sol Dièse Mineur, BWV 863
13. Prélude No. 19 en La Majeur, BWV 864
14. Fugue No. 19 en La Majeur, BWV 864 (version andantino legato)
15. Fugue No. 19 en La Majeur, BWV 864 (version molto vivo taccato)
16. Prélude No. 20 en La Mineur, BWV 865
17. Fugue No. 20 en La Mineur, BWV 865
18. Prélude No. 21 en Si Bémol Majeur, BWV 866
19. Fugue No. 21 en Si Bémol Majeur, BWV 866
20. Prélude No. 22 en Si Bémol Mineur, BWV 867
21. Fugue No. 22 en Si Bémol Mineur, BWV 867
22. Prélude No. 23 en Si Majeur, BWV 868
23. Fugue No. 23 en Si Majeur, BWV 868
24. Prélude No. 24 en Si Mineur, BWV 869
25. Fugue No. 24 en Si Mineur, BWV 869

Personnel:
Dominique Merlet, piano

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Willowhayne Records presents the fifth volume in the critically acclaimed ‘Experience’ series, recorded on the ‘Father Willis’ organ of Hereford Cathedral. Played by Douglas Tang, this album shows this magnificent instrument to its full potential in music ranging from the early Baroque to the twentieth century, culminating in Whitlock’s ‘Plymouth Suite.’ Douglas Tang is a sought-after British conductor and keyboardist. Currently based in London, he was previously Assistant Director of Music of St. Mary’s Cathedral, Sydney and Chapel Organist of the UNESCO World Heritage site- the Old Royal Naval College, Greenwich. He has also worked at Hereford Cathedral and Croydon Minister aside from having held the prestigious position of Organ Scholar of King’s College, Cambridge. The Hereford organ has been likened to a vintage Rolls Royce car, lovingly maintained, retaining its original and stately majest. Built in 1892 by ‘Father Willis,’ it replaced an earlier Gray and Davison instrument and its display case dates from 1863.

Tracklist:
1. Choral Song & Fugue in C Major: Choral Song (03:08)
2. Choral Song & Fugue in C Major: Fugue (04:15)
3. Grand Dialogue (09:30)
4. Allein Gott in der Höh sei Ehr, BWV 676 (05:07)
5. Prelude & Fugue No. 1 in E Minor “Great”: I. Prelude (01:23)
6. Prelude & Fugue No. 1 in E Minor “Great”: II. Fugue I (05:10)
7. Prelude & Fugue No. 1 in E Minor “Great”: III. Fugue II (02:15)
8. Organ Sonata in D Minor, Op. 65 No. 6, MWV W61: I. Choral. Andante sostenuto – Allegro molto (08:49)
9. Organ Sonata in D Minor, Op. 65 No. 6, MWV W61: II. Fuga. Sostenuto e legato (02:35)
10. Organ Sonata in D Minor, Op. 65 No. 6, MWV W61: III. Finale. Andante (03:03)
11. 3 Psalm-Preludes, Set 2, Op. 32: No. 1, De profundis “Psalm 130” (08:44)
12. Plymouth Suite: I. Allegro risoluto (05:07)
13. Plymouth Suite: II. Lantana (03:12)
14. Plymouth Suite: III. Chanty (02:31)
15. Plymouth Suite: IV. Salix (02:49)
16. Plymouth Suite: V. Toccata (04:09)

Personnel:
Douglas Tang (organ)

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For their third album for the Resonus Classics label, the acclaimed Dudok Quartet Amsterdam releases a new recording based around the theme of solitude. Recently announced as recipients of a prestigious Borletti-Buitoni Award for 2018, the quartet presents a varied programme inspired by loss and feelings of loneliness, such as Mendelssohn’s Op. 80 ‘Requiem for Fanny’ and music by the isolated Soviet composers, Shostakovich and Weinberg who both sacrificed much in pursuit of their art.

