Studio Masters – HDMusic.me

Rundfunk-Sinfonieorchester Berlin & Jakub Hrusa – Bartók & Kodály: Concertos for Orchestra (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 55:27 minutes | 926 MB | Genre: Classical
Studio Masters, Official Digital Download | Booklet, Front Cover | © PentaTone

Exuberant, colourful and edgy concertos for orchestra by Bartók and Kodály are brought together in spirited and vivid performances from the Berlin Radio Symphony Orchestra conducted by the podium sensation Jakub Hrůša on this PENTATONE release.

Bartók’s landmark Concerto for Orchestra is not only a thrilling orchestral tour de force; it’s also a striking and deeply expressive work which effortlessly assimilates Hungarian folk melodies and rhythms in its compelling and polished score. At times brooding and mysterious, it’s Bartók’s most popular and uplifting work, and it ends in a flurry of high spirits.

With its lush and vivid orchestration and a healthy rhythmic swagger, Kodály’s lesser-known Concerto for Orchestra is a captivating and buoyant work. Inspired by the Baroque concerto grosso but updated with a romantic sensibility, the result is a sure-footed, rousing and energetic showpiece for orchestra.

Tracklist:
Zoltán Kodály (1882 – 1967)
01. Concerto for Orchestra: Concerto for Orchestra
Béla Bartók (1881 – 1945)
02. Concerto for Orchestra, Sz. 116, BB 123: I. Introduzione: Andante non troppo-Allegro vivace
03. Concerto for Orchestra, Sz. 116, BB 123: II. Giuoco delle coppie: Allegretto scherzando
04. Concerto for Orchestra, Sz. 116, BB 123: III. Elegia: Andante non troppo
05. Concerto for Orchestra, Sz. 116, BB 123: IV. Intermezzo interrotto: Allegretto
06. Concerto for Orchestra, Sz. 116, BB 123: V. Finale: Presto

Personnel:
Rundfunk-Sinfonieorchester Berlin
Jakub Hrůša, conductor

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I’ve thrown myself completely into the viola, and I play violin only in emergencies.” As a performer and composer, Hindemith is without a doubt one of the most important contributors to his favorite instrument’s repertoire.

Often compared to Bach’s Sonatas and Partitas, these four solo sonatas by Paul Hindemith are certainly a challenge for any artist, one to which Ruth Killius – notably recognizable as a member of the Zehetmair Quartet – rises with fire and lyricism.

Tracklist:
Paul Hindemith (1895-1963)
01. Sonata for Viola Solo: I. Lebhafte Halbe (1937)
02. Sonata for Viola Solo: II. Langsame Viertel (1937)
03. Sonata for Viola Solo: III. Massig schnelle Viertel (1937)
04. Sonata for Viola, No. 4, Op.31: I. Ausserst lebhaft
05. Sonata for Viola, No. 4, Op.31: II. Lied
06. Sonata for Viola, No. 4, Op.31: III. Thema mit Variationen
07. Sonata for Viola No. 1, Op. 25: I. Breit. Viertel
08. Sonata for Viola No. 1, Op. 25: II. Sehf frisch und straff
09. Sonata for Viola No. 1, Op. 25: III. Sehr langsam
10. Sonata for Viola No. 1, Op. 25: IV. Rasendes Zeitmass. Wild. Tonschonheit ist Nebensache
11. Sonata for Viola No. 1, Op. 25: V. Langsam, mit viel Ausdruck
12. Sonata for Viola No. 5, Op. 11: I. Lebhaft, aber nicht geeilt
13. Sonata for Viola No. 5, Op. 11: II. Massig schnell, mit viel Warme vortragen
14. Sonata for Viola No. 5, Op. 11: III. Scherzo
15. Sonata for Viola No. 5, Op. 11: IV. In Form und Zeitmass einer Passacaglia

Personnel:
Ruth Killius, violin

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Ry Cooder’s first new release in six years, The Prodigal Son, is all America, our spiritual, hopeful voices, our raw cries and our sly provocations, voiced through the songs of the Pilgrim Travelers, The Stanley Brothers, Blind Willie Johnson, and Ry Cooder himself.

Tracklist:
01. Straight Street 04:00
02. Shrinking Man 04:07
03. Gentrification 03:13
04. Everybody Ought To Treat A Stranger Right 03:46
05. The Prodigal Son 04:38
06. Nobody’s Fault But Mine 06:07
07. You Must Unload 05:26
08. I’ll Be Rested When The Roll Is Called 03:11
09. Harbor Of Love 05:46
10. Jesus And Woody 05:57
11. In His Care 03:39

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The mélodies of Benjamin Godard (1849-1895) are little-known, and yet, Godard was one of the most prolific composers in the genre. Focusing on opera after the success of his dramatic symphony Le Tasse in 1878, Godard composed several lyric works that overshadowed his 162 published songs. Today, they remain one of the most interesting parts of his catalogue. The pieces selected here by Tassis Christoyannis and Jeff Cohen, most of them recorded for the first time, illustrate the composer’s literary sensibilities.

