Studio Masters – HDMusic.me

With two critically-lauded releases on Navona Records (NOTTURNO, performing works by Chopin, and a four-album set, BEETHOVEN – 8 CONCERTI) pianist Eliane Rodrigues returns with REFLETS showcasing the pianist’s nuanced and thoughtful performances of fifteen works by Claude Debussy.

While it might seem that child prodigies are commonplace in the world of classical music, only a few truly make a lasting impact, one that lives on long after those prodigies have passed well into their adulthoods. Mozart began to play piano at the age of three, Beethoven did so at seven and a half, and Georges Bizet did so before his tenth birthday. Pianist Eliane Rodrigues, who began composing at three, played her first recital at five and first performed with an orchestra when she was just six years of age, can certainly be counted among those prodigious musicians, as evidenced on her latest recording, REFLETS.

The album opens with “Suite Bergamasque,” one of Debussy’s most well-known piano suites. The dynamic contrasts in the moods of the suite’s four pieces are well suited to Rodrigues’ sensitive and vivid style. Debussy is credited as one of the ‘founders’ of Impressionist music, distinguished by its focus on suggestions and atmosphere, a world that Rodrigues also inhabits here, as evidenced by her cascading and powerfully textured performance of Debussy’s “Ballade.” “Pour le Piano,” certainly one of the composer’s most moving works for solo piano, features rapid, brilliant passages that fully emphasize the pianist’s virtuosity.

That impressionistic ability to invoke a mood or a feeling carries on with “First Arabesque in E Major,” one of a pair composed early in Debussy’s career. “Images,” comprised of two ‘books’ of three pieces each, ranging from the subdued “Homage à Rameau” to the energy of “Mouvement,” marked by the torrent of notes in its finale.

Eliane Rodrigues was born in Rio de Janiero, where the performances that she gave in her childhood bore fruit when she was awarded the Gina Bachauer prize at the Van Cliburn Competition in the United States at only 18 years of age. She has gone on to perform internationally, as well as to hold the position of professor at the Royal Conservatoire in Antwerp. She has also recorded more than 25 CDs, recorded both live and in the studio; REFLETS on which Rodrigues plays a Fazioli Concert Grand F728, was recorded in Belgium at Academy One Studios.

“In each of the Nocturnes, she plunges into their collective heart traversing their boundless emotional range with an aristocratic imperiousness that sets her interpretations apart from almost anyone else’s.” (Raul de Gama, World Music Report, NOTTURNO)

Tracklist:
01. Suite bergamasque, L. 75: I. Prélude
02. Suite bergamasque, L. 75: II. Menuet
03. Suite bergamasque, L. 75: III. Clair de lune
04. Suite bergamasque, L. 75: IV. Passepied
05. Ballade, L. 70
06. Pour le piano, L. 95: I. Prélude
07. Pour le piano, L. 95: II. Sarabande
08. Pour le piano, L. 95: III. Toccata
09. 2 Arabesques, L. 66: No. 1 in E Major
10. Images, Book 1, L. 110: No. 1, Reflets dans l’eau
11. Images, Book 1, L. 110: No. 2, Hommage à Rameau
12. Images, Book 1, L. 110: No. 3, Mouvement
13. Images, Book 2, L. 111: No. 1, Cloches à travers les feuilles
14. Images, Book 2, L. 111: No. 2, Et la lune descend sur le temple qui fut
15. Images, Book 2, L. 111: No. 3, Poissons d’or
16. Children’s Corner, L. 113: I. Doctor Gradus ad Parnassum
17. Children’s Corner, L. 113: II. Jimbo’s Lullaby
18. Children’s Corner, L. 113: III. Serenade for a Doll
19. Children’s Corner, L. 113: IV. The Snow Is Dancing
20. Children’s Corner, L. 113: V. The Little Shepherd
21. Children’s Corner, L. 113: VI. Golliwogg’s Cake-Walk

Personnel:
Eliane Rodrigues, piano

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Right hook, left jab, uppercut! The first album from Enemy makes a radical entrance. Behind the name is the young trio of; pianist Kit Downes, bassist Frans Petter Eldh and drummer James Maddren. Three young faces of the international jazz scene who have already made a name for themselves in solo careers or alongside other pathbreakers. They have joined forces in order to give free rein to their creative impulses and their hunger for freedom. Produced by Eldh himself, this album is very physical: a tidal wave of contemporary jazz. It’s a polyrhythmic storm which will delight fans of power trios in the style of the Bad Plus.

With a bubbling brew of influences running from Keith Jarrett to Oscar Peterson, Kit Downs sketches out some mind blowing multicoloured improvisations. But the strength of the Brit’s piano clearly lies in the way it sticks so closely to the rhythms of Eldh and Maddren, who are the core of this jazz reactor. But Enemy isn’t just a byword for power and racing rhythms. When the trio take on ballads, they also unleash a captivating narrative force. Enemy: much friendlier than they look… – Marc Zisman

Tracklist:
1. Prospect of K 04:19
2. Race the Sun 03:19
3. Fogo 04:29
4. Brandy 03:50
5. Low Hanging Fruit 01:42
6. Jinn 03:40
7. Children with Torches 04:48
8. Ruster 03:26
9. Politix 08:46
10. Faster than Light 05:45

Personnel:
Frans Petter Eldh, double bass
Kit Downes, piano
James Maddren, drums

Recorded on 17th and 18th October 2016 by George Murphy at Eastcote Studios, London Mixed by Frans Petter Eldh at Galatea Studios, Berlin in November 2017 Mastered by Klaus Scheuermann in December 2017

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Johann Sebastian Bach‘s Sei Solo for unaccompanied violin figure amongst the baroque works on which the performance traditions of the 19th and 20th centuries weigh most heavily. Rediscovered halfway through the 19th century after having been forgotten for more than a century, these works quickly entered the repertoire of works performed by violinists during the Romantic period. Enrico Onofri’s (long-time concert director of the ensemble Il Giardino Armonico) interpretation inspires listeners with unbelievable detail in terms of embellishments and dynamics.

