Studio Masters – HDMusic.me

After introducing the world to their feral take on dance pop, German duo Milky Chance continues its ascendance. Songs like “Blossom,” “Cocoon,” and “Ego” are born from the same DNA that gave “Stolen Dance” and Sadnecessary its wings—a lively acoustic backbone, an intuitive sense of groove, and the pleading, rough-hewn voice of Clemens Rehbein. Blossom finds Milky Chance expanding their sound, using fewer samples while staying true to their organic chemistry.

Milky Chance went from an obscure viral pop act to a Billboard 200 charter with their 2013 debut, Sadnecessary. Their sophomore full-length album, 2017’s Blossom, finds the German duo building upon that success with a more robust sound and continued knack for hooky, rhythmically infectious pop. Still featuring the talents of singer/songwriter Clemens Rehbein and DJ/instrumentalist Philipp Dausch, Milky Chance make a distinctive brand of acoustic and electronic-infused indie pop that draws upon a wide array of styles from reggae to ’60s psychedelia, as well as a heavy dose of Latin and Afro-pop. Interestingly, along with their global perspective and German roots, they sing in English — a choice that adds to their populist accessibility. Which isn’t to say Blossom is an artlessly commercialized recording. On the contrary, cuts like “Firebird,” “Doing Good,” and “Bad Things,” which also features vocals from British singer Izzy Bizu, are emotive, organically produced, dance-friendly tracks that frame Rehbein’s throaty, nasally resonant vocals with buoyant guitars, keyboards, and a variety of percussion. It’s a sound that brings to mind a pleasing mix of Detroit’s JR JR crossed with Canada’s Sam Roberts Band. The album is folky and melodic where it needs to be, but it never strays too far from a sweet, toe-tapping pulse. Elsewhere, Milky Chance amp up the Latin-dance influence on “Clouds,” and split the difference between spacy dub and laconic psych-rock on “Peripeteia.” They even make room for a few introspective moments, as on the atmospheric and fittingly titled “Piano Song.” Even before hearing them, with their head-scratching band name (purportedly a play on the idea of smooth or “milky”-sounding music), Milky Chance usually elicit a curious smile. However, after getting any number of the songs on Blossom stuck in your head, that smile quickly turns into one of earnest joy.

Tracklist:

1.Blossom – 4:13
2.Ego – 3:52
3.Firebird – 3:42
4.Doing Good – 4:11
5.Clouds – 4:17
6.Cold Blue Rain – 4:57
7.Stay – 4:10
8.Bad Things (feat. Izzy Bizu) – 4:13
9.Cocoon – 4:15
10.Losing You – 4:33
11.Peripeteia – 3:44
12.Alive – 4:11
13.Piano Song – 3:18
14.Heartless – 6:43
15.Cold Blue Rain (Acoustic Version) – 3:45
16.Alive (Acoustic Version) – 3:17
17.Cocoon (Acoustic Version) – 3:15
18.Ego (Acoustic Version) – 4:29
19.Firebird (Acoustic Version) – 3:12
20.Peripeteia (Acoustic Version) – 3:18

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La Compagnia del Madrigale, Marta Graziolino, Luca Guglielmi – Monteverdi: Il pianto della Madonna (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:08:25 minutes | 642 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Glossa

With Il pianto della Madonna, a collection of spiritual compositions by Claudio Monteverdi, La Compagnia del Madrigale provide a stunning follow-up to their award-winning recording of the Fifth Book of madrigals by Luca Marenzio — both releases from Glossa. The singers of the ensemble have returned to their favoured Piedmontese recording location in Roletto to create a vivid sound picture of the desire in Monteverdi’s own time to bring the “heavenly harmony” of the composer’s secular works into the service of the religious domain (and that despite Post-Tridentine restrictions on such secular “intrusions”).

Here, for example, is presented the spiritual version of the celebrated Lamento d’Arianna from the lost opera Arianna — Il pianto della Madonna — and sung in a distinctive polyphonic reworking prepared especially for La Compagnia del Madrigale. Pastoral concerns in Monteverdi’s madrigals, such as in the Fourth and Fifth Books, make way for reflections on the Crucifixion or the Nativity through the new religious texts supplied by the likes of Angelo Grillo and Aquilino Coppini, which nonetheless fit the music more than aptly. Included also are some of Monteverdi’s own religious compositions, as published by Giulio Cesare Bianchi, and including the extensive Litaniae lauretanae.

In the booklet essay Marco Bizzarini brings his deep understanding of the interplay of words and music in Italy in Monteverdi’s time, underscoring the skill, experience and sheer musicality of La Compagnia del Madrigale.

Tracklist:

1.Selva morale e spirituale: Pianto della Madonna – Iam moriar mi fili – 15:31
2.Selva morale e spirituale: E questa vita un lampo – 2:34
3.Madrigals, Book 5 (Il quinto libro de madrigali), SV 94-106: Stabat Virgo Maria – 4:04
4.Madrigals, Book 4 (Il quarto libro de madrigali), SV 75-93: Rutilante in nocte – 2:50
5.Fiori musicali, Op. 12:Toccata avanti la Messa degli Apostoli: Altro recercar – 1:30
6.Domine ne in furore tuo, SV 298 – 4:00
7.Christe adoramus te, SV 294 – 3:33
8.Cantate Domino canticum novum, SV 293 – 2:33
9.Ecco Silvio, SV 97: Qui pependit in cruce Deus meus – 3:14
10.Ecco Silvio, SV 97: Qui pietate tua – 3:10
11.Ecco Silvio, SV 97: Maria quid ploras ad monumentum – 2:42
12.Ecco Silvio, SV 97: Te Jesu Christe liberator meus – 2:35
13.Ecco Silvio, SV 97: Pulchrae sunt genae tuae – 4:33
14.Fiori musicali, Op. 12: Toccata avanti la Messa degli Apostoli: Christe I – 1:03
15.Adoramus te Christe, SV 289 – 3:33
16.Laetaniae della Beata Vergine, SV 204 – 11:08

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The Choir of St. Jacob, Stockholm, Stefan Skold – Mozart: Requiem in D Minor, K. 626 (1979/2015)
FLAC (tracks) 24 bit/192 kHz | Time – 51:07 minutes | 1,85 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © 2xHD

This rerelease of a 1979 recording has been called one of the most perfect versions of Mozart’s Requiem ever made. Margareta Hallin, Anne-Marie Mhle, Brian Burrows and Magnus Lindn are accompanied by musicians of the Stockholm Conservatory and the Choir of St. Jacob, conducted by Stefan Skld.