Tracklist:
Benjamin Godard (1849 – 1895)
01. Te souviens-tu de ta promesse ?: Te souviens-tu de ta promesse ?, Op. 19 No. 6
02. Le banc de pierre: Le banc de pierre, Op. 19 No. 7
03. Je ne veux pas d’autres choses: Je ne veux pas d’autres choses, Op. 11 No. 1
04. Dieu, qui sourit et qui donne: Dieu, qui sourit et qui donne, Op. 10 No. 9
05. Jacotte: Jacotte, Op. 10 No. 5
06. Six Fables de La Fontaine: I. La Laitière et le Pot-au-lait
07. Six Fables de La Fontaine: II. La Cigale et la Foumi
08. Six Fables de La Fontaine: III. Le Renard et le Corbeau
09. Six Fables de La Fontaine: IV. Le Coche et la Mouche
10. Six Fables de La Fontaine: V. Le Renard et les Raisins
11. Six Fables de La Fontaine: VI. Le Rat de ville et le Rat des champs
12. L’Invitation au voyage: L’invitation au voyage
13. Pastorales, Op. 29: No. 5 Les Adieux du berger
14. Elle: Elle, Op. 7 No. 10
15. Chanson du berger: Chanson du berger, Op. 11 No. 5
16. Nouvelles Chansons du vieux temps: I. Suis-je belle ?
17. Nouvelles Chansons du vieux temps: II. Printemps
18. Nouvelles Chansons du vieux temps: III. Menuet
19. Nouvelles Chansons du vieux temps: IV. Chanson de Malherbe
20. Nouvelles Chansons du vieux temps: V. Vaudeville
21. Nouvelles Chansons du vieux temps: VI. J’ai perdu ma tourterelle
22. Printemps: Printemps, Op. 113
23. Guitare: Guitare, Op. 10 No. 11
24. Chanson: Chanson, Op. 7 No. 4
25. Le Ménétrier: Le Ménétrier, Op. 10 No. 6
26. Message: Message, Op. 147 No. 1

Personnel:
Tassis Christoyannis, baritone
Jeff Cohen, piano

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Two great interpreters, poets and lovers of the French repertory and chamber music join forces here: the violinist Tedi Papavrami and the pianist Nelson Goerner. They have chosen to devote this programme to the two violin sonatas of Gabriel Fauré and the Sonata of César Franck. It was in 1875 that Fauré composed his First Sonata for violin and piano, characterised by its originality and its formal design, which marked the start of a new era for French chamber music. In 1916, having continued to write for small ensembles all his life, he composed the Second Sonata, imbued with both heartfelt lyricism and complexity. Nine years after Fauré’s Sonata no.1, Franck – less prolific in the intimate chamber genre – composed his only sonata, now one of the most frequently played of all works for violin and piano.

Tracklist:
Gabriel Fauré (1845-1924)
01. Violin Sonata No. 1 in A major, Op. 13: I. Allegro molto
02. Violin Sonata No. 1 in A major, Op. 13: II. Andante
03. Violin Sonata No. 1 in A major, Op. 13: III. Allegretto vivo
04. Violin Sonata No. 1 in A major, Op. 13: IV. Allegro quasi presto
05. Violin Sonata No. 2 in E minor, Op. 108: I. Allegro non troppo
06. Violin Sonata No. 2 in E minor, Op. 108: II. Andante
07. Violin Sonata No. 2 in E minor, Op. 108: III. Finale (Allegro non troppo)
César Franck (1822-1890)
08. Violin Sonata in A Major, FWV 8: I. Allegretto ben moderato
09. Violin Sonata in A Major, FWV 8: II. Allegro
10. Violin Sonata in A Major, FWV 8: III. Recitativo-Fantasia (Ben moderato)
11. Violin Sonata in A Major, FWV 8: IV. Allegretto poco mosso

Personnel:
Tedi Papavrami, violin
Nelson Goerner, piano

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2018 Grammy Award nominees Tenebrae perform a new collection of choral works by Polish composer Paweł Łukaszewski.

Born in southern Poland in 1968 in the city of Częstochowa and described by Gramophone as writing “enchanting choral music…beautifully measured phrases, immaculately tailored textures and ingenious use of light and shade to invoke light shining in darkness”, Łukaszewski has secured a place in the forefront of European sacred music with performances throughout the world and his works featuring on over one hundred recordings. He studied at the Fryderyk Chopin Academy of Music, where he still teaches, and is now the Artistic Director and Conductor of Musica Sacra Cathedral Choir in Warsaw.

This collection of sacred choral works bears an easily-discernible cultural link with his Polish predecessors such as Lutosławski and Penderecki, but the influence of Henryk Górecki and the Estonian Arvo Pärt is evident too in the fervent but restrained spiritual aspect of Łukaszewski’s music, and his individual voice never stoops to mere imitation.

Although he wrote a dozen orchestral works and as many pieces of chamber music, the Polish composer Łukaszewski (born 1958) made a huge international name for himself in the domain of choral music. For his fiftieth birthday, the Tenebrae choir and its conductor Nigel Short decided to honour him with a beautiful recording of some of his most outstanding choral works. The sacred is crucial to this repertoire, with the psalm Cantate Domino, the Beatitudes and the Responsoria Tenebræ, but we also find Shakespeare’s Sonnets. Naturally, there is an organic link with his great Polish predecessors Lutosławski and Penderecki, but also Górecki even, off to the north-east, the Estonian Pärt – in other words, a whole slice of the serial avant-garde of the 1970s had no impact on Łukaszewski’s music. He constantly worked at his own vision of modernism, which didn’t reject its roots in older music, up to and including the polyphonic writing of the Renaissance, but with an updated harmonic conception.

Tracklist:
01. Cantate Domino
02. Shakespeare Sonnets: I. Like as the waves
03. Shakespeare Sonnets: II. Weary with toil
04. Daylight Declines
05. Responsoria Tenebrae: I. Tenebrae factae sunt
06. Responsoria Tenebrae: II. Caligaverunt occuli mei
07. Responsoria Tenebrae: III. Recessit pastor noster
08. Responsoria Tenebrae: IV. O vos omnes
09. Responsoria Tenebrae: V. Ecce quomodo moritur
10. Lamentationes: Lamentatio I
11. Lamentationes: Lamentatio II
12. Lamentationes: Lamentatio III
13. Beati

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TesseracT, a band that sit outside the bounds of any genre specificity, pioneers of the ever-evolving metal scene and unstoppable force of off-kilter riffs, soaring melodies and disorientating atmospherics release their fourth studio album Sonder on April 20th 2018 through Kscope.