Tracklist:
Johann Sebastian Bach (1685-1750)
01. Sonata No. 1 in G Minor, BWV 1001: I. Adagio
02. Sonata No. 1 in G Minor, BWV 1001: II. Fuga
03. Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
04. Sonata No. 1 in G Minor, BWV 1001: IV. Presto
05. Partita No. 2 in D Minor, BWV 1004: I. Allemanda
06. Partita No. 2 in D Minor, BWV 1004: II. Corrente
07. Partita No. 2 in D Minor, BWV 1004: III. Sarabanda
08. Partita No. 2 in D Minor, BWV 1004: IV. Giga
09. Partita No. 2 in D Minor, BWV 1004: V. Choral
10. Partita No. 2 in D Minor, BWV 1004: VI. Ciaconna
11. Partita No. 3 in E Major, BWV 1006: I. Preludio
12. Partita No. 3 in E Major, BWV 1006: II. Loure
13. Partita No. 3 in E Major, BWV 1006: III. Gavotte en Rondeau
14. Partita No. 3 in E Major, BWV 1006: IV. Menuet I-V. Menuet II
15. Partita No. 3 in E Major, BWV 1006: VI. Bourrée
16. Partita No. 3 in E Major, BWV 1006: VII. Gigue

Personnel:
Enrico Onofri (violin)

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Rex Lawson, Orchestre national d’Ile-de-France & Enrique Mazzola – Milhaud: La bien-Aimée – Stravinsky: l’Oiseau de feu (2018)
FLAC (tracks) 24-bit/48 kHz | Time – 01:11:10 minutes | 696 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © NoMadMusic

After two albums devoted to Italian bel canto and De Falla’s Spain respectively, the Orchestre national d’Île-de-France heads to France and invite us to dance with a third collection dedicated to ballet music created at the Paris Opera. Rare and unfairly overlooked, La Bien aimée is a gem of collage technique, Milhaud’s work juxtaposing the music of Schubert and Liszt and arranging it for pianola (player piano) and orchestra. Meanwhile, Stravinsky’s Firebird, that incontrovertible masterpiece, transports us to the enchanting world of Russian fairy tales under Enrique Mazzola’s exalted baton.

It’s true, we admit: no-one is really waiting for a new recording of Stravinsky’s Firebird – even of the 1945 Suite, which is more rarely performed than the rather hackneyed one of 1919. But what’s original about this album from the Orchestre National d’Ile-de-France is rather the rare work by Milhaud: La Bien-Aimée, a ballet from 1928 which had the considerable misfortune of being first performed at the same concert as Ravel’s Boléro – which, of course, eclipsed everyone and everything else. But this Bien-Aimée is not without its charms; it is in fact a series of orchestrations of Liszt and Schubert, with one piece for pianola! Yes, the pianola, the mechanical piano which doesn’t play quite as “automatically” as all that, given that the human musician decides the tempo, the dynamics and the balances themselves. The difficulty of course lies in perfectly synchronising the pianola and the orchestra: but here, it is pulled off perfectly. Milhaud’s orchestrations of this music by Liszt and Schubert are a lot of fun, and Milhaud enjoys a few flashes of genius, and on occasion an unlikely orchestral hodgepodge with neither head nor tail but which, oddly, hits the mark, if in a somewhat slapstick manner. One to discover!

Tracklist:
1. La Bien-Aimée, Op. 101: Ouverture. Sposalizio 07:18
2. La Bien-Aimée, Op. 101: I. Valse. Impromptu 04:56
3. La Bien-Aimée, Op. 101: II. Valse III 08:21
4. La Bien-Aimée, Op. 101: III. Première valse oubliée 03:12
5. La Bien-Aimée, Op. 101: IV. Valse VI 08:58
6. La Bien-Aimée, Op. 101: V. Final. Grand galop chromatique 03:23
7. L’Oiseau de feu, KC 10: I. Introduction (Suite pour orchestre de 1945) 02:46
8. L’Oiseau de feu, KC 10: II. Danse de l’Oiseau de feu (Suite pour orchestre de 1945) 00:18
9. L’Oiseau de feu, KC 10: III. Variations de l’Oiseau de feu (Suite pour orchestre de 1945) 01:16
10. L’Oiseau de feu, KC 10: IV. Pantomime I (Suite pour orchestre de 1945) 00:26
11. L’Oiseau de feu, KC 10: V. Pas de deux. l’Oiseau de feu et Ivan Tsarévitch (Suite pour orchestre de 1945) 04:40
12. L’Oiseau de feu, KC 10: VI. Pantomime II (Suite pour orchestre de 1945) 00:22
13. L’Oiseau de feu, KC 10: VII. Scherzo. Danse des Princesses (Suite pour orchestre de 1945) 02:33
14. L’Oiseau de feu, KC 10: VIII. Pantomime III (Suite pour orchestre de 1945) 01:19
15. L’Oiseau de feu, KC 10: IX. Khorovode des Princesses (Suite pour orchestre de 1945) 04:37
16. L’Oiseau de feu, KC 10: XI. Danse infernale de Kachtcheï et de ses sujets (Suite pour orchestre de 1945) 04:36
17. L’Oiseau de feu, KC 10: XII. Berceuse (Suite pour orchestre de 1945) 03:46
18. L’Oiseau de feu, KC 10: XIII. Finale (Suite pour orchestre de 1945) 03:21
19. La Bien-Aimée, Op. 101: Final : Grand galop chromatique (II) 05:02

Personnel:
Rex Lawson, pianola
Orchestre national d’Ile-de-France
Enrique Mazzola, direction

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In 2007 the Zapico brothers created «Concerto Zapico»; their most personal project. Through it they reached a longed for aspiration: to be able to make chamber music together. The problem is that none of them play any melodic instrument, but polyphonic, ideal for the solo repertoire or for the realization of the basso continuo, that is, the harmonic accompaniment of the melody. But, playing together?

To achieve it they decided to undertake the task of transcribing a selection of Italian and Spanish dances from the 17th and 18th centuries, creating a unique and personal language. Their first recording in this format, «Concerto Zapico», came out with tremendous success in 2010 for the German label Winter & Winter, where they are currently exclusive artists. The transcriptions alternated harmonic and rhythmic filling with singable parts for each instrument. A new language for a unique instrument set.