Tracklist:

1.Requiem in D Minor, K. 626: Introit: Requiem aeternam (Chorus) – 7:59
2.Requiem in D Minor, K. 626: Sequence No. 1: Dies Irae (Chorus) – 1:45
3.Requiem in D Minor, K. 626: Sequence No. 2: Tuba mirum (Soprano, Mezzo-soprano, Tenor, Baritone) – 3:36
4.Requiem in D Minor, K. 626: Sequence No. 3: Rex tremendae majestatis (Chorus) – 2:38
5.Requiem in D Minor, K. 626: Sequence No. 4: Recordare, Jesu pie (Soprano, Mezzo-soprano, Tenor, Baritone) – 5:27
6.Requiem in D Minor, K. 626: Sequence No. 5: Confutatis maledictis (Chorus) – 2:24
7.Requiem in D Minor, K. 626: Sequence No. 6: Lacrimosa dies illa (Chorus) – 3:28
8.Requiem in D Minor, K. 626: Offertory No. 1: Domine Jesu Christe (Chorus) – 3:43
9.Requiem in D Minor, K. 626: Offertory No. 2: Hostias et preces (Chorus) – 4:51
10.Requiem in D Minor, K. 626: Sanctus (Chorus) – 1:34
11.Requiem in D Minor, K. 626: Benedictus (Soprano, Mezzo-soprano, Tenor, Baritone) – 5:16
12.Requiem in D Minor, K. 626: Agnus Dei (Chorus) – 8:32

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London Symphony Orchestra, Sir Colin Davis – Mozart: Requiem Mass in D minor, K626 (1791) (2008)
FLAC (tracks) 24 bit/96 kHz | Time – 50:34 minutes | 931 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Hyperion Records

‘This is a grandly scaled, nobly contoured reading, by turns monumental and ferociously dramatic. With biting choral attack, searing, spitting strings and scything trumpets, the Dies Irae has a terrifying intensity I have rarely heard equalled. The Rex tremendae, too, is overwhelming in its desperate fervour&… superbly played and vividly recorded” (Gramophone)

‘This performance benefits from marvellous sound and shows Davis secure in his tempo choices and bringing that combination of solemnity, grandeur and drama … Soprano Marie Arnet’s pristine tone and flawless intonation make her near ideal” (BBC Music Magazine)

‘A deeply felt account of a masterpiece from a conductor who has lived with this music for most of his professional life’ (The Sunday Times)

Tracklist:

1.Requiem Mass in D minor, K626: Movements 1 & 2: Introitus – Kyrie – 7:15
2.Requiem Mass in D minor, K626: Movement 3a. Sequenz: Dies irae – 1:44
3.Requiem Mass in D minor, K626: Movement 3b. Sequenz: Tuba mirum – 3:37
4.Requiem Mass in D minor, K626: Movement 3c. Sequenz: Rex tremendae – 2:13
5.Requiem Mass in D minor, K626: Movement 3d. Sequenz: Recordare – 6:06
6.Requiem Mass in D minor, K626: Movement 3e. Sequenz: Confutatis maledictis – 2:43
7.Requiem Mass in D minor, K626: Movement 3f. Sequenz: Lacrimosa – 2:59
8.Requiem Mass in D minor, K626: Movement 4a. Offertorium: Domine Jesu – 4:16
9.Requiem Mass in D minor, K626: Movement 4b. Offertorium: Hostias – 4:36
10.Requiem Mass in D minor, K626: Movement 5a: Sanctus – 1:47
11.Requiem Mass in D minor, K626: Movement 5b: Benedictus – 4:33
12.Requiem Mass in D minor, K626: Movements 6 & 7: Agnus Dei – Lux aeterna – 8:49

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One of the top jazz arranger/composers of the 1950s, Neal Hefti first wrote charts in the late ’30s for Nat Towles. He contributed arrangements to the Earl Hines big band; played trumpet with Charlie Barnet, Horace Heidt, and Charlie Spivak (1942-1943); and toured with Woody Herman’s First Herd (1944-1946), marrying Herman’s singer Francis Wayne. It was with Herman that Hefti began to get a strong reputation, arranging an updated “Woodchopper’s Ball” and “Blowin’ Up a Storm,” and composing “The Good Earth” and “Wild Root.” He also took a notable solo during a Lucky Thompson session on “From Dixieland to Bop.” However, Hefti soon relegated his trumpet playing to a secondary status (although he played it on an occasional basis into the 1960s) and concentrated on his writing. He contributed charts to the orchestras of Charlie Ventura (1946), Harry James (1948-1949), and most notably Count Basie (1950-1962). For Basie, he wrote “Little Pony,” “Cute,” “Li’l Darling,” “Whirlybird,” and many other swinging songs, often utilizing Frank Wess’ flute in inventive fashion. Neal Hefti also led his own bands off and on in the 1950s, but in later years concentrated on writing for films while remaining influenced by his experiences in the jazz world. Hefti passed away at his California home on October 11, 2008, at age 85. ~ Scott Yanow

Tracklist:

1.Main Title (“Frenchie” Theme from “Boeing Boeing”) – 2:40
2.Vikki (We Are Engaged, Aren’t We?) – 3:15
3.Champagne Promises (Boys Will Be Boys) – 2:09
4.Blues for Bertha (I’m Not Very Strong) – 2:40
5.English Breakfast (Good for the Complexion) – 2:18
6.Senor Boeing (21,000 Pounds of Thrust) – 1:44
7.Frenchie (Main Theme from “Boeing Boeing”) – 2:09
8.Champagne Promises (Embracing with the Moon) – 3:08
9.Bavarian Pipe Dream (Happy Titfalligit-Lugnandeplatz) – 1:56
10.Fraulien ‘D’ Cup (The Story That Had to Be Told) – 1:26
11.More Blues for Bertha (I’ll Never Survive This) – 2:31
12.Girl Chasin’ (Rushing Roulette) – 2:39

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Home Before Dark is Neil Diamond’s second collaboration with producer Rick Rubin. It follows the fine but ill-fated 12 Songs, which was sabotaged by Sony’s “Rootkit” program scandal: a nefarious bit of “copy protection” software that invaded the operating system of PCs and wreaked havoc. 12 Songs had to be recalled from store shelves just as Diamond received better reviews than he had in a decade. Sony reissued it in 2007, but the damage was done. Diamond, disappointed but undaunted, sought out Rubin. Rubin enlisted Heartbreakers keyboardist Benmont Tench and lead guitarist Mike Campbell, studio guitarist/bassist Smokey Hormel, and former Chavez guitar slinger Matt Sweeney. There are no drums. David Campbell did some skeletal string arrangements, but that’s it. In addition, Natalie Maines of the Dixie Chicks duets on the track “Another Day (That Time Forgot).” Home Before Dark is a more exposed Diamond than listeners have ever heard. He’s out there, bashing on his guitar and singing from a position of extreme vulnerability; he’s on a wire without a net. His musicians understand what is so dynamically and poetically evident in the songs, and use painterly care in adorning them. Diamond is not a young man anymore and, thankfully, he doesn’t write like one — though he sounds lean and hungry for something just out of reach. “Forgotten” has a rock & roll progression worthy of his Bang singles. Its lyric reflects the travails of a protagonist whose heart bears hurt without the grace and wisdom that age is supposed to bring. The grain in his voice is fierce; it quavers just a bit in the refrain, and Sweeney’s electric guitar nails it to the wall. It follows “One More Bite of the Apple,” another rollicking rocker, but this one is about reuniting with his true beloved — songwriting itself.

Home Before Dark contains some beautiful love songs, too. “If I Don’t See You Again,” the album’s opener, reflects the bittersweet aftertaste of lost love. It’s classic Diamond. His character converses with a reflection, a ghost. The gorgeously crafted instrumental bridge and the sense of loneliness in the protagonist’s voice combine seamlessly. The album’s first single is “Pretty Amazing Grace.” Diamond sings a prayer of gratitude for rescue and restoration, whether to Divine Providence, his lover, or both; we don’t know. His infectious, haunting melody is jarring, played in minor chords by fingerpicked steel-string guitars and anchored by a standup bass. Tench’s piano adds tension just before the refrain where the guitars get punchy flamenco-style and break it wide open. Strings decorate the backdrop, as the lyric juxtaposes the present against the past, not as contrast but as progression. The duet with Maines, “Another Day (That Time Forgot),” has shadowy traces of the gentle but brooding intensity of the intro to “Holly Holy” in the chord progression. It’s a joint confession between lovers who are lost to one another; the tragedy is they have no idea how they grew apart. Tench’s piano improv fills the space between verses; he underscores the melancholy gorgeously. “The Power of Two,” with multi-tracked, entwining acoustic guitar lines by Campbell, is an artful framework for one of Diamond’s protagonists to realize that he finally has the ability and courage to embrace another fully, and to allow himself to become a part of love instead of remaining apart from it. Home Before Dark is a less “civilized” album than anything Diamond’s done before. It is a stark and moving portrait of what an accepted artist found when he reached all the way down to face his fear, doubt, and knowledge, and brought the discovery into his work. Diamond proves not only that can he still write great songs, but also that he can deliver them with toughness and grit as an expression of real beauty.