Sonder adds significant firepower to the band’s arsenal, blending the harsh abrasiveness of One (2011) and progressive ethereal elements of Altered State (2013) with the accessibility of Polaris (2015). Sonder is streamlined, honest and direct with all the trademark TesseracT dreamy atmospherics and bending grooves. Sonder was recorded in the UK at 4D Sounds, Celestial Sounds and Project Studios, engineered by the band and Aiden O’Brien with mastering by Acle Kahney, and cover artwork designed by Amos Williams.

Tracklist:
1. Luminary 03:12
2. King 06:56
3. Orbital 02:19
4. Juno 05:12
5. Beneath My Skin / Mirror Image 11:21
6. Smile 04:47
7. The Arrow 02:37

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Mendelssohn’s Op.13 and Alban Berg’s Lyric Suite: why did you choose this programme? The first, obvious reason is that we’ve been performing these two works for a long time, with the greatest imaginable pleasure. They challenge us as musicians. In Berg’s case the challenge takes us to the farthest frontiers, and in Mendelssohn it is just as formidable. That would be the outer motive.

And there are inner motives as well: each of these works has a connection with a hidden love story. I wouldn’t want to lay too much emphasis on this, however. It’s obviously interesting to know the background, particularly in the case of the Lyric Suite. But we shouldn’t forget that Alban Berg never revealed the work’s hidden programme to the public. In the score he encrypted what the individual sections and passages meant to him, but you can enjoy the piece just as much without being aware of every detail. Of course we find it interesting that the piece is about intimate, sometimes terrible things. From your own experience you can recognize every emotion evoked in every single page of the score.

Berg wrote a series of detailed notes for violinist Rudolf Kolisch and the quartet that premièred the Lyric Suite. But the comments he wrote in the score for his great love Hanna Fuchs-Robbetin were quite different. Was Berg a man with two faces? Of course he wanted Hanna to know that he still loved her. The musical score he gave her intended to remind her of all that had gone on before in every detail, of how Berg felt after the relationship ended and what he felt for her up to the end of his life, as we know from his letters. He just needed Hanna to know it! Obviously he didn’t send the same type of comments to Kolisch.

I also see a great danger in this, especially now that the score Berg intended for Hanna Fuchs has been made publicly available. There’s too much sensationalism involved if you analyze the music while you imagine: “Here’s what happened at this spot, here’s what happened there!” We might be robbing abstract music of something essential.

Tracklist:
01. String Quartet in A Minor, Op. 13: I. Adagio-Allegro vivace
02. String Quartet in A Minor, Op. 13: II. Adagio non lento
03. String Quartet in A Minor, Op. 13: III. Intermezzo. Allegretto con moto-Allegro di molto
04. String Quartet in A Minor, Op. 13: IV. Presto
05. Lyric Suite: I. Allegretto gioviale
06. Lyric Suite: II. Andante amoroso
07. Lyric Suite: III. Allegretto misterioso-Trio estatico
08. Lyric Suite: IV. Adagio passionate
09. Lyric Suite: V. Presto delirando-Tenebroso
10. Lyric Suite: VI. Largo desolato

Recorded in March 2013, Sendessal Bremen, Germany
Produced, edited and mastering by Christoph Franke

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The Allman Brothers Band will issue Peach Picks: Cream Of The Crop 2003 on May 16 via the group’s Peach Records imprint. Warren Haynes served as supervising producer for the collection of 36 tracks recorded by the Rock And Roll Hall Of Fame band between July 25 – August 10, 2003.

Haynes was joined in the 2003 lineup of the Allman Brothers Band by founding members Gregg Allman, Jaimoe and Butch Trucks as well as Derek Trucks, Marc Quinones and Oteil Burbridge. The 36-track collection was recorded at shows in Indianapolis, Pittsburgh, Darien Center, Hartford, Charlotte and Raleigh. No songs are repeated over the course of the compilation. Each of the six concerts will also be made available in their entireties.

While the live recordings were part of the “Instant Live” CD series, this marks the first time this music will be made available digitally. Guests on the compilation are Susan Tedeschi, Karl Denson and Branford Marsalis. “That was an important time in the growth of that incarnation of the ABB. We had just released Hittin’ The Note and everybody was psyched to be playing a lot of new material from an album we all were very proud of and there was new life being breathed into a lot of the older songs,” said Haynes in a statement. “Warren was asked to oversee this release because he has a keen ear, a great memory for individual show performances and is a master at song sequencing,” added longtime manager and Executive Producer Bert Holman. “The entire process went very well; we were all on the same page about what song should be included and in what order, and everybody in the band agreed with the final choices.”