Tracklist:
1. String Quartet in F Minor, Op. 80: I. Allegro vivace assai 06:45
2. String Quartet in F Minor, Op. 80: II. Allegro assai 04:27
3. String Quartet in F Minor, Op. 80: III. Adagio 07:42
4. String Quartet in F Minor, Op. 80: IV. Finale 05:12
5. Mille regretz 01:56
6. String Quartet No. 3, Op. 14: I. Presto 07:29
7. String Quartet No. 3, Op. 14: II. Andante sostenuto 08:08
8. String Quartet No. 3, Op. 14: III. Allegretto 04:51
9. Two Pieces for String Quartet: I. Elegy 04:52
10. Moro Lasso 03:10

Composers:
Despres, Josquin (c.1440-1521)
Gesualdo, Carlo (1566-1613)
Mendelssohn, Felix (1809-47)
Shostakovich, Dmitri (1906-75)
Weinberg, Mieczyslaw (Moisei) Samuilovich (1919-96)

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The band has a very individual sound which draws inspiration from many genres of music, from Alternative Rock to Modern Jazz to Contemporary classical music. In their last album Dugong experimented with different kinds of musical structures other than the usual jazz approach of theme, improvisation and final melody. They also worked on the potential of linear counterpoint, drawing inspiration from Classical composers such as J. S. Bach and Frederic Chopin.

Tracklist:
1. Studio 3 03:18
2. Musicanoiosapergentetriste 05:49
3. Studio 1 06:57
4. Etude, Op. 10: No. 6 05:32
5. What’s the Point 08:33
6. Overthinker 04:42
7. The Two Fat Pigeons and the White Tree 03:54
8. The Big Other 09:35

Personnel:
Nicolò Ricci, saxophone
Michele Caiati, guitar
Andrea Di Biase, double bass
Riccardo Chiaberta, drums

Recorded by Lex Tanger at Conservatorium van Amsterdam in June 2017
Mixed by Les Mommsen and Mastered by Redredpaw
Produced by Dugong

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Most jazz musicians are also travellers. Their places of work are the clubs and festivals of the world, so they are always on the go. Echoes of Swing, however, has another dimension: This quartet is also on a journey through time, going back to classic jazz from the 20’s to the 50’s, bringing it into the present day and shaping it for the future. This “tour de force” has been going on for 20 years. A reason then to celebrate, which is perhaps best done by re-tracing the journey, reviving memories of things experienced, and looking at all that travelling involves.

We’re off on a thrilling round-the-world musical journey from the moment Chris Hopkins’ “Orient Express” rolls in. The wagons are full of sounds which range from blues to Arabic music, and as we move along the track, we’re noticing all kinds of shifting harmonies and tempo changes. Right from the point of departure there is a buzz about what might happen next: a pirate ship in a storm in 12/8 time with Bernd Lhotzky’s “Das Wrack Der Guten Hoffnung”, then it’s off to the South Seas, where Chris Hopkin’s “Fiji Hula Bula” creates a relaxed vacationing mood, and then to Sidney Bechet’s “Southern Sunset”, which in this Echoes version transports us to restless, sultry nights; then a fast-paced swinging excursion to Colin Dawson’s English homeland follows in “Gan Hyem”, with Coleman Hawkins’ “Disorder At The Border” as a classic bebop blues to make us forget the Brexit woes.

Sometimes we’re on the racetrack in a vintage car (“En Auto”) in Bernd Lhotzky’s homage to early ragtime-linked novelty piano japes, at other times it can be classic and dramatic, as in “Cabin In The Sky”. And what better way to illustrate flying than with the Italian hit “Volare”, when Bernd Lhotzky transforms the tune into a carefree glide floating on the wings of Harlem Stride, very reminiscent of the John Kirby sextet.

The whole panoply of impressions that one has on a voyage is translated into music in “Travelin‘”. Numerous original compositions and complex arrangements, with pieces originally for solo or orchestra are adapted for the quartet, testifying a profound knowledge of the history of music, and there is not a single bar which fails to deliver exquisite taste.