Tracklist:

1.If I Don’t See You Again – 7:13
2.Pretty Amazing Grace – 4:53
3.Don’t Go There – 6:04
4.Another Day (That Time Forgot) – 6:12
5.One More Bite Of The Apple – 6:39
6.Forgotten – 4:22
7.Act Like A Man – 4:04
8.Whose Hands Are These – 3:12
9.No Words – 4:49
10.The Power Of Two – 4:35
11.Slow It Down – 4:56
12.Home Before Dark – 6:00

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Leaving behind Columbia Records along with his latter-day collaborator producer Rick Rubin, Neil Diamond sets up shop at Capitol — which now belongs to Universal Records, who owns his classic recordings for Uni and MCA — and teams with producer Don Was for 2014’s Melody Road. Diamond may have left his label of 40 years, but in an odd way, Melody Road is a return home after his stark wanderings of the 2000s. Rubin encouraged Diamond to be spare, sometimes recording him with little more than an acoustic guitar, but Was — who is assisted by Jacknife Lee — coaxes the singer/songwriter to bring back the schmaltz, an essential element of Neil’s glory days that was largely ignored on the Rubin records. Was and Lee retain a hint of that new millennial intimacy — it’s never once as overblown as his ’70s records — but the songs themselves alternate between stately ballads, effervescent bubblegum, and self-important pomp. As on his best ’70s records, which Melody Road often resembles in both construction and consistency, Diamond is best when he keeps his ambitions relatively simple. There’s majesty on the title track and haunting splendor on “Alone at the Ball,” and they find their counterparts in the joyous “Something Blue” and “Marry Me Now,” along with the spirited ramble of “First Time.” Each of these songs evoke memories of Diamond’s peak — a little bit of “Solitary Man,” a little bit of “I Am…I Said,” a little bit of “Cherry Cherry” — while the tedious socially aware slog of “Seongah and Jimmy” and endless ballad “(OOO) Do I Wanna Be Yours” bring back the Diamond that’s often forgotten, the Diamond whose LPs often got bogged down in middlebrow aspirations. As much as these weigh down Melody Road, it’s also true that there’s never been a Neil Diamond record where he doesn’t stray into this murky territory. What makes a difference here is the general lightness of his new songs and Was and Lee’s sympathetic production; the two play off each other perfectly, turning this into the first latter-day Diamond record to feel quintessentially Neil Diamond.

Tracklist:

1.Melody Road – 3:12
2.First Time – 4:02
3.Seongah And Jimmy – 5:45
4.Something Blue – 4:03
5.Nothing But A Heartache – 4:34
6.In Better Days – 3:31
7.(OOO) Do I Wanna Be Yours – 6:14
8.Alone At The Ball – 2:57
9.Sunny Disposition – 3:14
10.Marry Me Now – 3:35
11.The Art Of Love – 4:07
12.Melody Road (Reprise) – 1:11

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Emerging as an independent act after a five-year absence, Nelly Furtado seizes the opportunity to open another chapter of her career with The Ride. Originally recorded for Interscope, Furtado wrangled control of the album as she left the label and, fittingly enough, The Ride is perched between the mainstream and the fringe. Much of the latter is due to the presence of John Congleton, the producer best known for helming albums by St. Vincent, and the vivid, elastic soundscapes of Annie Clark’s records are certainly an inspiration for Furtado. The Ride may not be as daring as St. Vincent’s work, but that’s relative. In its own way, the album is as much a redefinition for Furtado as Loose was a decade earlier, positioning her as a mature pop artist with adult alternative undertones. Structurally, many of the songs here recall the moodier moments on 2012’s The Spirit Indestructible and can even evoke ghosts of her ambitious sophomore set, Folklore, but she hasn’t abandoned the deep bass and dance beats that propelled Loose. Often, these electronic rhythms have been tamed and turned into texture that complements glassy washes of synthesizers and occasional percolating melodies. Even when the tracks are insistent — which they often are — they’re not designed for dance; this is music for meditation, not activity. Furtado underscores how The Ride represents a new beginning by hinting at images of rebirth — to top it off, the album closes with a ballad called “Phoenix” — and while this record certainly supports these assertions, what’s striking about it is that Furtado hedges her bets slightly by retaining conventional pop structure throughout the record. What gives The Ride its personality how these hooks bend through Congleton’s production and Furtado’s subdued delivery, shifting this mainstream pop just into a fringe where this singer/songwriter now seems happy to be.

Tracklist:

1.Cold Hard Truth – 2:54
2.Flatline – 3:22
3.Carnival Games – 4:18
4.Live – 4:04
5.Paris Sun – 3:29
6.Sticks And Stones – 3:35
7.Magic – 4:03
8.Pipe Dreams – 4:23
9.Palaces – 3:32
10.Tap Dancing – 4:10
11.Right Road – 3:29
12.Phoenix – 4:25

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Oleg Kaskiv – The Colours of Antonio Stradivari, Oleg Kaskiv Plays the Szigeti/Walter from 1718 (2012/2018)
FLAC (tracks) 24-bit/96 kHz | Time – 57:50 minutes | 1,11 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Walter Fischli, Allschwil

Oleg Kaskiv was born in Kremenetz, Ukraine, in 1978. He studied firstly at the Krushelnytska Special music school and then at the Lysenko Conservatory in Lviv (Ukraine). During this period he won a number of prizes, including International Dvarionas Competition (Lithuania), International Kotorovych Competition (Ukraine).

He came to study at Menuhin Academy under the guidance of Alberto Lysy in 1996, and he is now a professor of violin at the Academy, also a leader of Camerata Menuhin. Since 1995 he is a professor of violin at the Academy and leads the Menuhin Academy Orchestra (former Camerata Menuhin). In 2007 he also became a Professor at the Conservatoire de Musique de Geneve.

Tracklist:
01. Sonata No. 1 in G Minor Op. 27: I. Grave. Lento assai
02. Sonata No. 1 in G Minor Op. 27: II. Fugato. Molto moderato
03. Sonata No. 1 in G Minor Op. 27: III. Allegretto poco scherzoso. Amabile
04. Sonata No. 1 in G Minor Op. 27: IV. Finale con brio. Allegro fermo
05. Sonata No. 2 in A Minor, BWV 1003: I. Grave
06. Sonata No. 2 in A Minor, BWV 1003: II. Fuga
07. Sonata No. 2 in A Minor, BWV 1003: III. Andante
08. Sonata No. 2 in A Minor, BWV 1003: IV. Allegro
09. Suite No. 1 in G Minor, Op. 83, B.99: I. Prelude
10. Suite No. 1 in G Minor, Op. 83, B.99: II. Andante tranquillo
11. Suite No. 1 in G Minor, Op. 83, B.99: III. Allegro – Andante
12. Suite No. 1 in G Minor, Op. 83, B.99: IV. Allegro energico
13. Recitativo and Scherzo-Caprice, Op. 6: Lento con espressione – Presto e brillante

Personnel:
Oleg Kaskiv, violin

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Orchestre Symphonique de Montréal & Kent Nagano – Bernstein: A Quiet Place (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 01:32:49 minutes | 1,62 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Decca Music Group Ltd.

