BBC National Orchestra of Wales, Martyn Brabbins – Pickard: Symphony No. 5 (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 01:02:46 minutes | 1,04 GB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © BIS

John Pickard is a respected English composer best known for his orchestral works. This release from the BBC National Orchestra of Wales and conductor Martyn Brabbins features the engaging Symphony No. 5 as well as the evocative Sixteen Sunrises and Pickard’s arrangement of the Toccata from Monteverdi’s L’Orfeo for modern orchestra.

“there were also distant echoes of Britten (the storm music of Peter Grimes and the bells from Death in Venice both left their mark) and the flurried woodwind interjections conjured up images of Stravinsky’s depiction of the ghost of the puppet in Petrushka. But there was absolutely no sense of imitation here; Pickard’s imagery was entirely his own creation, and the warmth of the principal melody (introduced on brass and taken up by richly massed strings) was magnificently realised.” – Seen and Heard International

Tracklist:

1.Symphony No. 5: I. Tempestoso – 9:30
2.Symphony No. 5: II. Prestissimo (bar 282) – 4:40
3.Symphony No. 5: III. Prestissimo (bar 282) – 6:53
4.Symphony No. 5: IV. (bar 510) – 11:09
5.Sixteen Sunrises – 14:54
6.Concertante Variations for wind quintet, timpani and strings – 13:12
7.Toccata (after Monteverdi) – 2:32

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Pixies – Bossanova (1990)
FLAC (tracks) 24-bit/192 kHz | Time – 39:41 minutes | 1,38 GB | Genre: Rock
Studio Master, Official Digital Download | Front Cover | © 4AD

With a keen sense of the absurd, Black Francis’s (now Frank Black) Pixies were the consummate darlings of the music press–no surprise, with their refreshing mix of overblown guitars, discreet nods to the surreal and a vibrant grasp of pure pop that offered a luscious blow to the senses on execution. “Cecilia Ann” stood somewhere between spandex metal and Beach Blanket Bingo, while the deranged singalong of “Is She Weird” sat alongside the first single, “Velouria,” underlining their ability to write timeless singles that filled the head and sent toes tapping incessantly out of time. A recent compilation confirmed their standing.

When Bossanova arrived in 1990, it reflected the exhaustion the Pixies felt after Doolittle’s enormous success: For the first time, the band seems to be running out of ideas. Tellingly, Kim Deal contributes no songs, having formed the Breeders to give her work an outlet; that summer, their debut Pod won a warmer response than Bossanova received. Arguably the Pixies’ weakest album — though Francis has said it’s his favorite — most of it finds the band in fine form. Gil Norton’s spacious, reverb-heavy production makes the Pixies sound like a Martian bar band, which fits the cover of the Surftones’ “Cecilia Ann” and the glorious, shimmering closer “Havalina” perfectly. On the theremin-driven “Velouria,” science fiction imagery displaces Francis’ penchant for fetishistic lyrics; next to the token kinky song “Down to the Well”‘s tired sound, it’s a refreshing change. The similarly cryptic “All Over the World” and alien abduction tale “The Happening” add to the sci-fi feel. Quirky pop songs like “Allison,” a tribute to jazz cool-cat Mose Allison, and “Dig for Fire,” Francis’ self-professed Talking Heads homage, heighten Bossanova’s playful, slightly off-kilter vibe, but rockers like “Hang Wire” and “Blown Away,” fall flat. However, “Rock Music” is one of the group’s most fiery outbursts, and “Is She Weird”‘s chugging grind and sexy, funny lyrics make it a classic Pixies song. The band was so consistently amazing on their previous albums that when they released a slightly weaker one, critics and fans alike judged them too harshly. But on Bossanova’s strongest moments, the Pixies explored their softer side and found different uses for their extreme dynamics. Like a straight-A student who suddenly receives a B+, Bossanova might have been a disappointment initially, but its (small) failings emphasize the strengths of the rest of the Pixies’ work.

Tracklist:

1.Cecilia Ann – 2:08
2.Rock Music – 1:52
3.Velouria – 3:40
4.Allison – 1:18
5.Is She Weird – 3:01
6.Ana – 2:09
7.All Over The World – 5:26
8.Dig for Fire – 3:02
9.Down to the Well – 2:29
10.The Happening – 4:19
11.Blown Away – 2:20
12.Hang Wire – 2:01
13.Stormy Weather – 3:27
14.Havalina – 2:33

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Pixies – Come On Pilgrim (1987)
FLAC (tracks) 24-bit/192 kHz | Time – 20:28 minutes | 700 MB | Genre: Rock
Studio Master, Official Digital Download | Front Cover | © 4AD