Tracklist:

CD1
1. Don’t Want You No More (Live at Murat Centre, Indianapolis, In, 7/25/2003) 02:48
2. It’s Not My Cross to Bear (Live at Murat Centre, Indianapolis, In, 7/25/2003) 04:55
3. Black Hearted Woman (Live at Verizon Wireless Amphitheatre, Charlotte, Nc, 8/9/2003) 06:49
4. Rockin’ Horse (Live at Murat Centre, Indianapolis, In, 7/25/2003) 08:45
5. Hot ‘Lanta (Live at Murat Centre, Indianapolis, In, 7/25/2003) 05:22
6. Old Before My Time (Live at Murat Centre, Indianapolis, In, 7/25/2003) 05:34
7. Come and Go Blues (Live at Murat Centre, Indianapolis, In, 7/25/2003) 05:56
8. Woman Across the River (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 06:57
9. Desdemona (Live at Darien Lakes Performing Arts Center, Darien Center, NY, 8/2/2003) 08:34
10. The High Cost of Low Living (Live at Darien Lakes Performing Arts Center, Darien Center, NY, 8/2/2003) 09:53
11. Hoochie Coochie Man (Live at Murat Centre, Indianapolis, In, 7/25/2003) 09:12
12. Revival (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 04:10

CD2
1. Trouble No More (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 03:33
2. Midnight Rider (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 03:19
3. You Don’t Love Me (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 09:46
4. Who to Believe (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 07:05
5. Stormy Monday (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 11:23
6. Good Morning Little Schoolgirl (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 10:30
7. In Memory of Elizabeth Reed (Live at Post-Gazette Pavilion, Pittsburgh, Pa, 7/26/2003) 33:25

CD3
1. Ain’t Wastin’ Time No More (Live at Darien Lakes Performing Arts Center, Darien Center, NY, 8/2/2003) 06:31
2. Worried Down with the Blues (Live at Meadows Music Centre, Hartford, Ct, 8/3/2003) 07:41
3. Statesboro Blues (Live at Meadows Music Centre, Hartford, Ct, 8/3/2003) 05:23
4. Stand Back (Live at Meadows Music Centre, Hartford, Ct, 8/3/2003) 05:26
5. Melissa (Live at Meadows Music Centre, Hartford, Ct, 8/3/2003) 05:42
6. Mountain Jam (Live at Verizon Wireless Amphitheatre, Charlotte, Nc, 8/9/2003) 40:18
7. Layla (Live at Verizon Wireless Amphitheatre, Charlotte, Nc, 8/9/2003) 07:24

CD4
1. Don’t Keep Me Wonderin’ (Live at Alltel Pavilion at Walnut Creek, Raleigh, Nc, 8/10/2003) 03:58
2. Done Somebody Wrong (Live at Darien Lakes Performing Arts Center, Darien Center, NY, 8/2/2003) 03:48
3. Gambler’s Roll (Live at Alltel Pavilion at Walnut Creek, Raleigh, Nc, 8/10/2003) 06:50
4. Soulshine (Live at Alltel Pavilion at Walnut Creek, Raleigh, Nc, 8/10/2003) 07:06
5. Who’s Been Talking (Live at Alltel Pavilion at Walnut Creek, Raleigh, Nc, 8/10/2003) 09:32
6. Don’t Think Twice, It’s Alright (Live at Meadows Music Centre, Hartford, Ct, 8/3/2003) 05:27
7. Wasted Words (Live at Alltel Pavilion at Walnut Creek, Raleigh, Nc, 8/10/2003) 07:19
8. Dreams (Live at Alltel Pavilion at Walnut Creek, Raleigh, Nc, 8/10/2003) 12:31
9. Whipping Post (Live at Alltel Pavilion at Walnut Creek, Raleigh, Nc, 8/10/2003) 14:16
10. One Way out (Live at Alltel Pavilion at Walnut Creek, Raleigh, Nc, 8/10/2003) 06:52

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The Beach Boys & Royal Philharmonic Orchestra – The Beach Boys With The Royal Philharmonic Orchestra (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 53:53 minutes | 1,11 GB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © Capitol Records

This album combines the brilliant original vocal harmonies of The Beach Boys’ beloved classics with brand new symphonic arrangements performed by the Royal Philharmonic Orchestra, creating a unique and special experience of these iconic songs. 17 tracks produced by Nick Patrick and Don Reedman. Executive produced by Jerry Schilling. Orchestra conducted by Sally Herbert and Steve Sidwell and recorded by Peter Cobbin at Abbey Road Studio 2.

The Beach Boys, the most popular surf band of the sixties then pop masters in the United States, have been the only ones able to confront the Beatles. Beyond the incredible success of some titles, Brian Wilson’s genius has always been recognized and the man has been labeled as a visionary composer. Fifty years later, Nick Patrick and Don Reedman launch into the production of an album mixing original vocal performances and modern symphonic arrangements. The Royal Philharmonic Orchestra then lights up seventeen titles with the most perfect balance and intensity, conducted by Steeve Sidwell and Sally Herbert. Good Vibrations, California Girls, or even Wouldn’t It Be Nice, the band’s hits enjoy a new interpretation that in no way tarnishes the original nature of the work. Everything is sublimed and we realize the power of the vocal harmonies, the complexity of the arrangements, the subtleties and the omnipresence of the choirs. A string ensemble becomes agitated and makes way for Carl Wilson’s guitar and lands us in 66 on Fun, Fun, Fun. The trip with the Beach Boys is extremely pleasant on this quality album, each composition finds itself finally completed, as if they had always lacked something. Today, the mystery has been solved. The whole album is coated with a multitude of layers that you unravel with each new listening session. Here is all the ingenuity of the band with an extremely rich writing, but accessible to all. – Clara Bismuth

Tracklist:
1. California Suite (01:32)
2. California Girls (02:45)
3. Wouldn’t It Be Nice (03:13)
4. Fun, Fun, Fun (02:23)
5. Don’t Worry Baby (02:50)
6. God Only Knows (03:12)
7. Sloop John B (03:43)
8. Heroes and Villains (04:07)
9. Disney Girls (04:36)
10. Here Today (03:07)
11. In My Room (02:32)
12. Kokomo (03:50)
13. The Warmth of the Sun (03:15)
14. Darlin’ (02:18)
15. Help Me Rhonda (03:00)
16. You Still Believe In Me (03:11)
17. Good Vibrations (04:19)

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Jonathon Linaberry keeps things ragged and direct on Ones to Keep Close, his third album as The Bones of J.R. Jones. Sometimes with as little instrumentation as a distorted guitar, handclaps, a distant piano and his voice, Linaberry conjures visions of smoky after-hours bars and the next morning’s quiet aftermath. AllMusic favorite Nicole Atkins pops in for a guest spot on “Burden,” adding a gentle lilt to the proceedings.