After «Concerto Zapico» came «Opera Zapico», in which they evidenced that it also works -and how!- their transcriptions of arias and instrumental opera parts, from Monteverdi to Mozart. Big orchestral scores reduced to three unique instruments; and without voice. A practice, although common at that time, nothing explored today by almost any performer.

After more than a hundred concerts around the world with this program, the original registered selection of dances of «Concerto Zapico» was evolving in such a way that eight years later a new corpus of works has emerged with its own entity and that configures the content of this new release. This is «Concerto Zapico Vol. 2», a journey through the dance music of the 17th and 18th centuries with an extra maturity, language control, colors and timbre possibilities of their instruments. The most current expression of the recognized by the reviews as «Zapico style», their own language that they maintain in continuous development. This musical understanding makes this CD a hypnotic and fascinating experience for the listener.

Tracklist:
1. Canarios 02:47
2. Marionas 04:21
3. Xácara 02:06
4. Preludio al 5to Tuono 01:38
5. Cumbees 03:50
6. Faborita 03:12
7. Jacaras 03:12
8. Toccata e Bergamasca 03:09
9. Obra de 8. Tono Alto. Ensalada 05:12
10. Españoletas 04:05
11. Villan Di Spagna 03:04
12. Las Folías 04:39
13. Grabe 02:50
14. Allegro 03:08
15. Cecchina e Florida Correnti 02:57
16. Alemanda de Coreli 03:55
17. Pavanas por la D, Con Partidas al Aire Español 02:55
18. Tirana del Coche de la Princesa 02:07
19. Kapsperger 04:05
20. Fandango de Leitariegos 01:40

Personnel:
Forma Antiqva:
Aarón Zapico, harpsichord, organ
Daniel Zapico, theorbo
Pablo Zapico, baroque guitar
Additional musicians:
David Mayoral, drum, tombak, brooms, tambourine, darbuca, framedrum, tabor

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Once you open this album on Qobuz, you are in danger of being thrown into an abyss of perplexity. But once you get over the initial surprise, you may find yourself asking if you’ve been had: if you’re the butt of a joke by Friedrich Gulda, who has pawned his concert Steinway for a badly-tuned Japanese koto. But it’s “just” Gulda playing Bach on a clavichord that seems to be buckling under pressure or thanks to funny sound engineering. And then, slowly, it works its charms on us, and we are willing participants in a sound-test by Friedrich Gulda on a mean instrument that he seems to be really beating up on, distorting the strings, trying to get at sounds that the humble clavichord really isn’t made for. It’s as if we’ve snuck in to grin at the sight of this musician playing extracts from the Well-Tempered Clavier on an instrument which is anything but. Recorded at home, or at a concert at the end of the 1970s, these records, now out in the light of day, bear witness to the pure-musical research of an artist who has never stopped questioning and pushing at the boundaries of musical convention. – François Hudry

Tracklist:
1. The Well-Tempered Clavier, Book II, no. 5: Prelude in D Major 04:29
2. The Well-Tempered Clavier, Book II, no. 5: Fugue in D Major 02:58
3. The Well-Tempered Clavier, Book II, no. 23: Prelude in B Major 01:22
4. The Well-Tempered Clavier, Book II, no. 23: Fugue in B Major 03:00
5. The Well-Tempered Clavier, Book II, no. 17: Prelude in A-Flat Major 03:47
6. The Well-Tempered Clavier, Book II, no. 17: Fugue in A-Flat Major 02:08
7. Chromatic Fantasia and Fugue, BWV 903 09:33
8. The Well-Tempered Clavier, Book II, no. 10: Prelude in E Minor 02:27
9. The Well-Tempered Clavier, Book II, no. 10: Fugue in E Minor 02:04
10. The Well-Tempered Clavier, Book II, no. 20: Prelude in A Minor 05:14
11. The Well-Tempered Clavier, Book II, no. 20: Fugue in A Minor 01:48
12. The Well-Tempered Clavier, Book II, no. 24: Prelude in B Minor 02:31
13. The Well-Tempered Clavier, Book II, no. 24: Fugue in B Minor 01:41
14. English Suite no. 2: I. Prelude 03:56
15. English Suite no. 2: II. Allemande 02:53
16. English Suite no. 2: III. Courante 01:15
17. English Suite no. 2: IV. Sarabande 03:21
18. English Suite no. 2: V. Bourrée 03:16
19. English Suite no. 2: VI. Gigue 02:23

Personnel:
Friedrich Gulda, clavichord
Digitally remastered

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The music of Richard Cameron-Wolfe is not intrinsically abstract, instead residing in various realms of non-abstraction – each composition’s seed-ideas emanating from an extra-musical impulse. Here we find, for example, psychodrama (three micro-operas), sound-portraits (Inventory, Lilith), esoteric symbolism, and ritual processes – all articulated in macro- and micro-structures based on the irrational elasticity of the prime-number series. The repertoire of this release brings together musicians from New York City and Los Angeles – eight outstanding performing artists with a deep understanding of contemporary music styles, vocabularies, and rhetoric. In addition, Cameron-Wolfe’s long-time friend, the distinguished actor Kevin Kline, makes a special “under the radar” guest appearance as poet-narrator in the micro-opera Sound-Shroud.