Amazingly, the Pixies’ 1987 debut EP, Come on Pilgrim, was compiled from the quickly, inexpensively made demo tape — paid for by Black Francis’ dad — the band made at Boston’s legendary Fort Apache studio soon after they formed. 4AD was so taken with the tape that they released eight of the songs as this mini-album. It’s easy to see why they were so impressed: The Pixies’ essential sound — Francis’ unearthly shriek of a voice, David Lovering’s propulsive drumming, Joey Santiago’s insistent, prickly guitar playing, and Kim Deal’s sugar-and-sandpaper vocals and steady basslines — arrives fully formed on songs like the bouncy, yet twisted, surfer-girl ode “Ed Is Dead.” Influences like ’80s college rock peers the Violent Femmes, the Stooges, Lou Reed, and hardcore punk crop up on songs like “I’ve Been Tired,” the group’s surreal take on sexual frustration, and “Isla de Encanta.” Most importantly, the EP introduces the spooky, theatrical vision the group brought to their simple guitar-bass-drums lineup. Francis’ lyrical fetishes for sex, death, and religion and his twisted sense of humor crop up on every track, from the eerie opener “Caribou,” which urges listeners to “Reeeeepent!,” to the final song, “Levitate Me,” which borrows Christian folksinger Larry Norman’s catchphrase: “Come on pilgrim, you know he loves you!” “The Holiday Song” and “Nimrod’s Son” provide voyeuristic, back-to-back glimpses at incest, as well as the priceless lyric, “My sister held me close and whispered to my bleeding head/You are the son of a motherf*cker” (from “Nimrod’s Son”). Gary Smith’s less-is-more production allows the full, primal impact of the band’s combustive sound to blast through, offering what may be the purest version of their perverse punk-pop. An electrifying debut, Come on Pilgrim remains as raw, vibrant, and engaging as the day it was recorded.

Tracklist:

1.Caribou – 3:21
2.Vamos – 2:49
3.Isla de Encanta – 1:42
4.Ed Is Dead – 2:29
5.The Holiday Song – 2:15
6.Nimrod’s Son – 2:17
7.I’ve Been Tired – 3:01
8.Levitate Me – 2:37

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Pixies – Doolittle (1989)
FLAC (tracks) 24-bit/192 kHz | Time – 38:38 minutes | 1,37 GB | Genre: Rock
Studio Master, Official Digital Download | Front Cover | © 4AD

After 1988’s brilliant but abrasive Surfer Rosa, the Pixies’ sound couldn’t get much more extreme. Their Elektra debut, Doolittle, reins in the noise in favor of pop songcraft and accessibility. Producer Gil Norton’s sonic sheen adds some polish, but Black Francis’ tighter songwriting focuses the group’s attack. Doolittle’s most ferocious moments, like “Dead,” a visceral retelling of David and Bathsheba’s affair — are more stylized than the group’s past outbursts. Meanwhile, their poppy side surfaces on the irresistible single “Here Comes Your Man” and the sweetly surreal love song “La La Love You.” The Pixies’ arty, noisy weirdness mix with just enough hooks to produce gleefully demented singles like “Debaser,” — inspired by Bunuel’s classic surrealist short Un Chien Andalou — and “Wave of Mutilation,” their surfy ode to driving a car into the sea. Though Doolittle’s sound is cleaner and smoother than the Pixies’ earlier albums, there are still plenty of weird, abrasive vignettes: the blankly psychotic “There Goes My Gun,” “Crackity Jones,” a song about a crazy roommate Francis had in Puerto Rico, and the nihilistic finale “Gouge Away.” Meanwhile, “Tame,” and “I Bleed” continue the Pixies’ penchant for cryptic kink. But the album doesn’t just refine the Pixies’ sound; they also expand their range on the brooding, wannabe spaghetti western theme “Silver” and the strangely theatrical “Mr. Grieves.” “Hey” and “Monkey Gone to Heaven,” on the other hand, stretch Francis’ lyrical horizons: “Monkey”‘s elliptical environmentalism and “Hey”‘s twisted longing are the Pixies’ versions of message songs and romantic ballads. Their most accessible album, Doolittle’s wide-ranging moods and sounds make it one of their most eclectic and ambitious. A fun, freaky alternative to most other late-’80s college rock, it’s easy to see why the album made the Pixies into underground rock stars.

Tracklist:

1.Debaser – 2:54
2.Tame – 1:56
3.Wave of Mutilation – 2:05
4.I Bleed – 2:35
5.Here Comes Your Man – 3:22
6.Dead – 2:21
7.Monkey Gone To Heaven – 2:57
8.Mr. Grieves – 2:05
9.Crackity Jones – 1:25
10.La La Love You – 2:49
11.No. 13 Baby – 3:47
12.There Goes My Gun – 1:50
13.Hey – 3:31
14.Silver – 2:25
15.Gouge Away – 2:45

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Pixies – Surfer Rosa (1988)
FLAC (tracks) 24-bit/192 kHz | Time – 33:27 minutes | 1,11 GB | Genre: Rock
Studio Master, Official Digital Download | Front Cover | © 4AD

One of the most compulsively listenable college rock albums of the ’80s, the Pixies’ 1988 full-length debut Surfer Rosa fulfilled the promise of Come on Pilgrim and, thanks to Steve Albini’s production, added a muscular edge that made their harshest moments seem even more menacing and perverse. On songs like “Something Against You,” Black Francis’ cryptic shrieks and non sequiturs are backed by David Lovering and Kim Deal’s punchy rhythms, which are so visceral that they’d overwhelm any guitarist except Joey Santiago, who takes the spotlight on the epic “Vamos.” Albini’s high-contrast dynamics suit Surfer Rosa well, especially on the explosive opener “Bone Machine” and the kinky, T. Rex-inspired “Cactus.” But, like the black-and-white photo of a flamenco dancer on its cover, Surfer Rosa is the Pixies’ most polarized work. For each blazing piece of punk, there are softer, poppier moments such as “Where Is My Mind?,” Francis’ strangely poignant song inspired by scuba diving in the Caribbean, and the Kim Deal-penned “Gigantic,” which almost outshines the rest of the album. But even Surfer Rosa’s less iconic songs reflect how important the album was in the group’s development. The “song about a superhero named Tony” (“Tony’s Theme”) was the most lighthearted song the Pixies had recorded, pointing the way to their more overtly playful, whimsical work on Doolittle. Francis’ warped sense of humor is evident in lyrics like “Bone Machine”‘s “He bought me a soda and tried to molest me in the parking lot/Yep yep yep!” In a year that included landmark albums from contemporaries like Throwing Muses, Sonic Youth, and My Bloody Valentine, the Pixies managed to turn in one of 1988’s most striking, distinctive records. Surfer Rosa may not be the group’s most accessible work, but it is one of their most compelling.