“I battled a lot of my own creative insecurities,” Linaberry wrote of the new record. “I’ve never been truly satisfied with my prior releases, but because of the slow process I took on this album, every choice was painfully deliberate and intentional. I feel like this album is more me than any other prior release.”

Tracklist:
01. The Drop
02. Burden
03. Slow Down
04. Know My Name
05. Sinner Song
06. Please
07. I See You
08. Enemy
09. Sister
10. Die Young
11. Take Me Away

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The Brook Street Band’s 10th release for AVIE traverses the colourful Sonatas for Violin and Basso Continuo by the ensemble’s passion, the Baroque composer George Frideric Handel.

The Brook Street Band’s passion for the music of George Frideric Handel shines through on this recording of the nine Violin Sonatas by – or attributed to – the Baroque composer. The ensemble’s 10th release for AVIE compliments its critically acclaimed and award-winning discography of a wide variety of Handel’s chamber music and vocal works. Combining consummate artistry with characteristic inquisitiveness, The Brook Street Band – posing the question ‘how many violin sonatas did Handel actually compose?’ – offers nine works composed over a span of 40 years, from the German-born Handel’s early years honing his style in Italy to his later years as a leading light in London. He composed some and his name has been variously ascribed by others, depending on which publisher was cashing in, perhaps in cahoots with the commercially-minded composer. But who really knows, and one could ask who cares, especially with music of such colour performed with such panache.

Tracklist:
1. Violin Sonata in G Major, HWV. 358: I. Allegro 01:56
2. Violin Sonata in G Major, HWV. 358: II. Adagio 00:49
3. Violin Sonata in G Major, HWV. 358: III. Allegro 02:36
4. Violin Sonata in D Minor, HWV. 359a: I. Grave 02:32
5. Violin Sonata in D Minor, HWV. 359a: II. Allegro 01:44
6. Violin Sonata in D Minor, HWV. 359a: III. Adagio 00:51
7. Violin Sonata in D Minor, HWV. 359a: IV. Allegro 02:35
8. Violin Sonata in A Major, HWV. 361: I. Andante 02:26
9. Violin Sonata in A Major, HWV. 361: II. Allegro 01:54
10. Violin Sonata in A Major, HWV. 361: III. Adagio 00:50
11. Violin Sonata in A Major, HWV. 361: IV. Allegro 02:43
12. Violin Sonata in G Minor, HWV. 364a: I. Larghetto 01:55
13. Violin Sonata in G Minor, HWV. 364a: II. Allegro 01:45
14. Violin Sonata in G Minor, HWV. 364a: III. Adagio 00:41
15. Violin Sonata in G Minor, HWV. 364a: IV. Allegro 02:14
16. Violin Sonata in A Major, HWV. 372: I. Adagio 01:15
17. Violin Sonata in A Major, HWV. 372: II. Allegro 02:25
18. Violin Sonata in A Major, HWV. 372: III. Largo 01:14
19. Violin Sonata in A Major, HWV. 372: IV. Allegro 02:58
20. Violin Sonata in E Major, HWV. 373: I. Adagio 01:54
21. Violin Sonata in E Major, HWV. 373: II. Allegro 02:53
22. Violin Sonata in E Major, HWV. 373: III. Largo 01:35
23. Violin Sonata in E Major, HWV. 373: IV. Allegro 02:48
24. Violin Sonata in G Minor, HWV. 368: I. Andante 02:19
25. Violin Sonata in G Minor, HWV. 368: II. Allegro 02:49
26. Violin Sonata in G Minor, HWV. 368: III. Adagio 02:02
27. Violin Sonata in G Minor, HWV. 368: IV. [Allegro moderato] 02:33
28. Violin Sonata in F Major, HWV. 370: I. Adagio 03:12
29. Violin Sonata in F Major, HWV. 370: II. Allegro 02:13
30. Violin Sonata in F Major, HWV. 370: III. Largo 03:20
31. Violin Sonata in F Major, HWV. 370: IV. Allegr o03:53
32. Violin Sonata in D Major, HWV. 371: I. Affettuoso 03:11
33. Violin Sonata in D Major, HWV. 371: II. Allegro 02:57
34. Violin Sonata in D Major, HWV. 371: III. Larghetto 02:46
35. Violin Sonata in D Major, HWV. 371: IV. Allegro 03:53

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The Choir of The Queen’s College, Oxford celebrate the works of choral music icon Herbert Howells in a disc that sets his works alongside pieces that they inspired and influenced – such as Nico Muhly’s Like as the Hart for choir, solo violin and percussion – as well as works that in turn influenced him. The disc features two world premiere recordings by David Bednall: settings of two Marian antiphons Alma redemptoris mater and Ave regina caelorum that ‘complete’ the partly-lost set of works that Howells wrote for Westminster Cathedral. Led by their director Owen Rees, the Choir of The Queen’s College, Oxford is among the finest and most active university choirs in the UK. Its wide-ranging repertory includes a rich array of music from Renaissance and Baroque masterpieces to contemporary works, including commissions. Their recording of David Bednall’s Christmas work Welcome All Wonders was met with critical praise:“An excellent disc: the singing is incredibly tight, in the manner to which it has become increasingly accustomed under its musical director, Owen Rees, and Bednall’s writing is ingenious, embedded in a profound understanding of the workings of the choir and organ – both as distinct entries and as a partnership.” (Gramophone)