Why yes, it is still possible to discover Bernstein scores, or in this case the chamber version of A Quiet Place, adapted by Garth Edwin Sunderland, conducted and recorded for the first time by Kent Nagano, at the Montreal Symphony House. The final stage score by the American composer, first performed at the Houston Grand Opera in 1983, it was revisited by the librettist Stephen Wadsworth, and the composer who added several fragments from the one-act piece Trouble in Tahiti, from 1951; this addition would see two new performances (the Scala in Milan, and Washington). Another draft – this one definitive – was performed at the Vienna Opera House, conducted by the composer, in 1986. Fascinating in more ways than one, rather like a modern-day Intermezzo by Strauss, the work depicts American society by way of an existential crisis faced, first by one couple, (Trouble in Tahiti) and then by one family. Bernstein borrowed from Mahler for the structure, with a final movement whose “grave nobility” recalled the final movements of the Third and NinthSymphonies by his much-admired forebear. As is often the case with this composer, Bernstein’s mix of styles (jazz, chorale, Broadway, Mahler, Berg, Britten, Copland…) provides an explosive cocktail, which has about it more of a musical conversation than grand opera – and, paradoxically, that’s what makes this work so unique… And so charming. This is well worth a re-discovery, this time under the baton of Bernstein’s faithful former pupil, Kent Nagano, at the head of top-flight solo singers, who point the way to that “quiet place”, where “love will teach us harmony and grace”. – Franck Mallet

Tracklist:
1. Act 1 : Prologue…”The path of truth is plain and safe” 03:37
2. Act 1 : Dialogue 1. “I am sorry, ma’am” 01:17
3. Act 1 : Dialogue 2. “She wasn’t exactly what you would call a beautiful woman” 03:30
4. Act 1 : Dialogue 3. “Dede! Darlin how’ve you been?” & Arietta “Fantastic, great!” 01:23
5. Act 1 : Dialogue 4. “You’re so like her” 01:55
6. Act 1 : Dialogue 5. “Uh, Susie – You must be François” 00:38
7. Act 1 : Dialogue 6. “Oh François, come.” 01:31
8. Act 1 : Dialogue 7. “Welcome to the Family.” 00:44
9. Act 1 : Dialogue 8. “Say, who’s that character with…” 01:17
10. Act 1 : Dialogue 9. “Dede, where’s your brother 01:53
11. Act 1 : Readings “Who can find a virtuous woman?” & Choral “God has his ways” 05:43
12. Act 1 : Aria “You’re late…” 04:46
13. Act 1 : Trio “Dear Daddy, Daddy dear” 03:24
14. Act 1 : Finale “Merry Christmas to you too, asshole” 02:29
15. Act 1 : Postlude 04:07
16. Act 2 : Aria “I wish I could sleep” 03:56
17. Act 2 : Scene “What are you doing?” 04:12
18. Act 2 : “First, I would like to sing you a little song” 03:57
19. Act 2 : “I coming…closer” 03:30
20. Act 2 : Aria “I’ve been afraid” 04:41
21. Act 3 : Prelude 04:37
22. Act 3 : Aria “Morning. Good Morning” 02:52
23. Act 3 : Scene “The one and only cereal” 03:37
24. Act 3 : Tag #1 “Ha! Absence makes the heart grow fonder! & Trio “Oh! Bon anniversaire” 02:28
25. Act 3 : Tag #2 “Watch it! Watch out!” 02:25
26. Act 3 : Aria “Oh, François, please. Somehow it’s meant for you” 02:01
27. Act 3 : Aria “Dear loved ones” & Laughing Chorus 02:32
28. Act 3 : Scene “I like it here! You mean, maybe you would…” 04:25
29. Act 3 : Aria “Stop. You will not take another step!” 03:56
30. Act 3 : Aria “You see, Daddy, that death does bring some relief” 05:26

Personnel:
Claudia Boyle, soprano (Dede)
Joseph Kaiser, tenor (François)
Gordon Bintner, baritone (Junior)
Lucas Meachem, baritone (Sam)
Rupert Charlesworth, tenor (Funeral Director)
Daniel Belcher, baritone (Bill)
Annie Rosen, mezzosoprano (Susie)
Steven Humes, bass (Doc)
Maija Skille, mezzosoprano (Mrs. Doc)
John Tessier, tenor (Analyst)
Orchestre Symphonique de Montreal
Kent Nagano, conductor

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Simon Callaghan, BBC Scottish Symphony Orchestra & Ben Gernon – Rheinberger & Scholz: Piano Concertos (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 01:11:12 minutes | 1,16 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: hyperion-records.co.uk | Booklet, Front Cover | © Hyperion Records

Just what the Romantic Piano Concerto series does best: three works unlikely to be encountered in the concert hall, in performances by artists who wholeheartedly—and justifiably—believe in the music. The high expectations of this series are amply realized in volume seventy-six.

Tracklist:

Rheinberger： Piano Concerto in A Flat, Op. 94
01 – 1. Moderato
02 – 2. Adagio patetico
03 – 3. Allegro energico

Scholz： Piano Concerto in B, Op. 57
04 – 1. Allegro moderato
05 – 2. Andante, quasi adagio
06 – 3. Allegro
Scholz
07 – Capriccio for Piano & Orchestra, Op. 35

Personnel:
Simon Callaghan (piano)
BBC Scottish Symphony Orchestra
Ben Gernon (conductor)

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While his twelve fantasias for solo flute and solo piano, all published in the 1730s, have been revised many times and spread all over Europe – so that a number of scores have always been available – Telemann’s twelve fantasias for solo viola da gamba, published around the same time, seem to have been lost until 2000: no edition, no copy, no manuscript… Nothing. But then one fine day, the substantial contents of the library of a stately home near Osnabrück were presented to the German National Library, and after years of evaluation, miraculously, it was discovered that amongst the treasures there lay the one and only extant copy of these fantasias for viola da gamba. Twelve “new” works by Telemann, a godsend for viola da gamba players! Ten of them were written in three movements; the first only has two, and the second, by way of balance, perhaps, has four. Telemann runs through different keys fairly haphazardly: after the first four, which move from C to F, the others zigzag around somewhat. The formats of these fantasias are all fairly analogous to one another: the movements last two or three minutes. But it is in writing technique that Telemann is really adventurous. The keys which are “easier” for the instrumentalist, that is, those that contain the most open chords, make use of a lot of polyphony, while pieces in the rarer tonalities develop a deliciously melodic language. Viola da gamba player Richard Boothby, a student of Harnoncourt, made a solid name for himself in the baroque milieu when he founded the Purcell Quartet in 1984, and then the Fretwork ensemble the following year, with whom he has recorded a very well-regarded version of the Goldberg Variations.