Tracklist:

1.Bone Machine – 3:06
2.Break My Body – 2:06
3.Something Against You – 1:47
4.Broken Face – 1:31
5.Gigantic – 3:55
6.River Euphrates – 2:32
7.Where Is My Mind – 3:54
8.Cactus – 2:17
9.Tony’s Theme – 1:52
10.Oh My Golly! – 2:32
11.Vamos – 4:21
12.I’m Amazed – 1:42
13.Brick Is Red – 2:01

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Pixies – Trompe Le Monde (1991)
FLAC (tracks) 24-bit/192 kHz | Time – 38:58 minutes | 1,33 GB | Genre: Rock
Studio Master, Official Digital Download | Front Cover | © 4AD

The title might be French for “fool the world,” but with Trompe le Monde, the Pixies weren’t fooling anyone: this was essentially Black Francis’ solo debut. It focuses on Francis’ sci-fi fascination and lacks any Kim Deal songs; even her backing vocals are far and few between. Yet the band sounds revitalized on Trompe le Monde, as if it were planned as their last hurrah. The raucous “Distance Equals Rate Times Time” and the explosive cover of the Jesus and Mary Chain’s “Head On” are fairly straightforward, but the lyrics remain quirky on “Planet of Sound,” a song about a Martian who lands on Earth, and “Palace of the Brine,” a tribute to sea monkeys and Utah’s Salt Lake. He even disses hipsters and pretentious students — basically, the Pixies’ fan base — with nasty little digs like “Subbacultcha”‘s “I was wearing eyeliner/She was wearing eyeliner” and “U-Mass”‘ “It’s eduuucaaationaal!” Musically, “Trompe le Monde”‘s psychedelic sheen and “Alec Eiffel”‘s atmospheric keyboards prove that the Pixies’ sound wasn’t defined by Steve Albini-style rawness. There’s also more emotional depth: “The Sad Punk” features the strangely poignant bridge “And evolving from the sea/Would not be too much time for me/To walk beside you in the sun,” and “Letter to Memphis” is a heartfelt, if cryptic, love song. Though Trompe le Monde doesn’t sound quite like the Pixies’ other work, Come on Pilgrim’s spooky beginnings, Surfer Rosa’s abrasive assault, Doolittle’s deceptively accessible punk-pop, and Bossanova’s spacy sonics helped make Trompe le Monde a rousing swan song and a precursor to alternative rock’s imminent success. Whether that means their music remained pure or they missed their chance to cash in is debatable; either way, the Pixies are one of America’s greatest, most influential bands.

Tracklist:

1.Trompe le Monde – 1:48
2.Planet of Sound – 2:06
3.Alec Eiffel – 2:50
4.The Sad Punk – 3:00
5.Head On – 2:14
6.U-Mass – 3:01
7.Palace of the Brine – 1:34
8.Letter to Memphis – 2:40
9.Bird Dream of the Olympus Mons – 2:48
10.Space (I Believe In) – 4:18
11.Subbacultcha – 2:10
12.Distance Equals Rate Times Time – 1:24
13.Lovely Day – 2:06
14.Motorway to Roswell – 4:44
15.The Navajo Know – 2:21

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Porter Wagoner and The Blackwood Brothers Quartet – The Grand Old Gospel (1966/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 32:34 minutes | 618 MB | Genre: Country
Studio Master, Official Digital Download | Front Cover | © Legacy Recordings

Porter Wayne Wagoner (August 12, 1927 — October 28, 2007) was an American country music singer known for his flashy Nudie and Manuel suits and blond pompadour.

In 1967, he introduced singer Dolly Parton on his television show, and they were a well-known vocal duo throughout the late 1960s and early 1970s.

Known as Mr. Grand Ole Opry, Wagoner charted 81 singles from 1954–1983. He was elected to the Country Music Hall of Fame in 2002.

Tracklist:

1.When I Reach That City – 1:44
2.Hide Me, Rock of Ages – 3:18
3.The Family Who Prays (Never Shall Part) – 2:40
4.My Last Two Tens – 2:53
5.If We Never Meet Again – 2:53
6.Good Mornin’ Neighbor – 2:34
7.Trouble in the Amen Corner – 3:45
8.There’s a Higher Power – 2:05
9.I See a Bridge – 3:03
10.I’m Using My Bible for a Road Map – 2:18
11.A House of Gold – 2:38
12.Wait a Little Longer, Please Jesus – 2:46

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Porter Wagoner – The Thin Man from West Plains (1965/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 27:12 minutes | 598 MB | Genre: Country
Studio Master, Official Digital Download | Front Cover | © Legacy Recordings

The 1965 album by the legendary country music singer.