Tracklist:
1. An Inventory of Damaged Goods: I. Tortuous Path – II. Le roi subaquatique – III. Anomaly I “As Above” 07:20
2. An Inventory of Damaged Goods: IV. Anomaly II – V. Vertigo – VI. Anomaly III “So Below” 08:28
3. An Inventory of Damaged Goods: VII. Autopoiesis 07:38
4. MeMarie 05:06
5. Invocations of the Aetherwind 06:49
6. Mute Hand Muse “For a Waking Dreamer” 08:45
7. Prima Materia 03:41
8. Kyrie II 10:22
9. Lilith 11:42
10. A Sound-Shroud for Bill Knott 02:20
11. A Song Built from Fire 06:41

Personnel:
Gayle Blankenburg, piano
Elisabeth Halliday, soprano
Rachel Rudich, flute
Sara Schoenbeck, basson

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For several years now, the guitarist and lutenist Björn Colell and the Baroque violinist Georg Kallweit, Konzertmeister of the Akademie für Alte Musik Berlin, have formed a noted duo called Ombra e Luce: ‘With only two musicians and two instruments, we aspire to a perfect rapport and a permanent dialogue. We have access to a rich repertory of original pieces from the sixteenth to eighteenth centuries for violin and lute/theorbo: this was a widespread combination, essentially before 1700. We work a great deal on tone colours and nuances, spontaneity and improvisatory playing – a flexible and sensual interpretation of the works we perform, giving full value to chiaroscuro: ombra e luce! We are convinced that, played in this way, our “early music” can speak directly to the hearts even of listeners who are hearing it for the first time. This new recording, “Passagio”, is the result of our recent musical journeys. Setting out from Italy to go farther north, we have virtually and musically crossed the Alps with our instruments. The works on this recording shed a different light on the music of the courts of Modena, Bologna and Venice.’

“As member, concertmaster and soloist of the Akademie für Alte Musik Berlin, Georg Kallweit is recognized today as one of the most sought after specialists in his field” (Akademie fur Alte Musik Berlin)

“Critics and audience alike rejoice in Björn Colell’s outstanding qualities as both a sensuous accompanist and a virtuous player ” (Universität der Künste Berlin)

Tracklist:
01. Sonatae unarum didium, seu a violino solo: Sonata No. 4
02. Intavolatura di liuto et di chitarrone libro primo: Tenore detto il mercatello, Corrente detto nasazzo fatta sopra il mercatello, Toccata No. 10 for Chitarrone Solo
03. Sonate, Symphonie, Canzoni, Passe’mezzi, Baletti, Corenti, Gagliarde e Ritornelli, Op. 8: Sonata quarta, per il violino, per sonar con due corde, Op. 8
04. Wiener Minoritenkonvent, Manuscript XIV 726: Musicalisch Uhrwerck No. 68 in A Minor, for Violin and Continuo
05. Libro primo et secondo di chitarra spagnola: Prelude, Allemande, Courante, Passacaglia for Baroque Guitar Solo
06. Artificiosus concentus pro camera, distributos in sex partes, seu partias à violino solo con basso bellè imitate: Preludio, Harpeggio, Aria (Allegro), Saraband (Adagio), Gavotte (Allegro)
07. Violin Sonatas, Op. 4: IV. La Biancuccia
08. Violin Sonata in D Major

Composers:
Bartolotti, Angelo Michele (c.1615-82)
Marini, Biagio (c.1597-1665)
Mealli, Giovanni Antonio Pandolfi (c.1630-c.69)
Muffat, Georg (1653-1704)
Piccinini, Alessandro (1566-c.1638)
Schmelzer, Johann Heinrich (1620/23-80)
Vilsmayr, Johann Joseph (1663-1722)

Personnel:
Björn Colell, theorbe, lute, baroque guitar
Georg Kallweit, Violine
Ensemble ombra e luce

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“Brass Hommage” is a tribute to the inimitable sound which has made German Brass famous. It acknowledges the success of an audio vision come true: to create a chamber-music ensemble with ten brass musicians, a group with the sound potential of a mighty organ, a symphony orchestra or a big band – a vision which the German Brass musicians have achieved with the musical elegance that is their very own. Their special arrangements have made them into inventors of a highly refined sound idiom that was to become their hallmark. It is compositions for the organ and symphonic works from the classical field that provide the brass players with inspiration, but jazz standards or South American music deliver an equal appeal and the challenge to expand the palette of tone colours. A tango like “La Cumparsita” can transform into the rhythm of a bandoneon, while music by Cole Porter exudes a touch of Broadway flair, “As Time Goes By” conjures up the power of the images from the legendary film “Casablanca”, and a jazz classic like “Bourbon Street Parade” emulates the sound of a Dixieland band from New Orleans.

Tracklist:
1. Also sprach Zarathustra 03:46
2. Odysee in Brass 02:56
3. El Tango la Cumparsita 04:27
4. Black Bottom Stomp 02:02
5. It Was a Very Good Year 04:37
6. Brasileirinho 01:38
7. Spiritual Rhapsody 11:56
8. Feliz año Mexico 05:51
9. Ballade for Two Wings 04:18
10. Tres Mambo 05:34
11. As Time Goes By 04:03
12. ¿Quién Serà? 03:29
13. El Choclo 04:05
14. Cornets Chop Suey 03:08
15. Al son de Cuba 04:01
16. Spirit of Brass 01:33
17. It’s Alright With Me 04:09
18. Horn of My Soul 05:30
19. Fever 03:31
20. Samba de Rio 06:50
21. Way Down Yonder 01:47
22. I’m Coming Virginia 03:19
23. Bourbon Street Parade 03:36
24. Camino del Indio 06:09
25. Singin’ the Blues 04:31
26. Tico Tico 02:39
27. Besame mucho 04:03
28. Adios Pampa mia 03:09
29. T-Bone Blues 03:49
30. Oye Como va 05:17

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Ghost will release their highly anticipated fourth studio album Prequelle on Spinefarm/Loma Vista Recordings. Previous Ghost albums have dealt with broad themes like impending doom (Opus Eponymous – 2010), the antichrist and the Inquisition (Infesstimum – 2013), humanism and avarice (Meliora – 2015). Prequelle delves into the plague, the apocalypse, and dark ages.

Tracklist:
1. Ashes 01:21
2. Rats 04:21
3. Faith 04:29
4. See the Light 04:05
5. Miasma 05:17
6. Dance Macabre 03:39
7. Pro Memoria 05:39
8. Witch Image 03:30
9. Helvetesfonster 05:55
10. Life Eternal 03:27

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Nowadays most performers overlook Haydn’s piano sonatas, mainly because over years these works have been deemed as less-interesting or duller than those by Haydn’s fellow composers, namely Mozart and Beethoven. This unrighteous judgement stems definitely from a sloppy understanding of this composers’s outstanding and unique skills.