Tracklist:
1. Fantasia in C Minor, TWV 40:26 : I. Adagio – Allegro 03:15
2. Fantasia in C Minor, TWV 40:26 : II. Allegro 02:11
3. Fantasia in D Major, TWV 40:27 : I. Vivace 02:34
4. Fantasia in D Major, TWV 40:27 : II. Andante 02:06
5. Fantasia in D Major, TWV 40:27 : III. Vivace 02:31
6. Fantasia in D Major, TWV 40:27 : IV. Presto 01:32
7. Fantasia in E Minor, TWV 40:28 : I. Largo 01:59
8. Fantasia in E Minor, TWV 40:28 : II. Presto 01:43
9. Fantasia in E Minor, TWV 40:28 : III. Vivace 01:36
10. Fantasia in F Major, TWV 40:29 : I. Vivace 04:28
11. Fantasia in F Major, TWV 40:29 : II. Grave 00:34
12. Fantasia in F Major, TWV 40:29 : III. Allegro 01:36
13. Fantasia in B-Flat Major, TWV 40:30 : I. Allegro 02:35
14. Fantasia in B-Flat Major, TWV 40:30 : II. Largo 00:59
15. Fantasia in B-Flat Major, TWV 40:30 : III. Allegro 01:33
16. Fantasia in G Major, TWV 40:31 : I. Scherzando 02:44
17. Fantasia in G Major, TWV 40:31 : II. Dolce 02:32
18. Fantasia in G Major, TWV 40:31 : III. Spirituoso 02:32
19. Fantasia in G Minor, TWV 40:32 : I. Andante 04:24
20. Fantasia in G Minor, TWV 40:32 : II. Vivace 01:37
21. Fantasia in G Minor, TWV 40:32 : III. Allegro 01:36
22. Fantasia in A Major, TWV 40:33 : I. Allegro 01:57
23. Fantasia in A Major, TWV 40:33 : II. Grave 01:56
24. Fantasia in A Major, TWV 40:33 : III. Vivace 02:10
25. Fantasia in C Major, TWV 40:34 : I. Presto 02:11
26. Fantasia in C Major, TWV 40:34 : II. Grave 02:57
27. Fantasia in C Major, TWV 40:34 : III. Allegro 02:04
28. Fantasia in E Major, TWV 40:35 : I. Dolce – Allegro 02:29
29. Fantasia in E Major, TWV 40:35 : II. Siciliana 01:57
30. Fantasia in E Major, TWV 40:35 : III. Scherzando 02:06
31. Fantasia in D Minor, TWV 40:36 : I. Allegro 02:12
32. Fantasia in D Minor, TWV 40:36 : II. Grave 01:43
33. Fantasia in D Minor, TWV 40:36 : III. Allegro 02:05
34. Fantasia in E Flat-Major, TWV 40:37: I. Andante 03:00
35. Fantasia in E Flat-Major, TWV 40:37 : II. Allegro 02:13
36. Fantasia in E Flat-Major, TWV 40:37: III. Vivace 02:26

Personnel:
Richard Boothby, viola da gamba

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Robert Casadesus plays Mozart: What Bach means for Glenn Gould, Mozart means for the French pianist Robert Casadesus. His Mozart shots continue to set standards.

Casadesus’ interpretations do not intrude on the listener, rather he lets Mozart’s fantastic music speak for themselves. Especially in the slow movements, his tasteful play with subtle dynamics and nuanced color design.

Tracklist:
1. Piano Concerto No. 26 in D Major, K. 537 “Coronation” (Remastered) : I. Allegro 13:41
2. Piano Concerto No. 26 in D Major, K. 537 “Coronation” (Remastered) : II. Larghetto 06:27
3. Piano Concerto No. 26 in D Major, K. 537 “Coronation” (Remastered) : III. Allegretto 09:03
4. Piano Concerto No. 27 in B-Flat Major, K. 595 : I. Allegro 13:23
5. Piano Concerto No. 27 in B-Flat Major, K. 595 : II. Larghetto 08:51
6. Piano Concerto No. 27 in B-Flat Major, K. 595 : III. Allegro 08:05

Personnel:
Robert Casadesus, piano
Cleveland Orchestra
George Szell, conductor

Digitally remastered

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Recorded in July 2017 in the sumptuous Baden-Baden Festspielhaus, this La clemenza di Tito follows albums which had come out previously in the Mozart series with Nézet-Séguin, the Chamber Orchestra of Europe and tenor Rolando Villazón, who is the only singer to appear in all these productions. It should go without saying that the music is extremely finely-chiselled: none of the singers take the slightest liberty with either the score or the style – there are no unruly Italianisms like glissandos, individual showing off, clownish high-Cs, parasitic ornamentations, warbling, trilling, sobbing – which means that we are left with one of the purest and finest performances of this work. Note that this was Mozart’s final opera, first performed just two months before he passed away; and that the recitatives were written by the faithful Sussmayr, who would go on to “complete” the Requiem. In the same period Mozart was also putting the final touches to his Magic flute and only had a few weeks to finish the work; and yet, what perfection in the arias, ensembles and choruses! And that in spite of the fact that the subject probably was not a source of tremendous interest to the composer, especially since his explosive collaboration with Da Ponte. But when given a performance like this, the work absolutely passes with flying colours.

Tracklist:
01. Act 1: Overture (Live) 04:52
02. Act 1: “Ma che? sempre l’istesso” (Live) 03:42
03. Act 1: “Come ti piace imponi” (Live) 02:34
04. Act 1: “Amico, il passo affretta” (Live) 02:13
05. Act 1: “Deh se piacer mi vuoi” (Live) 05:15
06. Act 1: “Amico, ecco il momento” (Live) 00:39
07. Act 1: “Deh prendi un dolce amplesso” (Live) 01:00
08. Act 1: Marcia (Live) 01:42
09. Act 1: “Serbate, oh Dei custodi” (Live) 01:42
10. Act 1: “Te della patria il Padre” – “Basta, basta, oh miei fidi” (Live) 02:39
11. Act 1: Marcia Reprise (Live) 00:59
12. Act 1: “Adesso, oh Sesto, parla per me” (Live) 03:31
13. Act 1: “Del più sublime” (Live) 03:20
14. Act 1: “Non ci pentiam” (Live) 01:52
15. Act 1: “Ah perdona al primo affetto” (Live) 03:08
16. Act 1: “Che mi rechi in quel foglio?” (Live) 00:54
17. Act 1: “Di Tito al piè” (Live) 02:32
18. Act 1: “Ah, se fosse intorno al trono” (Live) 02:17
19. Act 1: “Felice me!” – “Ancora mi schernisce?” (Live) 04:43
20. Act 1: “Parto, ma tu ben mio” (Live) 06:39
21. Act 1: “Vedrai, Tito, vedrai” (Live) 00:47
22. Act 1: “Vengo… aspettate… Sesto!…” (Live) 02:12
23. Act 1: “Oh Dei, che smania è questa” (Live) 03:23
24. Act 1: “Deh conservate, oh Dei” – “Sesto!” (Live) 02:51
25. Act 1: “Sesto!” – Andante (Live) 03:43
26. Act 2: “Sesto, come tu credi” (Live) 02:04
27. Act 2: “Torna di Tito” (Live) 02:27
28. Act 2: “Partir deggio, o restar?” (Live) 00:51
29. Act 2: “Sesto! – Che chiedi?” (Live) 00:58
30. Act 2: “Se al volto mai ti senti” (Live) 04:55
31. Act 2: “Ah, grazie si rendano” – “È tutto colà d’intorno” (Live) 03:19
32. Act 2: “Già de’ pubblici giuochi” (Live) 02:03
33. Act 2: “Tardi s’avvede” (Live) 01:32
34. Act 2: “No, così scellerato” (Live) 00:32
35. Act 2: “Cesare, nol diss’io” (Live) 00:56
36. Act 2: “Tu fosti tradito” (Live) 03:08
37. Act 2: “Che orror! che tradimento!” – “Ingrato!” (Live) 02:42
38. Act 2: “Quello di Tito è il volto!” – “Odimi, oh Sesto” (Live) 03:18
39. Act 2: “Eppur mi fa pietà” (Live) 05:42
40. Act 2: “Deh per questo istante solo” (Live) 06:52
41. Act 2: “Ove s’intese mai” (Live) 01:59
42. Act 2: “Se all’impero” (Live) 04:54
43. Act 2: “Publio, ascolta!” (Live) 00:30
44. Act 2: “Ah, Vitellia” (Live) 01:40
45. Act 2: “S’altro che lagrime” (Live) 02:15
46. Act 2: “Ecco il punto, oh Vitellia” (Live) 02:10
47. Act 2: “Non più di fiori” (Live) 07:07
48. Act 2: “Che del ciel, che degli Dei” (Live) 01:36
49. Act 2: “Sesto, de’ tuoi delitti” (Live) 01:53
50. Act 2: “Ma che giorno è mai questo?” (Live) 01:46
51. Act 2: “Tu, è ver, m’assolvi, Augusto” (Live) 04:22