Tracklist:

1.Another Day, Another Dollar – 2:06
2.Lovin’ Lies – 2:13
3.I’m Gonna Feed You Now – 2:10
4.My Friends Are Gonna Be Strangers – 2:19
5.Tomorrow We’ll Retire – 2:39
6.Sorrow on the Rocks – 2:01
7.My Baby Turns the Lights on Uptown – 2:33
8.The Bride’s Bouquet – 2:33
9.Dim Lights, Thick Smoke and Loud Music – 2:15
10.I Couldn’t Care Less – 1:53
11.Memories from the Past – 2:16
12.I’ll Go Down Swinging – 2:23

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Tugan Sokhiev – Prokofiev: Lieutenant Kije Suite & Symphonies Nos. 1 & 7 (2017)
FLAC (tracks) 24-bit/48 kHz | Time – 01:09:49 minutes | 643 MB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Sony Classical

The first recording of the Prokofiev Symphony No. 5 by DSO Berlin directed by Tugan Sokhiev captured international attention (5 stars from Fono Forum). Now a new recording is being released of Prokofiev’s Symphonies Nos. 1 and 7 as well as the “Lieutenant Kij” Suite. The First Symphony is easily the most famous orchestral work by the Russian composer. The work is marked by joyfulness, vitality, and refined rhythm. At the same time, Prokofiev surprises listeners with a compositional style reminiscent of the music of Joseph Haydn. Prokofiev’s Seventh and final symphony also features the compositional style of Haydn, thus creating a link between his first and final symphony. The work is captivating because of its Oriental tonal landscape, expressive instrumentation full of striking effects and overwhelming, sumptuous orchestral splendour. The program is rounded off by an exceptional recording of the Lieutenant Kij Suite. Initially composed as a film score, today this work still fascinates concert-goers all over the world. The fourth movement in particular will be familiar to most listeners as a well-known Christmas theme. [Sokhiev] is certainly mindful of the parody rife in Lieutenant Kij and the militaristic colours heralding the ‘virtual’ hero’s birth are painted in bold strokes with cartoonish thwacks on the bass drum like a 21-gun salute. The Romance is cut of coarse cloth, a little on the sleazy side, and ‘Kij’s Wedding’, with its comically pompous trumpet and tuba alliance, hints at a dowdy (cue saxophone) provincial affair – Gramophone Magazine, August 2017

The young Russian’s laid-back style is far removed from, say, Gergiev’s in this repertoire, but it brings rewards in the composer’s two most “classical” symphonies, packed with witty pastiche and rollicking high jinks. – Sunday Times, 4th June 2017

Tracklist:

1.Lieutenant Kijé Suite, Op. 60: I. Birth of Kijé – 4:41
2.Lieutenant Kijé Suite, Op. 60: II. Romance – 4:38
3.Lieutenant Kijé Suite, Op. 60: III. Kijé’s Wedding – 3:02
4.Lieutenant Kijé Suite, Op. 60: IV. Troika – 3:00
5.Lieutenant Kijé Suite, Op. 60: V. Kijé’s Funeral – 6:10
6.Symphony No. 1 in D Major, Op. 25 ‘Classical’: I. Allegro – 4:34
7.Symphony No. 1 in D Major, Op. 25 ‘Classical’: II. Larghetto – 4:25
8.Symphony No. 1 in D Major, Op. 25 ‘Classical’: III. Gavotta. Non troppo allegro – 1:48
9.Symphony No. 1 in D Major, Op. 25 ‘Classical’: IV. Finale. Molto vivace – 4:06
10.Symphony No. 7 in C-Sharp Minor, Op. 131: I. Moderato – 10:09
11.Symphony No. 7 in C-Sharp Minor, Op. 131: II. Allegretto – 8:10
12.Symphony No. 7 in C-Sharp Minor, Op. 131: III. Andante espressivo – 6:18
13.Symphony No. 7 in C-Sharp Minor, Op. 131: IV. Vivace – 8:53

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Simon Trpceski, Royal Liverpool Philharmonic Orchestra, Vasily Petrenko – Prokofiev: Piano Concertos Nos. 1 & 3 (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 52:26 minutes | 910 MB | Genre: Classical
Studio Master, Official Digital Download | Digital Booklet, Front Cover | © Onyx

The chief draw on this release by Simon Trpceski is the Piano Concerto No. 1 in D flat major, Op. 10, composed while Sergey Prokofiev was still a student in St. Petersburg. Prokofiev thought highly enough of the work to premiere it in Moscow himself, and indeed it’s a student work of the best kind, brash and overflowing with confidence. Consider and sample the broad opening and, after about a minute, the angular music, a kind of second theme, seems as though it comes from an entirely different composition and dares you to imagine how it can be integrated with the opening. Prokofiev goes on to do just that, of course, and it was music like this that antagonized conservative listeners and, in an age when such antagonism was box office gold, did much to propel Prokofiev’s early career. In its broader outlines the work is not so dissimilar to the better-known Piano Concerto No. 3 in C major, Op. 26, one of the peaks of Prokofiev’s neoclassic output. The performances by Trpceski and the Royal Liverpool Philharmonic Orchestra under Vasily Petrenko are very strong, capturing the exuberance of the Piano Concerto No. 1 and delivering a crowd-pleasing, sparkling Third with no hint of the mordant quality many attach to the work. The Overture on Hebrew Themes, Op. 34bis, is a fine, little-known entr-acte. A crowd-pleasing Prokofiev release.