(Franz) Joseph Haydn’s highly experimental wit is pervasive throughout the evolution of his style, in particular in these last four grand sonatas, which should be doubtlessly considered ‘concert pieces’.

A thorough analysis of these works showcases a relentless growth in terms of formal, harmonic and thematic ingenuity, which reaches its peak in the last and most difficult sonata, the second one in the key of E-flat major from this set. It’s very likely that this sonata had a major influence in the young Ludwig van Beethoven, whose first sonatas present a huge amount of musical and technical discoveries by the old master.

Giovanni Mazzocchin strives to perform the works in question with a historically informed approach, insofar as this can be done on a modern concert grand. He always plays the repetitions with remarkable changes that range from slight modifications in terms of dynamics to ornaments and small cadenzas on the main fermatas.

Tracklist:
1. Keyboard Sonata in E-Flat Major, Hob. XVI:49: I. Allegro 11:52
2. Keyboard Sonata in E-Flat Major, Hob. XVI:49: II. Adagio e cantabile 08:25
3. Keyboard Sonata in E-Flat Major, Hob. XVI:49: III. Finale. Tempo di minuet 04:42
4. Keyboard Sonata in C Major, Op. 79, Hob. XVI:50: I. Allegro 11:43
5. Keyboard Sonata in C Major, Op. 79, Hob. XVI:50: II. Adagio 05:24
6. Keyboard Sonata in C Major, Op. 79, Hob. XVI:50: III. Allegro molto 02:21
7. Keyboard Sonata in D Major, Hob. XVI:51: I. Andante 04:01
8. Keyboard Sonata in D Major, Hob. XVI:51: II. Finale. Presto 01:49
9. Keyboard Sonata No. 62 in E-Flat Major, Hob. XVI:52: I. Allegro 08:07
10. Keyboard Sonata No. 62 in E-Flat Major, Hob. XVI:52: II. Adagio 06:55
11. Keyboard Sonata No. 62 in E-Flat Major, Hob. XVI:52: III. Finale. Presto 05:28

Personnel:
Giovanni Mazzocchin, piano

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Progressive pop supergroup Gizmodrome, founded by Police drummer Stewart Copeland with Level 42’s Mark King, Adrian Belew of King Crimson (also a member of David Bowie and Frank Zappa’s bands) and Italian singer and keyboardist Vittorio Cosma present their debut self-titled album, comprised of twelve lively, keyboard-laden, rock-infused tracks.

“Strange Things Happen” is the title of a song on Gizmodrome´s debut album. Certainly great things have happened in the studio, when the four incredible talents met to create one of the most exciting and versatile albums of 2017.

Gizmodrome is in fact a high-voltage “All-Star-Band” formed by Stewart Copeland (The Police and multi-awarded soundtracks composer), Mark King (Level 42), Adrian Belew (ex King Crimson, David Bowie, Frank Zappa and Talking Heads) and Vittorio Cosma (who played with Italian prog legends PFM and an impressive list of Italian and international stars).

Their self-titled debut album will be released worldwide by earMUSIC on September 15th, 2017.

In days of “long-distance recording”, with musicians emailing each other sound files, never having been in the same room, Gizmodrome started with the very opposite approach: real old school excitement by four musicians in the rehearsal room!

It is not a surprise that four musicians with such diverse talents and backgrounds, playing one step from each other, have created music that is vibrant, electric and unpredictable.

Stewart Copeland who is known for his exceptional drum style in songs that changed pop rock forever, is obviously the wild talent behind the drums, but he takes the lead as the main singer in almost all songs and it is the match of his unique vocal approach with the melodic vocals lines of Mark King and the extravagant singing style of Belew to make each song a masterpiece!

One would naturally wonder how two US based musicians could end up forming a band with one English and one Italian musician…

Stewart Copeland explains: “Vittorio and I have been playing together for years, in Italy, but it got serious when Adrian and Mark joined us for 15 days of wild creativity in a Milan recording studio. If you put the right guys together in a rehearsal room, “strange things” definitely happen!”.

“Stewart texted me and asked if I fancied joining him and some of his friends in a studio in Milan”, remembers Mark King, “and next thing, I’m banging out basslines to his ferocious beats with Mr. Adrian Belew bouncing sounds off the walls that I never heard before, and Vittorio who somehow always pulls it all together. That is Gizmodrome!”

Adrian Belew adds: “Gizmodrome totally surprised me! I went into a studio in Italy not knowing what to expect and by the end of day one of recording I knew two things: the musical chemistry was incredibly exciting and we were having incredible fun!”.

The result of this amazing experience is something new and truly unique.

“Progressive pop” could be a definition that would sum all the elements in Gizmodrome, but it would probably do no justice to the wild rock guitars of Adrian Belew or the imaginative and poetic keyboards of Vittorio Cosma. One thing is sure: Gizmodrome is unpredictable and pioneering.

Fans who loved all the bands in the past of the four musicians will play this album on and on.

“Gizmodrome took me back to the authentic joy to play music I had when I was sixteen”, says Vittorio. “Just a band and a garage with the walls covered with the posters of all my music heroes. Only it happens now that I’m playing with the people on the posters!”

“Gizmodrome” has been produced by Claudio Dentes, a wizard producer that could be best described as the musical version of Dr. Brown in “Back To The Future”, responsible for some of the most creative and successful Italian production for the last 30 years.

Tracklist:
01. Zombies In The Mall 3:59
02. Stay Ready 4:01
03. Man In The Mountain 3:43
04. Summer’s Coming 3:30
05. Sweet Angels (Rule The World) 2:56
06. Amaka Pipa 3:39
07. Strange Things Happen 2:55
08. Ride Your Life 3:43
09. Zubatta Cheve 4:01
10. Spin This 6:09
11. I Know Too Much 3:47
12. Stark Naked 4:03

Personnel:
Stewart Copeland, drums, vocals
Mark King, bass, vocals
Vittorio Cosma, keyboards, vocals
Adrian Belew, guitar, vocals
Produced by Claudio Dentes

Download:

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Since its foundation in Munich, the Goldmund Quartet has quickly asserted itself as one of the most magnificent young European ensembles. They have already played at the Festival d’Aix, the Ludwigsburger Schlossfestspiele, at the Schleswig-Holstein Musik Festival, and toured France, Scandinavia, the USA and Canada, Austria – visiting Vienna’s prestigious Musikverein – and Switzerland.. This first album, dedicated to the father of the quartet, Haydn, was unanimously hailed by critics: this new album dedicated to Shostakovich, comprising the phenomenal Third Quartet from 1946 (which was censured by the communist regime for “pessimism and formalism”), and the rarer Ninth from 1964 – a much more mature work – which, rarely for this composer, was subject to many revisions. So we welcome this new performance, in which the quartet truly give them impression of playing a single, sixteen-stringed instrument rather than four separate ones.