Tracklist:
01. Behold O God our Defender
02. Hymn for St Cecilia
03. O Lord, I am not Haughty
04. God Be in My Head
05. The Souls of the Righteous
06. The House of the Mind
07. Lighten our Darkness
08. Like as the Hart
09. Like as the Hart
10. Behold O God our Defender
11. My Beloved Spake
12. Regina caeli
13. Alma redemptoris mater
14. Salve regina
15. Ave regina caelorum

Personnel:
The Choir of The Queen’s College, Oxford
Owen Rees, conductor

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In their thirteen years of existence, Atlanta’s garage punks The Coathangers have cranked out five full-lengths and over a dozen singles, splits, and EPs. And while every Coathangers record has captured their buoyant turbulence and jagged euphoria, there’s always some degree of magic that gets lost when bands go into the studio. Whatever the source of that magic, The Coathangers have always wrangled a replication of that sweaty and sticky live feeling, but the time had come to properly document it. LIVE captures the playful fervor of The Coathangers at their finest. Says guitarist/vocalist Julia Kugel, ‘it’s like our anthology… our entire career in 38 minutes,’ from the slow-burn pop of Captain’s Dead off last year’s Parasite EP to the rabblerousing rocker Tonya Harding off their self-titled debut. ‘Gettin’ Mad and Pumpin’ Iron’ sounds more unhinged here than when it first appeared on Scramble in 2009. Favorites like Adderall sound increasingly ragged and desperate as drummer Stephanie Luke belts out the lyrics on an adrenaline rush. Recent songs like bassist Meredith Franco’s Nosebleed Weekend highlight Burn Me feel injected with an urgency that pushes the post-punk number into an unruly anthem. The magic of The Coathangers lives in LIVE.

Tracklist:
1. Watch Your Back
2. Follow Me
3. Smother
4. Arthritis Sux
5. Captain’s Dead
6. Burn Me
7. Make It Right
8. Springfield Cannonball
9. Hurricane
10. Adderall
11. Tonya Harding
12. Gettin’ Mad and Pumpin’ Iron
13. Shut Up
14. Squeeki Tiki

Please note: Tracks “1,2,5,6,9,10,11,12” are in 96kHz/24bit format.

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An album of classic hits performed by the world’s No.1 Brass Band to celebrate the 25th Anniversary of Britpop.
External PR to be carried out by Phill Savage, who coined the term ‘Britpop’.
Decca own the brand ‘Britpop’.
Britpop gigs lined up for summer festivals.
The album features The Cory Band – the World’s No.1 Brass Band. They made history in 2016 by winning the ultimate Grand Slam of titles which were: European Champions 2016, British Open Champions 2016, National Champions of Great Britain 2016, Brass in Concert Champions 2016. This has never been achieved by any other Brass Band in history.

Tracklist:
1. Mick Jagger, Keith Richards: Bittersweet Symphony 03:30
2. Noel Gallagher: Don’t Look Back In Anger 04:07
3. Damon Albarn, Graham Leslie Coxon, Steven Alexander James, David Rowntree: Country House 03:59
4. Mark Roberts, Cerys Elizabeth Matthews, Aled Wyn Richards, Owen Powell, David Paul Jones: Mulder And Scully 03:15
5. Brett Lewis Anderson, Bernard Joseph Butler: Animal Nitrate 03:14
6. Damon Albarn, Graham Coxon, Alex James, Dave Rowntree: Girls And Boys 03:51
7. Noel Gallagher: Roll With It 04:01
8. John Power: Walkaway 03:29
9. Nick Banks, Jarvis Cocker, Candida Doyle, Steve Mackey, Russell Senior: Common People 03:45
10. Daniel Goffey, Michael Quinn, Gareth Coombes: Alright 02:58
11. Andrew Miller, Mathew Priest, Nigel Clark: Good Enough 03:47
12. Martin Carr: Wake Up Boo! 03:01

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The Equatorial Group’s music has been described in many ways; ramshackle folk-rock, space country, languid Americana. but, perhaps more importantly they believe it to be honest and sincere, derivative of their influences and kissed by their love of simple countrified sonic landscapes. Their ‘sound’, based primarily around pedal steel, heartfelt vocals and dreamy four part harmonies, has been likened to Fleetwood Mac, The Magnolia Electric Company and Emmylou Harris that said they’ve not been afraid to embrace the inner ‘Crazy Horse’. It is a sound that they have honed during four years of gigging with the likes of Willy Mason, Mark Morriss, William The Conqueror, Joan Shelley and Joana Serrat. The album was recorded at Echo Zoo Studios in Eastbourne, which sits reassuringly close to the band’s beloved Downs and seafront, with producer Dave Lynch (Magic Numbers, Kathryn Williams, Duke Special) at the controls.