Tracklist:

1.Piano Concerto No. 1 in D flat major, Op. 10: Allegro brioso – Andante assai – Allegro scherzando – 15:46
2.Overture on Hebrew Themes, for orchestra, Op. 34b – 9:03
3.Piano Concerto No. 3 in C major, Op. 26: I. Andante – Allegro – 9:12
4.Piano Concerto No. 3 in C major, Op. 26: II. Theme and Variations: Andantino – 8:45
5.Piano Concerto No. 3 in C major, Op. 26: III. Allegro ma non troppo – 9:44

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Netherlands Radio Philharmonic Orchestra, James Gaffigan – Prokofiev: Symphonies Nos. 1 & 5 (2017)
Digital eXtreme Definition FLAC Stereo (tracks) 24-bit/352,8 kHz | Time – 58:28 minutes | 3,07 GB | Genre: Classical
Studio Master, Official Digital Download – Source: spiritofturtle.com | Booklet, Front Cover | © Challenge Records

Third (and last but one) instalment in James Gaffigan/Netherlands Radio Philharmonic Orchestra’s ongoing series of Prokofiev’s complete symphonies.

Nos. 1 and 5 are surely the most famous and beloved of Prokofiev’s symphonies. They were written in a time-span of 27 years (the former in France, the latter in Soviet Union) they display two much different faces of the composer’s musical personality.

The Netherlands Radio Philharmonic Orchestra (RFO), founded in 1945, is an essential link in the Dutch music life. The RFO performs symphonic concerts and operas in concert, as well as many world- and Netherlands premieres.

Markus Stenz was appointed chief conductor in 2012, after predecessor as Bernard Haitink, Jean Fournet, Willem van Otterloo, Hans Vonk, Edo de Waart and Jaap van Zweden. The RFO has worked with internationally highly regarded conductors such as Leopold Stokowski, Kirill Kondrashin, Antal Dorti, Charles Dutoit, Michael Tilson Thomas, Gennady Rozhdestvensky, Mariss Jansons, Peter Etvs, Vladimir Jurowski and Valery Gergiev. The American conductor James Gaffigan is principal guest conductor since the season 2011-2012. Bernard Haitink has connected his name to the RFO as patron.

The RFO has build an extensive CD catalogue, with works by contemporary composers such as Jonathan Harvey, Klas Torstensson, James MacMillan and Jan van Vlijmen, the registration of Wagner’s Parsifal, Lohengrin, die Meistersinger von Nrnberg. Complete symphonies of Bruckner, Rachmaninow, Shostakovich and Hartmann have been released in recent years.

The Netherlands Radio Philharmonic Orchestra and the Netherlands Radio Choir will be awarded the Concertgebouw prize of 2017.

Tracklist:

1.Symphony No. 1 in D major, Op. 25: I. Allegro – 4:33
2.Symphony No. 1 in D major, Op. 25: II. Larghetto – 4:17
3.Symphony No. 1 in D major, Op. 25: III. Gavotta: Non troppo allegro – 1:27
4.Symphony No. 1 in D major, Op. 25: IV. Finale: Molto vivace – 4:11
5.Symphony No. 5 in B-flat major, Op. 100: I. Andante – 13:00
6.Symphony No. 5 in B-flat major, Op. 100: II. Allegro marcato – 8:55
7.Symphony No. 5 in B-flat major, Op. 100: III. Adagio – 12:15
8.Symphony No. 5 in B-flat major, Op. 100: IV. Allegro giocoso – 9:54

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Mstislav Rostropovich, Alexander Dedyukhin – Prokofiev: Sinfonia concertante; Rachmaninov: Vocalise (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 45:09 minutes | 929 MB | Genre: Classical
Studio Master, Official Digital Download | Front Cover | © Warner Classics

Tracklist:

1.Sinfonia concertante in E Minor, Op. 125: I. Andante – 10:54
2.Sinfonia concertante in E Minor, Op. 125: II. Allegro giusto – 17:26
3.Sinfonia concertante in E Minor, Op. 125: III. Andante con moto – Allegretto – Allegro marcato – 10:01
4.14 Romances, Op. 34: XIV. Vocalise (Arr. Rostropovich) – 6:51

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Provocative Strings Of Zacharias – Pop Goes Baroque (1966/2016)
FLAC (tracks) 24-bit/96 kHz | Time – 28:09 minutes | 1,05 GB | Genre: Pop
Studio Master, Official Digital Download | Front Cover | © RCA Victor/Legacy

Tracklist:

1.Dominique – 2:27
2.Yesterday – 2:44
3.Spanish Harlem – 2:09
4.Downtown – 2:31
5.Over The Rainbow – 2:15
6.Yes, My Darling – 2:18
7.Can’t Buy Me Love – 2:26
8.America – 2:07
9.Lullaby of Birdland – 2:33
10.Bei Mir Bist Du Schön – 2:33
11.Volare – 1:57
12.How High the Moon – 2:15

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Leontyne Price, New Philharmonia Orchestra, Zubin Metha – Puccini: Tosca (1973/2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:51:48 minutes | 2,25 GB | Genre: Classical
Studio Master, Official Digital Download  | Front cover | © Sony Classical