Personnel:
Rolando Villazón, tenor (Tito)
Marina Rebeka, soprano (Vitellia)
Joyce DiDonato, mezzo-soprano (Sesto)
Tara Erraught, mezzo-soprano (Annio)
Regula Mühlemann, soprano (Servilia)
Adam Plachetka, bass-baritone (Publio)
Chamber Orchestra of Europe
RIAS Kammerchor
Yannick Nézet-Séguin, conductor

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New Devices is the 3rd album from Leeds based trio and Mercury Prize nominees Roller Trio. A unique trio, their sound is modern and gritty, pushing sonic boundaries to their limits. Switching the feel of a tune in a heartbeat from edgy improv to anthemic power riffs to reverb-swamped note storms, Roller Trio are powerful and progressive. For this album, the line-up includes Chris Sharkey, a guitarist at the cutting-edge of contemporary guitar improv, alongside James Mainwaring, saxophone & electronics and Luke Reddin-Williams, drums. Their mix of high octane technicality and deceptively catchy tunes has transcended their Jazz heritage, bringing them acclaim from fans and critics alike. Their eponymous debut album was nominated for the 2012 Mercury Prize and the band were also nominated for MOBO’s Best Jazz Act that same year.

The new album’s theme is as relevant as it could be in today’s social climate. New Devices reflects people’s confused relationship with technology and the public participation in self-surveillance. As James explains: ‘We couldn’t have made this album without technology, the devices used in music making and the online communication, yet we’re concerned about the future and the impact social media will have on the next generation – Do we really have a grip on our relationship with technology?’.

The music is dark, gritty and urban – menacing bass lines underpinned by squalling improvising from guitar and sax attaining ultimately uplifting fulfilment. Built from sound fragments of Leeds nightlife formed and reformed through the musical intelligence and instrumental brilliance of the three musicians it’s an exhilarating, rollicking ride – an exercise in freeform free fall, a three for all free-for-all, moderated by the musical logic and compositional rigour of the pieces.

Tracklist:
1. Decline Of Northern Civilisation
2. Milligrammar
3. A Whole Volga
4. Mad Dryad
5. Enthusela
6. The Third Persona
7. Sever So Slightly
8. Nobody Wants To Run The World
9. Dot Com Babel

Personnel:
James Mainwaring: tenor saxophone, soprano saxophone, electronics
Chris Sharkey: guitar, bass, electronics
Luke Reddin-Williams: drums

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With hits like Be My Baby and Baby I Love You, Ronnie Spector ruled the pop charts worldwide as lead singer of the Ronettes. Now the Rock and Roll Hall of Fame inductee is set to release “English Heart”, Ronnie s personal love letter to 1960s Britain where she toured with The Ronettes in 1964-1966, supported by the Rolling Stones, the Kinks, and the Yardbirds (with Eric Clapton).

Produced and mixed by Grammy Award–winning producer, songwriter, and musician Scott Jacoby (Vampire Weekend, Sia, Coldplay), ‘English Heart’ is Ronnie’s personal love letter to 1960s Britain – where she toured with the Ronettes in 1964-1966, supported by the Rolling Stones, the Kinks, and the Yardbirds (with Eric Clapton) among other acts. The eleven tracks of ‘English Heart’ comprise a collection of Ronnie’s hand–picked favorites including songs recorded by the Kinks (“Tired of Waiting”), the Animals (“Don’t Let Me Be Misunderstood”), the Beatles (“I’ll Follow the Sun”), and Gerry & the Pacemakers (“Don’t Let the Sun Catch You Crying”).

“Be My Baby” was approaching the peak of the UK charts in January 1964 when Ronnie Spector stepped onto the tarmac at London’s Heathrow Airport to begin the Ronettes’ first British tour. With her inimitable voice, distinctive style, and exciting live performances, Ronnie soon found herself welcomed into the inner circle of British pop royalty.

“I’ll never forget my very first impressions of England in that winter of ’64,” Ronnie recalls. “I’d never traveled outside the US before. To arrive at Heathrow and be welcomed by those kids was an amazing feeling. We’d never had fans waiting at an airport to greet us.”

‘Engish Heart’ is a musical homage to that magical time and an expression of Ronnie’s desire to sing from the most honest and intimate part of herself: Her performance is so raw and so real that the listener may seem to hear Ronnie’s life story in her interpretations of these songs. Scott Jacoby has preserved the timeless spirit of the material while bringing a distinctly con-temporary yet subtle touch.

This is the Ronnie Spector whose indomitable spirit and singular talent have inspired the admi-ration of countless peers including Bruce Springsteen, Patti Smith, Joey Ramone, and Amy Winehouse. This is the REAL Ronnie Spector!

“Few if any artists of the girl group era were as iconic as Ronnie Spector. As the lead singer of the Ronettes, Ronnie was the crown jewel of Phil Spector’s Wall of Sound (and also his wife for a while). But as iconic sounds of the ’60s go, Ronnie and her peers had to play second fiddle to the Beatles and the many other British groups who invaded America in their wake. As it happens, Ronnie was a fan of the British Invasion bands just like the rest of us. What’s more, she shared stages with the Rolling Stones, the Yardbirds, and the Kinks when the Ronettes toured the U.K. back in the day. So it makes sense that Ronnie would look back at this era by recording an album of classic tunes by great British acts of the ’60s. Released in 2016, English Heart features covers of ten memorable British rock tunes from the ’60s. (She also throws in one ringer, the Bee Gees’ “How Can You Mend a Broken Heart,” which the Australian act released in 1971.) It’s certainly a fun idea for an album, and Ronnie and producer Scott Jacoby have chosen wisely, tackling hits that suit her moody timbre, as well as a few lesser-known classics. (The Rolling Stones’ obscurity “I’d Much Rather Be with the Boys,” here given a gender switch, is an inspired pick. So is Sandie Shaw’s mournful “Girl Don’t Come,” a U.K. smash that didn’t do much in the States.) Jacoby’s production is strong, giving the material arrangements that honor their original era but have a fresh modern twist. Sadly, if this album has a weak link, it’s Ronnie Spector. She still has a fine sense of phrasing, and she brings a fitting sense of drama to the material. But Ronnie’s voice just isn’t what it once was, and there’s often a sour edge to her vocals. She’s doesn’t sound bad, but her instrument lacks the power and focus it had in her youth, and as the centerpiece of this album, it falls short. English Heart is a great concept, and for the most part the execution works, but one can’t help but wish it had been recorded in the ’70s or ’80s, when Ronnie’s voice was strong enough to make the most of the material.” (Mark Deming, AMG)

Tracklist:
1. Oh Me Oh My (I’m A Fool For You Baby) 03:35
2. Because 02:29
3. I’d Much Rather Be With The Girls 02:48
4. Don’t Let The Sun Catch You Crying 03:02
5. Tired Of Waiting 03:25
6. Tell Her No 02:15
7. I’ll Follow The Sun 02:13
8. You’ve Got Your Troubles 03:21
9. Girl Don’t Come 02:09
10. Don’t Let Me Be Misunderstood 02:37
11. How Can You Mend A Broken Heart 03:56

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Rory Block Debuts New “Power Women of the Blues” Album Series with Bessie Smith Tribute CD, A Woman’s Soul, Due July 6 from Stony Plain Records

Five-time Blues Music Award winner Rory Block will debut her new “Power Women of the Blues” album series with the July 6 release of A Woman’s Soul, a dynamic new CD tribute to the legendary Bessie Smith, on Stony Plain Records.