Tracklist:
1. String Quartet, No. 3: I. Allegretto 07:03
2. String Quartet, No. 3: II. Moderato con moto 05:35
3. String Quartet, No. 3: III. Allegro non troppo 04:14
4. String Quartet, No. 3: IV. Adagio 05:53
5. String Quartet, No. 3: V. Moderato 09:59
6. String Quartet, No. 9: I. Moderato con moto 04:24
7. String Quartet, No. 9: II. Adagio 03:55
8. String Quartet, No. 9: III. Allegretto 04:06
9. String Quartet, No. 9: IV. Adagio 03:21
10. String Quartet, No. 9: V. Allegro 09:40

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The Austrian bassist Günther Groissböck calls his new album project a “kind of artistic creed”. The album is a very personal selection of four song cycles by Brahms, Wagner, Wolf and Mahler, including the “Wesendonck Lieder” sung for the first time by a bass voice, summarized under the drastically striking title Herz-Tod, which at first reminds one of the cause of death rather than of highly romantic music. The four song cycles unite the thematic brackets of love, death, transience and fragility, both in the real and in the emotional sense.

With his Arnold Schwarzenegger physique, bass singer Günther Groissbock – himself an Austrian – has major stage presence, as Sarastro, Fafner, Hunding, Boris Godounov and many other of the huge roles for his voice. And he has been present on the stages of Berlin, Geneva, Vienna, Munich, Chicago, Bayreuth, Amsterdam, New York, Paris and much of the rest of the lyrical world. And yet, it’s in the most intimate of repertoires that he is performing here alongside pianist Gerold Huber: the Four Serious Songs by Brahms (transposed into a much more sombre, almost scenic, tone, it’s true); Mahler’s Rückert-Lieder; Wolf’s Michelangelo-Lieder; and the Wesendonck-Lieder by Wagner. It’s a range in which his vast voice can retain immense reserves of breath so as to only provide just as much power as is needed (which is a lot!). The listener will surely get the feeling that they are rediscovering certain works, some of which are often voiced by a woman – or seen as the private preserve of certain mezzos – as if the composers had re-written them for Groissbock’s benefit, after his May 2018 triumph at the Opéra Bastille, in Philippe Jordan’s production of Parsifal.

Tracklist:
01. Vier ernste Gesänge Op. 121 : 1. Denn es gehet dem Menschen 04:22
02. Vier ernste Gesänge Op. 121 : 2. Ich wandte mich und sahe an 03:59
03. Vier ernste Gesänge Op. 121 : 3. O Tod, wie bitter bist du 03:35
04. Vier ernste Gesänge Op. 121 : 4. Wenn ich mit Menschen und mit Engelzungen redete 04:45
05. Wesendonck Lieder, WWV 91 : 1. Der Engel 02:40
06. Wesendonck Lieder, WWV 91 : 2. Stehe still! 03:31
07. Wesendonck Lieder, WWV 91 : 3. Im Treibhaus 05:01
08. Wesendonck Lieder, WWV 91 : 4. Schmerzen 02:17
09. Wesendonck Lieder, WWV 91 : 5. Träume 04:37
10. Michelangelo-Lieder : 1. Wohl denk ich oft an mein vergangnes Leben 02:00
11. Michelangelo-Lieder : 2. Alles endet, was entstehet 04:04
12. Michelangelo-Lieder : 3. Fühlt meine Seele das ersehnte Licht 03:41
13. Rückert-Lieder, Op.44 : 1. Ich atmet’ einen linden Duft 02:24
14. Rückert-Lieder, Op.44 : 3. Blicke mir nicht in die Lieder! 01:24
15. Rückert-Lieder, Op.44 : 2. Liebst du um Schönheit 02:19
16. Rückert-Lieder, Op.44 : 5. Um Mitternacht 06:04
17. Rückert-Lieder, Op.44 : 4. Ich bin der Welt abhanden gekommen 06:16

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“Phonetics” from Paris-based pianist and composer Benoît Delbecq presents an artist at the height of his imaginative and synthesizing powers. Recorded with an international quintet and featuring prepared piano on several tracks, this album showcases Delbecq’s broad and deep vision of music, burnished by the audiophile recording. Phonetics was named one of the 12 best records of 2004 (“Choc de l’année”) by Jazzman, the leading jazz magazine in France.

“When I started writing I had a sound in mind … a very open but very rhythmic way of playing … and different directions I wanted us to explore. The mixed timbres of tenor and viola were in a sense the key to the group.”
– Benoît Delbecq

“The pianist finds dazzling creativity through careful use of set rules and layered, complicated structures … (he) elicits a satisfying, rich and remarkably controlled sound out of the group.” – JazzTimes.com

“What a wonderful band Delbecq has put together! This finely synchronized unit creates an exceptional ensemble sound … offering up dark, exotic, mysterious music full of odd harmonies and malleable polyrhythms and abstract textures. An unusual timbral mix, viola and tenor saxophone, sets the sound apart … a very new and exciting sound …” – All About Jazz

Tracklist:
01 – Le même jour
02 – Multikulta
03 – Zao Wou-ki
04 – Pointe de la courte dune
05 – The Elbow Room, Vancouver
06 – 4MalW
07 – Yompa
08 – Au Louvre

Produced by Benoît Delbecq. Engineered by Thierre Balasse.
Recorded on November 9-12, 2003 at La Muse en Circuit, Paris.
24bit/96Khz Recording Mixed in Analogue to DSD.