This set–one of at least a dozen full-length Toscas available, is a big, brash, unsubtle affair–not that there’s anything wrong with that. Long referred to as a “shabby little shocker,” Tosca is a brute of a work, with three huge central figures–the opera singer, Tosca, full of jealousy and passion; Cavaroadossi, the idealistic painter who loves her; and Scarpia, the creepy, amoral police chief who wants to get into Tosca’s–er–good graces. In the title role, Price is imperious and elegant, and if she’s not as nuanced as Callas, well, no one is. Domingo’s Cavaradossi ideally suits his voice, and he may not be very interesting, but he sounds great. Milnes is all snarling and lip curling as Scarpia–just right for my money–you really hate him by the time Tosca does him in. Mehta leads an exciting show, and while the orchestra occasionally threatens to drown out the singers, it never quite does. Go for it. –Robert Levine

Tracklist:

1.Tosca: Act I: Ah! Finalmente! – 2:54
2.Tosca: Act I: E sempre lava! – 2:42
3.Tosca: Act I: Dammi i colori… Recondita armonia – 4:38
4.Tosca: Act I: Voi! Cavaradossi – 1:01
5.Tosca: Act I: Mario, Mario, Mario! – 2:54
6.Tosca: Act I: Non la sospiri la nostra casetta – 2:17
7.Tosca: Act I: Or lasciami al lavoro – 1:56
8.Tosca: Act I: Ah, quegli occhi… – 5:50
9.Tosca: Act I: E buona la mia Tosca – 4:05
10.Tosca: Act I: Tutta qui la cantoria! Presto! – 1:19
11.Tosca: Act I: Un tal baccano in chiesa! – 4:05
12.Tosca: Act I: Tosca? Che non mi veda – 7:29
13.Tosca: Act I: Tre sbirri, una carrozza (Te Deum) – 4:31
14.Tosca: Act II: Tosca è un buon falco – 4:23
15.Tosca: Act II: O galantuomo, come andò la caccia? – 1:08
16.Tosca: Act II: Sale, ascende l’uman cantico – 2:41
17.Tosca: Act II: Ov’è Angelotti? – 2:43
18.Tosca: Act II: Ed or fra noi parliamo – 6:00
19.Tosca: Act II: Ahimè! – Mario, consenti ch’io parli? – 1:11
20.Tosca: Act II: Nel pozzo, nel giardino? – 0:37
21.Tosca: Act II: Floria… Amore… Sei tu? – 1:24
22.Tosca: Act II: Vittoria! Vittoria! – 2:39
23.Tosca: Act II: Quanto?… Quanto?… Il prezzo – 2:30
24.Tosca: Act II: Ah, piuttosto giù m’avvento! – 2:04
25.Tosca: Act II: Vissi d’arte – 3:11
26.Tosca: Act II: Risolvi!… Mi vuoi supplice ai tuoi piedi? – 5:09
27.Tosca: Act II: Tosca, finalmente mia! – 4:24
28.Tosca: Act III: Io de’ sospiri – 4:44
29.Tosca: Act III: Mario Cavaradossi?… A voi – 3:59
30.Tosca: Act III: E lucevan le stelle – 3:09
31.Tosca: Act III: Ah! Franchigia a Floria Tosca – 0:58
32.Tosca: Act III: Il tuo sangue o il mio amore volea – 3:00
33.Tosca: Act III: O dolci mani – 0:23
34.Tosca: Act III: Senti, l’ora è vicina – 6:24
35.Tosca: Act III: Come è lunga l’attesa! – 2:22
36.Tosca: Act III: Presto, su! Mario! Mario! – 1:23

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Leontyne Price, Wiener Philharmoniker, Herbert von Karajan – Puccini: Tosca (1963/2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:52:44 minutes | 2,24 GB | Genre: Classical
Studio Master, Official Digital Download  | Front cover | © Decca Records

The dramas of Victorien Sardou, in the last decades of the nineteenth century, were as popular in Italy as they were in France. French companies, therefore, could tour the Italian theatres and attract large audiences willing to ignore any language barrier. Giacomo Puccini knew hardly any French when he went to see Sardou’s La Tosca in Milan in 1890, and yet he apparently enjoyed himself. Actually, he may have gone to the theatre — like a majority of the Milanese public — not so much to see the play as to admire its star, the forty-five-year-old Sarah Bernhardt, to whom La Tosca is dedicated and for whom it was written.

The divine Sarah was Sardou’s Tosca, the heroic cantatrice, the unashamed mistress of Mario Cavaradossi, and the unrepentant murderess of Scarpia. The rest of the play was hardly more than an elaborate, carefully constructed frame for her singular, spectacular talents. But Puccini must have seen past her dazzling interpretation, arriving at the heart of the drama itself. Anyway, he returned to see Sarah and La Tosca in Florence in 1895.

But by this time the composer had an even more impelling motive for revisiting the play: a libretto was in the process of being fashioned from it for him. The first talk of a Tosca libretto had begun some years earlier, in 1889, when Puccini had been at the very outset of his career. His first (and least successful) librettist, the journalist and playwright Ferdinando Fontana, had suggested the popular Sardou play to Puccini, who wrote to his publisher Giulio Ricordi about it. Then he turned to other subjects, writing Manon Lescaut and La Bohme in the years between 1889 and 1895. If the vain, successful and money-minded Sardou had been reluctant to grant operatic rights of his play to an unknown composer in the 1880s he was more than interested, a decade later, in having the internationally acclaimed Puccini make an opera from LaTosca.