“Power Women of the Blues is a project that has been simmering in my imagination for 54 years,” Rory says. “It has been my longstanding mission to identify, celebrate and honor the early founders—men and women—of the blues. This series is dedicated to the music of some of my all-time favorite iconic female blues artists, many of whom were shrouded in mystery during the sixties blues revival, while the recordings of others had simply disappeared.”

During the 1920s and 1930s, America went through one of its biggest musical revolutions. Blues music sung by the African-American population as they faced the most severe expression of racism. Awakening was a music led by themes of misery, frustration, addiction, sex, solitude and parties as a community. During the prohibition period, a universe in which rules were to be transgressed was born: people were drinking, smoking, singing and celebrating. To each kingdom their kings and queens, but more than a year ago, it’s a true empress who came to this world. The Empress of blues, Bessie Smith, who wore the crown and title deservedly and became both a legend and an inspiration, even a century later. It was therefore an obvious decision for Rory Block, a five-time Blues Award winner, to pay homage to her elder. She indeed is also a major figure in contemporary blues. And although her voice can’t quite reach the heights of Smith’s, she sings with such emotion that the result is often astonishing. A Woman Soul: A Tribute to Bessie Smith is the first in a five-album series aiming to pay homage to the women of blues music. Recorded in the Aurora Studios, in New York, the ten tracks were carefully selected to give a rather broad view of Bessie Smith’s songs while giving the opportunity to enjoy Rory Block’s interpretation. Among them, the sublime Kitchen Man, Need a Little Sugar in My Bowl or Gimme a Pigfoot and a Bottle of Beer, which she sang in 1958 on The Blues Are Brewin’. Rory Block doesn’t try to imitate the Empress, but rather plays with her clear voice and, at times, playfully imitates the crooners’ style. Her frenzied onomatopoeia comes out naturally on a rich blues music. She relies on more accompaniments than the old timers could have hoped for. Strings, bongos, wooden spoons and other small instruments, a joyful atmosphere shines through although the very essence of blues remains. There is even a spiritual, gospel song with On Revival Day that makes us want to lift our hands up in the air and sing “Oh, glory hallelujah!”. © Clara Bismuth

Tracklist:
1. Do Your Duty
2. Kitchen Man
3. Jazzbo Brown From Memphis Town
4. Gimme A Pigfoot And A Bottle Of Beer
5. Need A Little Sugar In My Bowl
6. I’m Down In The Dumps
7. Black Mountain
8. Weeping Willow Blues
9. On Revival Day
10. Empty Bed Blues

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“Arise was the seed that exploded on Roots,” Sepultura guitarist Andreas Kisser thoughtfully notes. Those of you keeping score will note that this is Sepultura’s third dance with our Hall of Fame, a dB first. As for 1991’s Arise lighting the charge that blew five years and two albums later on Roots, well, you could interpret that in a variety of ways: vocalist/guitarist Max Cavalera was starting to test songwriting solitude; native Brazilian music and percussion was being explored and incorporated; the band transformed from “third world posse” into a finely honed professional machine. The commercial success of Arise not only made them darlings around the Roadrunner office, but presented them with a license to rewrite the rules.

“Sepultura had shocked the death metal world in 1989 with the release of their third album, Beneath the Remains, whose seamless combination of songwriting chops and utter brutality quickly transformed the Brazilians from scene outsiders to one of its brightest hopes. The band toured nonstop in support of the album for most of the following two years, and was therefore pressured by both time constraints and enormous expectations when the bandmembers finally entered Tampa’s Morrisound Studios with producer Scott Burns to record 1991’s Arise. And though it ultimately lacked the consistency of its predecessor and added little innovation to the band’s sound, Arise has aged surprisingly well, proving itself a worthy progression and surprisingly well-rounded in its own right. First single “Dead Embryonic Cells” was unquestionably the strongest of the band’s death metal era, and its accompanying video broke new ground thanks to ample MTV rotation. Ironically, the subsequent banning of the vicious title track’s video (filled with apocalyptic religious imagery) by the cable network would generate even more publicity than Sepultura could have hoped for had it actually been aired. Other album highlights included such complex, multifaceted pieces as “Desperate Cry” (an all-around tour de force for lead guitarist Andreas Kisser) and “Altered State” (which combines a Tarzan-style intro with a grinding detuned main riff and even acoustic guitars), as well as more straightforward thrashers like “Infected Voice” and mid-paced chuggers like “Under Siege (Regnum Irae).” Simply devoid of filler material, this album remains a classic of the death metal genre.” (Eduardo Rivadavia, AMG)

Tracklist:
01. Arise (3:18)
02. Dead Embryonic Cells (4:52)
03. Desperate Cry (6:40)
04. Murder (3:26)
05. Subtraction (4:48)
06. Altered State (6:33)
07. Under Siege (Regnum Irae) (4:53)
08. Meaningless Movements (4:40)
09. Infected Voice (3:16)

Personnel:
Max Cavalera, vocals, rhythm guitar
Andreas Kisser, lead guitar, backing vocals
Paulo Jr., bass, backing vocals
Igor Cavalera, drums, percussion

Produced by Sepultura, Scott Burns

Digitally remastered

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Sergio Azzolini, Maurice Bourgue & Kimiko Imani – Haydn, W.F. Bach, C.P.E. Bach: Trios for Oboe, Bassoon & Piano (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 01:48:24 minutes | 1 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Sony Classical

Yes, yes, the three Trios n° 15, 16 and 17 of 1790 were originally written for flute, piano and cello, and not for the oboe, piano and bassoon; but we know well how in those days, works intended for great amateurs (Londoners, in this case) could easily be adapted for any number of other instruments, whether bass or melodic parts: and so why not this delicious, pastoral combination? As for the Trio by Wilhelm Friedemann Bach, its origin is even more unique. Written before 1740, it is written across a number of pages which carry counter-punctual efforts by Johann Sebastian and his son; Wilhelm Friedemann’s writing includes a Sonata for Two Flutes and Harpsichord, which is transcribed here for oboe – the pianist’s right hand taking on the role of the second flute. The bassoon follows the bass part. The rest of the album, all dedicated to the same son, and also to the better-known Carl Philipp Emanuel, also takes in works written for other arrangements but deftly redistributed here for the trio formed by oboist Maurice Bourgue, the pianist Kimiko Imani and bassoon player Sergio Azzolini – based on the transcription principle which was very much the norm in the 18th century.