Tracklist:
1. Lights Shine 03:48
2. Juggernauts 05:49
3. Surrogate Funeral 04:07
4. Toy Shark 04:13
5. Burning 05:23
6. Farewell My Lovely 05:00
7. Electric Night 06:43
8. Those Dudes 04:02
9. Motorbikes 05:46
10. Sometime in Spring 02:33

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The loony Flaming Lips are diving back into their old material and, with it, releasing a remastered collage titled Scratching The Door, a sort of family album from their early days. It features recordings from 1985 to 1989, as they were still in their original formation: Wayne Coyne on the guitar, his brother on vocals, Michael Ivins on the bass and Dave Kotska on drums. The opus focuses on their debut and features their first self-produced EP, demos and a completely destroy version of the Who’s Anyway, Anywho, Anywhere. Now fifty something, they were just 20 years old back then and their already battered sound − a sort of raw post-punk carried by gritty and scruffy guitars, thunderous bass (Flaming Lips Theme Song), heightened by harmonica digressions (Handsome Johnny) − more so than their psychedelic convulsions was already spreading through Oklahoma City. In June 2018, they will follow up this album with Seeing The Unseeable: The Complete Studio Recordings Of The Flaming Lips 1986-1990: a compilation of their first albums, of their Restless Records period, before their move to Warner. Fantastic news for their early fans. – Charlotte Saintoin

Tracklist:
1. Bag Full Of Thoughts 05:36
2. Out For A Walk 03:14
3. Garden Of Eyes 01:56
4. Forever Is A Long Time 03:19
5. Scratching The Door 07:09
6. My Own Planet 04:11
7. Killer On The Radio 02:58
8. Batman Theme 01:47
9. Anyway, Anyhow, Anywhere 02:32
10. Handsome Johnny 02:56
11. Flaming Lips Theme Song 03:53
12. The Future Is Gone 03:22
13. Underground Pharmacist 04:48
14. Real Fast Words 03:15
15. Groove Room 06:07
16. Jesus Shooting Heroin 07:05
17. Trains, Brains & Rain 03:25
18. Communication Breakdown 03:44
19. Summertime Blues 02:29

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Peter Pears: Balinese Ceremonial Music is nine songs written by Thomas Bartlett (aka Doveman) and Nico Muhly plus three gamelan transcriptions by ethnomusicologist Colin McPhee, which inspired the new songs. Bartlett and Muhly play pianos and keyboards on the album, and Bartlett sings, joined by other musicians on strings and metallic pitched percussion. McPhee recorded a suite of Balinese ceremonial music with Benjamin Britten in 1941. Muhly says: “The project is named after Peter Pears, who was Britten’s partner and also an observer and collaborator of a larger community of musicians, writers, and thinkers.”

Tracklist:
01. Gambangan
02. Dominic
03. Festina
04. Grendel
05. Pemoengkah
06. Valentine
07. Albeus
08. Nicholas
09. Taboeh Teloe
10. Selenite
11. Eusebius
12. Balthasar

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Thomas Dunford continues to expand his discography on Alpha with a programme of solo lute works by J.S. Bach, recorded in the ideal surroundings of the Salle de Musique of La Chaux-de-Fonds in Switzerland.

He performs an original composition by Bach for lute, the Suite in G minor BWV 995, as well as his own arrangements of the (Cello) Suite BWV 1007 and the famous Chaconne from the Partita BWV 1004 – the latter piece has a notorious reputation for being (virtually) unplayable, at least on the violin!

This is not the place for yet another disquisition on the widespread baroque practice of transcribing works: Bach was no stranger to it himself, to say nothing of Handel, who plagiarised himself over and over; and this album gives us the Cantor transcribing the Cantor. In this instance we are looking at the Fifth Suite in C Minor for cello, which he re-wrote for the lute. Taking his lead from the composer, lutist Thomas Dunford has done the same to the First Suite for cello, and revised it for his instrument. Obviously, the music seems renewed, elucidated in many different ways: the styles, the reverberations, the harmonies, the counterpoints all develop differently, but we are still hearing original Bach: it’s just that its richness is distributed differently in our ears. Dunford offers us a generous “B-side” in the form of a transcription of the Chaconne taken from the Suite for Solo Violin in D Minor, another superb exercise in reconsidering balances while respecting the letter of the music. It remains astounding what one can do with Bach, without ever betraying the spirit of his works.

Tracklist:
1. Cello Suite No. 1 in G Major, BWV 1007: I. Prélude (Arranged for Lute by Thomas Dunford) (02:51)
2. Cello Suite No. 1 in G Major, BWV 1007: II. Allemande (Arranged for Lute by Thomas Dunford) (04:56)
3. Cello Suite No. 1 in G Major, BWV 1007: III. Courante (Arranged for Lute by Thomas Dunford) (02:50)
4. Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande (Arranged for Lute by Thomas Dunford) (02:24)
5. Cello Suite No. 1 in G Major, BWV 1007: V. Menuet I – VI. Menuet II (Arranged for Lute by Thomas Dunford) (03:16)
6. Cello Suite No. 1 in G Major, BWV 1007: VII. Gigue (Arranged for Lute by Thomas Dunford) (01:46)
7. Suite in G Minor, BWV 995: I. Prélude (Arranged by Bach from Cello Suite No. 5 in C Minor, BWV 1011) (06:21)
8. Suite in G Minor, BWV 995: II. Allemande (Arranged by Bach from Cello Suite No. 5 in C Minor, BWV 1011) (06:24)
9. Suite in G Minor, BWV 995: III. Courante (Arranged by Bach from Cello Suite No. 5 in C Minor, BWV 1011) (02:42)
10. Suite in G Minor, BWV 995: IV. Sarabande (Arranged by Bach from Cello Suite No. 5 in C Minor, BWV 1011) (02:48)
11. Suite in G Minor, BWV 995: V. Gavotte I – VI. Gavotte II en rondeau (Arranged by Bach from Cello Suite No. 5 in C Minor, BWV 1011) (04:08)
12. Suite in G Minor, BWV 995: VII. Gigue (Arranged by Bach from Cello Suite No. 5 in C Minor, BWV 1011) (02:16)
13. Violin Partita No. 2 in D Minor, BWV 1004: V. Chaconne (Arranged for Lute by Thomas Dunford) (13:25)

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Thumbscrew demonstrates their unique collective musical vision in contrasting but complementary ways on two exciting new CDs. Ours and Theirs are the first to be released on a newly revamped Cuneiform Records, just returning from a hiatus. Comprised of longtime collaborators Michael Formanek, Tomas Fujiwara, and Mary Halvorson, Thumbscrew is a true collaborative effort with all three members contributing at an equal rate both in terms of composition and improvisation.