There was an obstacle, however, which first had to be overcome. Sardou had already granted these same rights to Alberto Franchetti, a friend of Puccini’s, and the composer of two operas that enjoyed some popularity at that time, Asrael and Cristoforo Colombo. Ricordi, who was also Franchetti’s publisher, had commissioned the librettist Luigi Illica to prepare a Tosca text for him.

“It is a joy to hear Puccini’s orchestration … brought out with such precision … Karajan’s impressiveness consists of more than drawing brilliant playing from the Vienna Philharmonic … [his] control of tension shows itself at its most impressive … Price pours forth a flood of rich, glorious tone and her attention to detail is exemplary” (Gramophone Magazine)

“It remains one of the finest versions, with Leontyne Price at the peak of her form and Di Stefano singing most sensitively. But Karajan deserves equal credit with the principal singers, and the sound is first class.” (Penguin Guide)

Tracklist:

1.Tosca, Act 1: ‘Ah! Finalmente!’ – 2:05
2.Tosca, Act 1: ‘E sempre lava!…Angelus Domini nuntiavit Mariae…Che fai?’ – 3:21
3.Tosca, Act 1: ‘Dammi i colori!…Recondita armonia’ – 4:22
4.Tosca, Act 1: ‘Voi! Cavaradossi!’ – 1:00
5.Tosca, Act 1: ‘Mario! Mario! Mario!…Son qui!…Mia gelosa!’ – 12:30
6.Tosca, Act 1: ‘E buona la mia Tosca…Siam soli?’ – 3:10
7.Tosca, Act 1: ‘Sommo giubilo, Eccelenza!’ – 1:42
8.Tosca, Act 1: ‘Un tal baccano in chiesa! Bel rispetto!’ – 4:01
9.Tosca, Act 1: ‘Or tutto è chiaro … Mario? Mario?’ – 7:38
10.Tosca, Act 1: ‘Tre sbirri… Una carozza… Presto’ – Te Deum – 5:06
11.Tosca, Act 2: ‘Tosca è un buon falco!’ – 2:51
12.Tosca, Act 2: ‘Ha più forte sapore…Spoletta è giunto’ – 1:33
13.Tosca, Act 2: ‘O galantuomo, come andò la caccia?’ – 3:48
14.Tosca, Act 2: ‘Ov’è Angelotti? … Ed or fra noi parliam’ – 3:47
15.Tosca, Act 2: ‘Sciarrone: che dice il cavalier?’ – 2:55
16.Tosca, Act 2: ‘Orsù, Tosca, parlate…Mario, consenti ch’io parli?’ – 3:36
17.Tosca, Act 2: ‘Floria…Amore…’ – 1:28
18.Tosca, Act 2: ‘Vittoria! Vittoria!’ – 2:38
19.Tosca, Act 2: ‘Quanto? Quanto? Il prezzo!’ – 4:44
20.Tosca, Act 2: ‘Vissi d’arte, vissi d’amore’ – 4:45
21.Tosca, Act 2: ‘Chi è là?’ – 1:47
22.Tosca, Act 2: ‘Io tenni la promessa…E qual via scegliete?…Tosca, finalmente mia!’ – 6:43
23.Tosca, Act 3: Prelude: ‘Io de’ sospiri’ – 5:28
24.Tosca, Act 3: Introduzione all’aria … E lucevan le stelle – 4:09
25.Tosca, Act 3: ‘E lucevan le stelle’ – 3:02
26.Tosca, Act 3: ‘Franchigia a Floria Tosca’ – 2:42
27.Tosca, Act 3: ‘O dolci mani! … L’ora! Son pronto!’ – 8:18
28.Tosca, Act 3: ‘Come è lunga l’attesa!’ – 2:24
29.Tosca, Act 3: ‘Presto, su! Mario!’ – 1:25

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Quinn’s Combo & The Tahitian Native Group – Tahiti Yesterday and Today (1965/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 31:07 minutes | 703 MB | Genre: Pop
Studio Master, Official Digital Download  | Front cover | © RCA/Legacy

Tracklist:

1.Vaiho Mai – 2:29
2.Taora Mai Te Hei – 3:05
3.Tamure – 0:50
4.Hui’e – 2:22
5.Otaha – 2:30
6.Quinn’s Tamure – 2:09
7.Tofa – 2:22
8.Miki Miki – 2:51
9.Tatahi Arahoho – 2:43
10.No Oe Nei – 2:48
11.Vaitape – 2:42
12.O Vai Oe Tania – 4:21

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Dayramir Gonzales – The Grand Concourse (EP) (2017)
FLAC (tracks) 24-bit/44,1 kHz | Time – 31:05 minutes | 827 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Booklet, Front Cover | © Consciousness Manifesto

The new EP of an acclaimed Cuban pianist and composer Dayramir Gonzalez. “The Grand Concourse” has more of a New York sound. It’s a vibe between modern sounds of the 60s with some elements of traditional Cuban music of the early 20th century and also the influence of Yoruba religion.