Tracklist:
1. Piano Trio in D Major, Hob. XV:16, Arr. for Oboe, Bassoon & Piano: I. Allegro
2. Piano Trio in D Major, Hob. XV:16, Arr. for Oboe, Bassoon & Piano: II. Andantino più tosto allegretto
3. Piano Trio in D Major, Hob. XV:16, Arr. for Oboe, Bassoon & Piano: III. Vivace assai
4. Piano Trio in G Major, Hob. XV:15, Arr. for Oboe, Bassoon & Piano: I. Allegro
5. Piano Trio in G Major, Hob. XV:15, Arr. for Oboe, Bassoon & Piano: II. Andante
6. Piano Trio in G Major, Hob. XV:15, Arr. for Oboe, Bassoon & Piano: III. Allegro moderato
7. Piano Trio in F Major, Hob. XV:17, Arr. for Oboe, Bassoon & Piano: I. Allegro
8. Piano Trio in F Major, Hob. XV:17, Arr. for Oboe, Bassoon & Piano: II. Tempo di Menuetto
9. Trio Sonata in A Minor, Fk 49, BR-WFB 15: I. Allegro (Arr. for Oboe, Bassoon & Piano)
10. Violin Sonata in C Minor, H. 514, Wq 78, Arr. for Oboe & Piano: I. Allegro moderato
11. Violin Sonata in C Minor, H. 514, Wq 78, Arr. for Oboe & Piano: II. Adagio ma non troppo
12. Violin Sonata in C Minor, H. 514, Wq 78, Arr. for Oboe & Piano: III. Presto
13. Sonata for Viola and Harpsichord in C Minor, Arr. for Bassoon & Piano: I. Adagio e mesto
14. Sonata for Viola and Harpsichord in C Minor, Arr. for Bassoon & Piano: II. Allegro non troppo
15. Sonata for Viola and Harpsichord in C Minor, Arr. for Bassoon & Piano: III. Allegro scherzando
16. Trio Sonata in A Minor, Fk 49, BR-WFB 15, Arr. for Oboe, Bassoon & Piano: I. Allegro
17. Trio Sonata in A Minor, Fk 49, BR-WFB 15, Arr. for Oboe, Bassoon & Piano: II. Larghetto (Fragment)

Personnel:
Sergio Azzolini, Bassoon
Maurice Bourgue, Oboe
Kimiko Imani, Piano

Download:

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Simona Šaturová, Markéta Cukrová, Petr Nekoranec & Vojtěch Spurný – Dvořák: Moravian Duets (2018)
FLAC (tracks) 24-bit/96 kHz | Time – 52:08 minutes | 814 MB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Supraphon a.s.

With support from the State Fund of Culture and the National Museum, Supraphon is releasing an extraordinary album of Antonín Dvořák’s Moravian Duets. The entire cycle of folk poetry settings has been recorded on the composer’s very own 1879 Bösendorfer piano, a precious item maintained at the Antonín Dvořák Museum in Prague. The album features internationally renowned young artists, all of them possessing a great sense for the grace of Dvořák’ songs, as well as the singular tone qualities of the instrument, once touched by the maestro himself. The soprano Simona Šaturová, the mezzo-soprano Markéta Cukrová and the tenor Petr Nekoranec were accompanied on Dvořák’s piano by Vojtěch Spurný. A Czech Television programme, produced by Jiří Hubač from BVA International, originated during the recording process. Supraphon is scheduled to release the new album of Moravian Duets on 20 April 2018, on CD and in digital formats.

Veronika Vejvodová, the Director of the Antonín Dvořák Museum in Prague, said of the new recording of Dvořák’s Moravian Duets: “We deem it to have been a unique opportunity to capture the current sound of Dvořák’s piano, which is part of our permanent exhibition and is not regularly played. What is more, the project’s having been undertaken by superlative artist and a prestigious label was a guarantee for the album’s high quality and the best way of presenting one of the rarest exhibits at our museum.”

The pianist Vojtěch Spurný added: “I consider absolutely crucial the fact that one of the recordings has been made on Dvořák’s very own piano. No modern, no matter how sophisticated, instrument could have rendered his music as cogently and naturally as does the historical Bösendorfer. Its sonic, tonal and articulatory faculties are ideal to meet the requirements of the score, which can be executed entirely in line with the notation. In addition, the performers are afforded sufficient scope for fleshing out their own imagination and detailing the interpretation in the spirit of Dvořák’s instructions. And, of course, touching the actual keyboard on which Antonín Dvořák used to play is an experience so emotionally overwhelming that it is simply impossible to impart in words.”

The mezzo-soprano Markéta Cukrová said: “I must confess that the recording is a dream that I have had in my head for years. Simona Šaturová and I got together at the Styriarte festival in Graz, where we jointly sang some of Dvořák’s Moravian Duets. It was the very first time we had performed chamber music together, and I think both of us were happy to realise how well our voices fitted together.”

The soprano Simona Šaturová pointed out: “I felt a great joy when, without long prior discussions, Markéta Cukrová and I utterly and intuitively found accord. It was the result of chemistry between us, which does not always come naturally, and was fabulously completed by Vojtěch Spurný and Petr Nekoranec. I hope that our zest for music-making will also get across to the listeners. The atmosphere at the recording sessions was really pleasant, thanks to all those who participated in it.”

The tenor Petr Nekoranec said: “The recording of the Moravian Duets will always remain in my memory as something exceptional. Not only owing to my splendid colleagues, the recording team and Antonín Dvořák’s wonderful music, but also as my very first making of a recording! To be honest, I was surprised by how painstaking a process it actually is. And recording with Dvořák’s piano was an absolute sensation. The instrument’s sound is incredibly authentic and throughout the time I was thinking: Wow, this is how Rusalka must have sounded when Dvořák was composing the opera – it many even have been the instrument on which he first played its theme. A beautiful image indeed!”

Antonín Dvořák was inspired to write the Moravian Duets by Jan Neff, a wealthy Prague wholesale merchant, patriot and patron of the arts, for whose family he served as a piano teacher from 1873. Ardent music lovers, Josef and Marie Neff would often hold in their house small-scale concerts, at which they sang songs and duets, with Antonín Dvořák accompanying them on the piano. Neff suggested to Dvořák that he arrange for two voices and piano selected Moravian folk songs from the famous František Sušil collection. Initially, the composer agreed, yet later on he decided that instead of arranging the existing melodies he would only make use of the lyrics and set them anew. The Moravian Duets is among the most singular manifestations of Dvořák’s musical imagination, harbouring the exceptional traits of his idiom. Within the context of the composer’s career, the Moravian Duets occupies a special position, since the cycle’s success ushered in Dvořák’s international renown and popularity.

“Saturova and Cukrova…bring native linguistic flair and “Slavonic” sound to these delightful miniatures, revealing Dvorak’s bounteous melodic gift in his early thirties. Delectable.” (Sunday Times)

Tracklist:
01. Moravian Duets, Op. 38: I. The Possibility
02. Moravian Duets, Op. 38: II. The Apple
03. Moravian Duets, Op. 38: III. The Garland
04. Moravian Duets, Op. 38: IV. The Grief
05. The Soldier´s Life
06. On Our Roof
07. Moravian Duets, Op. 20: I. The Metamorphoses
08. Moravian Duets, Op. 20: II. The Parting
09. Moravian Duets, Op. 20: III. The Poverty
10. Moravian Duets, Op. 20: IV. There´s a Lad A-loughing
11. Moravian Duets, Op. 32: I. A já ti uplynu
12. Moravian Duets, Op. 32: II. Veleť, vtáčku
13. Moravian Duets, Op. 32: III. Dyby byla kosa nabróšená
14. Moravian Duets, Op. 32: IV. V dobrým sme se sešli
15. Moravian Duets, Op. 32: V. Slavíkovský polečko malý
16. Moravian Duets, Op. 32: VI. Holub na javoře
17. Moravian Duets, Op. 32: VII. Sad of Heart
18. Moravian Duets, Op. 32: VIII. The Modest Maid
19. Moravian Duets, Op. 32: IX. The Ring
20. Moravian Duets, Op. 32: X. Omens
21. Moravian Duets, Op. 32: XI. The Maid Imprisoned
22. Moravian Duets, Op. 32: XII. Comfort
23. Moravian Duets, Op. 32: 13. The Wild Rose

Personnel:
Simona Šaturová, soprano
Markéta Cukrová, mezzo-soprano
Petr Nekoranec, tenor
Vojtěch Spurný, piano

Download:

https://subyshare.com/kc61vgbp4kv6/Sim0naatur0vMarktaCukr0vPetrNek0ranecV0jtchSpurnDv0kM0ravianDuets20182496.rar.html

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