Musicians:
Benoît Delbecq – piano
Mark Turner – tenor sax
Oene van Geel – viola
Mark Helias – bass
Emile Biayenda – drums

DSD64

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FLAC

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Recorded live at the Montreux Jazz Festival with a stellar backing band including bassist Richard Davis, keyboardist Neal Creque, and drummer Bernard Purdie, “Are You Ready?” further expands the cosmic jazz-funk horizons established by Harold Alexander’s seminal Sunshine Man. Comprising three epic performances, including a lively rendition of the stalwart “Watermelon Man” and the side-long funk jam “Quick City Revisited,” the album burns like a slow fuse– Alexander doesn’t create grooves so much as he inhabits them, exploring their nooks and crannies to embrace the full scope of their inherent possibilities.

Reedman Harold Alexander cut very few albums as a leader – and this is one of the best! You’re likely to hear Alexander’s work in the background on other sessions, but at the time of this record he was also a visionary leader – perfect for the open, freewheeling vibe allowed by the Flying Dutchman label – in kind of a fusion between earlier 60s soul jazz modes, and some of the spiritual currents of the time! Harold blows both flute and soprano sax here – on a set of long tracks that also feature lots of great work from Neal Creque on piano – himself another musician who only got a bit of time to shine in the spotlight around this time, after a great legacy with Pucho & The Latin Soul Brothers. Cornell Dupree also plays guitar on the album – which features just three nicely long tracks – the funky “Quick City Revisited”, a sweet cover of “Watermelon Man”, and a ten minute jamming take on “High Heel Sneakers”.

Tracklist:
01 – Watermelon Man
02 – High Heel Sneakers [Bonus Track]03 – Quick City Revisited
04 – Quiet Nights (Corcovado)

Recorded Live at Montreux, Switzerland.

Musicians:
Harold Alexander – soprano saxophone, flute
Neal Creque – piano
Cornell Dupree – electric guitar
Victor Gaskin – bass
David Lee, Jr. – drums

Please note: Track “2” is 24bit/96khz.

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Hailing from Montreal, Canada, IKO has always been shrouded in mystery. All 3 members come from an academic background (electroacoustic composition, etc), and they met at the University of Montreal in the music department. Taking from their collective influences of 60’s pop, prog and minimalist composers as well as early industrial, they played in a few early bands before solidifying the all-synth incarnation of IKO in it’s definitive lineup. This coveted album by minimal synth aficionados around the globe has been out of print and very rare since it’s original release in 1982.

The LP was originally released on Manhattan Formula. Other than Rational Youth, the Montreal synth scene was small, and the band broke up not too long after it’s release. Over the years, it has slowly achieved cult status of the highest order and now fetches inflated collector’s prices on the open market. It even prompted an unauthorized bootleg LP a few years ago (of much inferior sound quality). The master for this very special reissue is transferred and EQ’ed from the master analog tapes. The opening track “Approach On Tokyo” sets the mood with it’s electro hooks and almost “Trans-Europe Express” synth parts. “Gonadotropic Synthesis” is an amazing slow and beautiful synthy melodic number which blurs the lines between love song and a lecture on hormonal interplay out of a medical textbook”. “Digital Delight” is a fast paced dance floor favorite with cyborg lyrics and catchy hooks. The LP contains one never before heard bonus track “Jungle City” which is a bit of a more ominous and dark track as compared to the other album tracks. This LP will appeal to the legions of people who have been patiently waiting for an official reissue as well as the un-initiated fans of classic synth pop, Kraftwerk, early Human League and the like. Additional remastering by Martin Bowes at the Cage, London.

Tracklist:
01 – Approach on Tokyo
02 – Elevator
03 – Subway 49
04 – Communication Off
05 – Jungle City
06 – Gonadotropic Synthesis
07 – Model Type A
08 – Digital Delight
09 – Radioactive Mist
10 – Military Service [Bonus Track]11 – Surrender to the Dream [Bonus Track]12 – Army Service [Bonus Track]13 – Surrender to the Dream (Instrumental Live) [Bonus Track]

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In their third collaboration for Unseen Rain Records, acoustic virtuosos Jack DeSalvo and Tom Cabrera make their most ambitious musical statement yet, including creations with multiple layers of strings and percussion, their signature duos, and a solo piece each.

This is the kind of music that results from artists who invest years in learning their instruments and expressing them in ways that fall outside normal conventions. DeSalvo and Cabrera have partnered their guitars and percussion before, and that investment, too, bears fruit on their newest. This music has the heart and soul of the Cherry/Walcott/Vasconcelos Codona trio recordings… an earthy ambiance that emanates strength from a wise economy of notes and beats. Music that transcends genre, behaves as if it doesn’t even see the point of it. Also, great music to just kick back and listen to its particular serenity fill the room.

Tracklist:
01 – Juniper
02 – Amyris
03 – Artemisia
04 – Susquehanna Hat
05 – Ylang Ylang
06 – Cedarleaf
07 – Amia

Produced by Jack DeSalvo.
Recorded on October 20, 2012 at Beanstudio, Wayne, NJ.
Engineered, Edited, Mixed & Mastered and mixed by Jim DeSalvo at Beanstudio.

Musicians:
Jack DeSalvo – mandola, cello, classical, electric, and 12-string slide guitars
Tom Cabrera – bodhrán, tar, riq, doumbek, bass drum, cymbals, bells

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On this critically acclaimed album, pianist Jan Lundgren displays his deep understanding of both tradition and modernism together with his preternatural instinct for bringing the two together. Entirely composed by Lundgren save for one track, Potsdamer Platz provides ample evidence of the compatibility of the musicians and their growth together as the band moves forward with a clear and strong common purpose.

Pianist Jan Lundgren is a fine example of a classically-trained European musician with a strong empathy with mainstream jazz. Potsdamer Platz is, in turn, a fine example of Lundgren’s ability to compose fresh-sounding and often beautiful tunes, allied to a talented quartet of players who know just how to bring the pianist’s ideas to life.