Born out of a residency at Pittsburgh’s City of Asylum where Thumbscrew created their striking second album Convallaria, Ours and Theirs showcase Thumbscrew in two different contexts performing all originals on Ours and all covers on Theirs. Both albums present a meticulous and intuitive original sound that could only be crafted during focused and intensive time as a collective in a place like City of Asylum. “When we arrived at City of Asylum for our second residency in June 2017, we immediately said, ’we’re home!’” says Fujiwara, “The feelings we get when being at City of Asylum, around the people that make it such a unique place doing great work…All of this contributes to a creative process that’s open and inclusive and experimental.”

Tomas, Michael, and Mary are no strangers to each other’s work, having performed in a multitude of projects together, including Michael Formanek’s Ensemble Kolossus, Tomas Fujiwara and the Hook Up’s After All is Said, and most recently, in Mary Halvorson’s critically-acclaimed Code Girl.

Ours, as its namesake suggests, is an album of original compositions with Fujiwara, Formanek and Halvorson contributing three works apiece. Opening with Halvorson’s striking “Snarling Joys,” Ours begins with delicate (and ever so slightly warped) ensemble figures that very naturally develop into an urgent and tense thrill-ride of a track, with a brilliant bass solo from Formanek. Fujiwara’s “Saturn Way” shows the ensemble bouncing off of each other’s rhythmic framework with Fujiwara anchoring the group through a pummeling rolling tom figure that slowly descends into a spacious and attentive group improvisation. Later, on Formanek’s punk-thru-the-wormhole style “Cruel Heartless Bastards” the ensemble shifts metric pulse in total lockstep on the turn of a dime while a teasing 4/4 figure creates a sense of gravity for the entire composition. Halvorson takes the track to the stratosphere with a dizzying guitar pedal laden solo after the group snakes their way through Formanek’s labyrinth.

On the contrast between the two records, Halvorson says, “The approach to presenting a unique and personal take on a composition is the same whether it’s one of Ours or one of Theirs.”

Tracklist:
1. Snarling Joys 05:59
2. Saturn Way 06:14
3. Cruel Heartless Bastards 06:59
4. Smoketree 06:30
5. Trumbprint 04:53
6. One Day 07:52
7. Rising Snow 05:03
8. Words That Rhyme With Spangle (angle bangle dangle jangle mangel mangle strangle tangle wangle wrangle) 04:59
9. Unconditional 07:27

Personnel:
Michael Formanek – bass
Tomas Fujiwara – drums
Mary Halvorson – guitar

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Rundfunk-Sinfonieorchester Berlin & Jakub Hrusa – Bartok & Kodaly: Concertos for Orchestra (2018) [Official Digital Download 24bit/96kHz]

Ruth Killius – Hindemith: Complete Sonatas for Viola Solo (2018) [Official Digital Download 24bit/96kHz]

Ry Cooder – The Prodigal Son (2018) [Official Digital Download 24bit/88,2kHz]

Tassis Christoyannis & Jeff Cohen – Benjamin Godard: Melodies (2016) [Official Digital Download 24bit/96kHz]

Tedi Papavrami & Nelson Goerner – Franck & Faure: Sonates pour violon et piano (2017) [Official Digital Download 24bit/88,2kHz]

Tenebrae & Nigel Short – Daylight Declines: Choral Music by Pawel Lukaszewski (2018) [Official Digital Download 24bit/96kHz]

TesseracT – Sonder (2018) [Official Digital Download 24bit/96kHz]

Tetzlaff Quartet – Mendelssohn: String Quartet in A Minor, Op. 13 – Berg: Lyric Suite (2014) [Official Digital Download 24bit/48kHz]

The Allman Brothers Band – Cream of the Crop 2003 (2018) [Official Digital Download 24bit/44,1kHz]

The Beach Boys & Royal Philharmonic Orchestra – The Beach Boys With The Royal Philharmonic Orchestra (2018) [Official Digital Download 24bit/96kHz]

The Bones of J.R. Jones – Ones to Keep Close (2018) [Official Digital Download 24bit/44,1kHz]

The Brook Street Band – Handel: Sonatas for Violin and Basso Continuo (2018) [Official Digital Download 24bit/96kHz]

The Choir of the Queen’s College, Oxford & Owen Rees – The House of the Mind (2018) [Official Digital Download 24bit/96kHz]

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

The Cory Band – Britpop Brass (2018) [Official Digital Download 24bit/96kHz]

The Equatorial Group – Apricity (2018) [Official Digital Download 24bit/48kHz]

The Flaming Lips – Scratching The Door: The First Recordings Of The Flaming (Remastered) (2018) [Official Digital Download 24bit/96kHz]

Thomas Bartlett & Nico Muhly – Peter Pears: Balinese Ceremonial Music (2018) [Official Digital Download 24bit/96kHz]

Thomas Dunford – Bach (2018) [Official Digital Download 24bit/96kHz]

Thumbscrew – Ours (2018) [Official Digital Download 24bit/48kHz]