Sophisticated, yes and intellectually thoughtful, but the imperative of old school jazz to entertain is never forgotten. Like all their previous albums, “Travelin’” is full of fine humour, whether it’s amusing musical quotations, the subtle ironic undertone in Colin Dawson’s vocals, or wacky titles like “On A Slow Goat Through China” – Chris Hopkins’ allusion to the Frank Loesser standard.

For “Travelin‘”, the words which the great Dick Hyman, the last living giant of classic jazz piano, once said about the Echoes of Swing are as true as they ever were: “Each of their pieces is a gem! Collectively they present an approach to jazz like no other quartet, while individually each player is a master.”

So, it’s all aboard and indeed the best proof yet that travelling does indeed expand one’s horizons. After twenty years on the road, this ensemble has wagon-loads of style, elegance, finesse, improvisation and humour – and has honed all of these to perfection.

Tracklist:
1. Orient Express
2. Volare
3. The Old Country
4. On a Slow Goat Through China
5. Das Wrack Der Guten Hoffnung
6. The Fiji Hula Bula
7. Where Or When
8. On a Turquoise Cloud
9. Cabin in the Sky
10. Gan Hyem (Going Home)
11. Southern Sunset
12. En Auto
13. Trav’lin’ Light
14. Disorder at the Border
15. Wohin?

Personnel:
Colin T. Dawson, trumpet, cornet, flugelhorn, vocals
Chris Hopkins, alto saxophone
Bernd Lhotzky, piano, celesta
Oliver Mewes, drums

Recorded September 5 – 7, 2017 by Erich Pintar at Tonstudio Weinberg der Landesmusikdirektion, Kefermarkt, Austria
Mixed and mastered by Klaus Scheuermann
Produced by Echoes of Swing Productions

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38 Special – Tour De Force (1984/2018) [Official Digital Download 24bit/96kHz]

38 Special – Wild-Eyed Southern Boys (1981/2018) [Official Digital Download 24bit/96kHz]

Clarence Bucaro – Passionate Kind (2018) [Official Digital Download 24bit/96kHz]

Claudio Abbado – Rossini: Il barbiere di Siviglia (1972/2018) [Official Digital Download 24bit/96kHz]

Clement Lefebvre – Rameau & Couperin: Pieces pour clavier (2018) [Official Digital Download 24bit/96kHz]

Coby Grant – Solid Ground (2018) [Official Digital Download 24bit/48kHz]

Collegium Musicum Pragense – Druzecky, Vent & Vranicky: Hunting Music (2018) [Official Digital Download 24bit/192kHz]

Courtney Barnett – Tell Me How You Really Feel (2018) [Official Digital Download 24bit/44,1kHz]

Cristo Barrios & Andrew West – Deep Light: Clarinet Masterpieces (2018) [Official Digital Download 24bit/88,2kHz]

Cuarteto Casals – Beethoven: Inventions 1 (2018) [Official Digital Download 24bit/96kHz]

Cuarteto Casals – Beethoven: Inventions 2 (2018) [Official Digital Download 24bit/96kHz]

Cuarteto Casals – Beethoven: Inventions 3 (2018) [Official Digital Download 24bit/96kHz]

Diego Ares – Bach: Goldberg Variationen (2018) [Official Digital Download 24bit/88,2kHz]

Diego Pinera – Despertando (2018) [Official Digital Download 24bit/96kHz]

Dierks Bentley – The Mountain (2018) [Official Digital Download 24bit/96kHz]

Dominique Merlet – J.S. Bach: Das Wohltemperierte Klavier I, BWV 846-869 (2018) [Official Digital Download 24bit/88,2kHz]

Douglas Tang – Hereford Experience (2018) [Official Digital Download 24bit/192kHz]

Dudok Quartet Amsterdam – Solitude: Mendelssohn, Weinberg & Shostakovich (2018) [Official Digital Download 24bit/96kHz]

Dugong – The Big Other (2018) [Official Digital Download 24bit/48kHz]

Echoes of Swing – Travelin’ (2018) [Official Digital Download 24bit/96kHz]