The all-Scandinavian band is terrific—Finnish saxophonist Jukka Perko, Danish drummer Morten Lund and Lundgren’s fellow Swede Dan Berglund on bass. The quartet decamped to Germany to record: Hansa Studio is situated on the titular Berlin square. There’s a jauntiness to tunes like “Twelve Tone Rag” (where some of Lundgren’s phrasing could be mistaken for Mose Allison’s) and the catchy “Potsdamer Platz”—which opens proceedings in an upbeat and positive fashion. “Dance Of Masja” ups the jauntiness quotient: a fast tempo, a rolling rhythm and some driving percussion add up to a great 6′ 25″ of music. By contrast, “No. 9” and “Never Too Late” display a more vulnerable and melancholy side to Lundgren’s writing (and to the quartet’s playing). Both tunes are quite beautiful. “Lycklig Resa” might just be the coolest track of the year. Effortless waltz-time swing, a graceful melody, Perko’s mellow saxophone all generate a nostalgic, early-60s mood. Dudley Moore, Dave Brubeck and Paul Desmond spring readily to mind alongside visions of E-type Jags, sharp suits and a touch of brylcreem. Lundgren wrote it as a tribute to Jan Johansson, Sweden’s star jazz pianist of the ’60s, and it certainly fits that bill.

Tracklist:
01 – Potsdamer Platz
02 – No. 9
03 – Lycklig Resa
04 – Bullet Train
05 – The Poet
06 – Never Too Late
07 – Twelve Tone Rag
08 – Song for Jørgen
09 – Dance of Masja
10 – On the Banks of the Seine
11 – Tväredet

Produced by Siggi Loch.
Recorded on May 3 & 4, 2015 at Hansa Studio, Berlin.
Engineered, Mixed & Mastered by Arne Schumann.

Musicians:
Jan Lundgren – piano
Jukka Perko – alto & soprano saxophone
Dan Berglund – bass
Morten Lund – drums

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This 1975 MPS release continues Pork Pie’s cutting-edge exploration on the outer boundaries of fusion, jazz, and ethno. Keyboardist Van’t Hof, saxophonist Charlie Mariano, and guitarist Philip Catherine are joined by renowned Danish musician Bo Stief on electric bass and English drummer John Marshall of Soft Machine fame.

Catherine’s Devil Toes heats up in a tempestuous modal flare, with Mariano’s soprano supplying the fire. Mariano pursues the haunting melody on his Zana, followed by Catherine’s majestic solo over Van’t Hof’s flowing chordal backdrop. Written by one of the greatest South Indian classical music composers, Tyagaraga (1767-1847), Mariano’s arrangement of Telisi Rama illustrates the music’s influence on such jazz greats as John Coltrane, and Van’t Hof’s stellar piano solo intimates his debt to McCoy Tyner. The balladic He’s Gone features Mariano poignant flute, while on Van’t Hof’s Simul Sincrone Mariano sings out on alto saxophone in a wide-open impassioned performance. Avoid the Year of the Monkey runs the gamut from aleatory electronics to sophisticated fusion, as the drums propel stunning soprano sax and organ solos, while Van’t Hof’s The Door is Open reveals an intensely beautiful surreal landscape. As a sequel to Pork Pie’s Transitory, the album’s music is every bit as ‘exploratory, electrifying, and exciting’ as its predecessor.

Tracklist:
01 – Devil Toes
02 – Zana
03 – Telist Rama
04 – He’s Gone
05 – Simul Synchrone
06 – Avoid the Year of the Monkey
07 – The Door Is Open

Produced by Achim Hebgen. Engineered and Mixed by Mike Bobak.
Recorded & Mixed on July 29 – August 2, 1975 at Morgan Studio, Brussels.
Digitally Remastered.

Musicians:
Jasper Van’t Hof – electric piano, organ, grand piano
Charlie Mariano – alto saxophone, soprano saxophone, flutes
Philip Catherine – electric guitar, acoustic guitar, banjo
Bo Stief – bass
John Marshall – drums

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Eliane Rodrigues – Debussy: Reflets (2018) [Official Digital Download 24bit/96kHz]

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

Enrico Onofri – Bach: Sonatas & Partitas BWV 1001,1004 & 1006 (2017) [Official Digital Download 24bit/88,2kHz]

Rex Lawson, Orchestre national d’Ile-de-France & Enrique Mazzola – Milhaud: La bien-Aimee – Stravinsky: l’Oiseau de feu (2018) [Official Digital Download 24bit/48kHz]

Forma Antiqva – Concerto Zapico, Vol. 2 (2018) [Official Digital Download 24bit/96kHz]

Friedrich Gulda – Bach – Gulda – Clavichord (The Mono Tapes) (2018) [Official Digital Download 24bit/96kHz]

Gayle Blankenburg – Cameron-Wolfe: An Inventory of Damaged Goods (2018) [Official Digital Download 24bit/88,2kHz]

Georg Kallweit & Bjorn Colell – Passaggio, eine barocke Alpenuberquerung (2017) [Official Digital Download 24bit/96kHz]

German Brass – Brass Hommage (2018) [Official Digital Download 24bit/48kHz]

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

Giovanni Mazzocchin – Haydn: Late Piano Sonatas, Nos. 59-62 (2018) [Official Digital Download 24bit/88,2kHz]

Gizmodrome – Gizmodrome (2017) [Official Digital Download 24bit/48kHz]

Goldmund Quartet – Shostakovich String Quartets 3 & 9 (2018) [Official Digital Download 24bit/96kHz]

Gunther Groissbock & Gerold Huber – Herz-Tod (2018) [Official Digital Download 24bit/96kHz]

Benoit Delbecq Unit – Phonetics (2004/2012) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/96kHz]

Harold Alexander – Are You Ready (1972/2018) [Official Digital Download 24bit/44,1kHz]

IKO –’83 (1982/2014) [Official Digital Download 24bit/44,1kHz]

Jack DeSalvo & Tom Cabrera – Juniper (2014/2018) [Official Digital Download 24bit/88,2kHz]

Jan Lundgren – Potsdamer Platz (2017) [Official Digital Download 24bit/96kHz]

Jasper Van’t Hof’s Pork Pie – The Door Is Open (1976/2017) [Official Digital Download 24bit/88,2kHz]