Tracklist:
01 – Smiling
02 – Sencillez
03 – Blood Brothers
04 – Iyesa Con Miel
05 – Situaciones en 12 8

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District Five Quartet – Decoy (2018)
FLAC (tracks) 24-bit/44,1 kHz | Time – 43:09 minutes | 489 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Intakt Records

All in their twenties, these four young men are currently at the top tip of the Swiss jazz scene. District Five has taken time off after their debut album, the antithesis of short-term project culture. Now, with Decoy, they do justice to the album’s title, throwing us a seductive bait. The aim behind the album is to transcend conventional jazz and offer a statement; it was to sound different from the experience of District Five live, using the possibilities of studio recording to mine the wealth of electronic-based sounds the quartet hears around them. Whether flowing calmly along or sweeping weightlessly through the expanses of ambient soundscapes, whether the concentrated energy of free improvisation shatters the song structure or eruptive clusters of sound and hard-edged grooves emphasise the physical aspects of the music, in the club-friendly anthem ‘Maths’, the multi-layered sound art of District Five is compellingly direct and builds up a hypnotic momentum.

Tracklist:
01 – Berlin
02 – Crypto Clone
03 – Reminiscence
04 – Maths
05 – Decoy
06 – Recall

All Music Arranged by District Five.
Recorded on November 13-14, 2017, by Christian Heck at Loft Köln.
Mixed in January 2018 by Manuel Egger & District Five at Suburban Sound Studio, Winterthur.
Mastered in January 2018 by Greg Calbi at Sterling Sound NYC.

Musicians:
Xaver Rüegg – double bass
Tapiwa Svosve – alto saxophone, synths/electronics
Vojko Huter – guitar, synths/electronics
Paul Amereller – drums

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Dori Rubbicco – Stage Door (2018)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:06:20 minutes | 696 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Front Cover | © Whaling City Sound

Emotional, magical, and unmistakably original, Dori Rubbicco returns with “Stage Door Live!” with the John Harrison Quintet. Recorded at New Bedford’s intimate Zeiterion Theater, the live session documents Dori’s captivating way with an audience. As a singer-songwriter inspired by the likes of Joni Mitchell, as well as vocal stylists like Ella Fitzgerald and Sarah Vaughan, she understands the power of both style and substance.

Her unique interpretations and elegantly imagined performances reveal an artist that composes and interprets, leads and accompanies, shows and tells. Dori has performed across the country—in Miami, Los Angeles and Boston as a solo singer songwriter—and with groups, including the Miami Jazz Ensemble, the Gerald Wiggins Trio, and the Blues Train Band. Her work here with the inimitable John Harrison and his quintet is the perfect marriage, with Harrison’s extraordinary piano laying lush melodies down for Dori to revel in, on covers like “Imagine” and “I Can See Clearly,” and Jobim’s “Two Kites,” as well as an entertaining original, “Right Here Waiting.”

Tracklist:
01 – Roman Sun
02 – Imagine
03 – Two Kites
04 – Dogfight, Act I: Pretty Funny
05 – No Regrets
06 – Will You Still Love Me Tomorrow
07 – Throw it away
08 – Twisted
09 – Right Here Waiting
10 – I Can See Clearly Now
11 – That’s All

Recorded live on May 18, 2017 at the Zeiterion Performing Arts Center.

Musicians:
Dori Rubbicco – vocals
John Harrison III – piano
Beyan Steele – tenor and alto saxophone
Ian Rubbicco Legge – cello
Donn Legge – guitar
Bill Miele – bass
Yoron Israel – drums

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Duke Ellington – In Coventry, 1966 (2018)
FLAC (tracks) 24-bit/44,1 kHz | Time – 1:05:31 minutes | 724 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Storyville Records

During the year of 1966 Duke Ellington was touring Europe. Duke Ellington’s sacred concerts had many incarnations, more than the three on the commercial records: The First (1965), The Second (1968) and The Third (1973). At concerts Ellington often made changes in the proceedings – left out some numbers, and played others, and altered the succession of numbers played. This was evidenced at Coventry Cathedral on a winter’s Monday, February 21st 1966. The Coventry concert had its centerpiece in “In The Beginning God”, but apart from that it was no ordinary sacred concert: Two numbers, “Come Sunday” and “Tell Me It’s The Truth” would have a vocal on the issued record and in other performances of A Concert of Sacred Music the previous year, but were purely instrumental here – and the two numbers following “In The Beginning God” had no connection to a religious theme. With him on that day in Coventry Cathedral were some highly professional British vocalists, The Cliff Adams Singers and the baritone singer George Webb, giving the performance a special quality, which the band acknowledged by playing on the top of their game. The concert was filmed for TV, and part of it was telecast. Two numbers were regrettably omitted from the TV production, but are on this album, a powerful version of “Light (Montage)” from Black, Brown And Beige, and the above-mentioned “Come Sunday.” The concert also includes a premiere and only performance of a new Ellington composition “Come Easter,” a premiere of another new Ellington piece “West Indian Pancake,” and one of the first performances of a piece which would become an important part of many concerts during the following years, “La Plus Belle Africaine.”

Tracklist:
01 – New World A-Comin
02 – Come Sunday
03 – Light (Montage)
04 – Come Easter
05 – Tell Me It’s the Truth
06 – In the Beginning God
07 – West Indian Pancake
08 – La Plus Belle Africaine

Recorded on February 21, 1966 in Coventry Cathedral, Coventry, UK.
Digitally Remastered.

Musicians:
Duke Ellington – piano
Willie “Cat” Anderson – trumpet
Cootie Williams – trumpet
Herbie Jones – trumpet
Mercer Ellington – trumpet
Lawrence Brown – trombone
Buster Cooper – trombone
Chuck Conners – bass trombone
Russell Procope – alto saxophone, clarinet
Johnny Hodges – alto saxophone
Paul Gonsalves – tenor saxophone
Harry Carney – baritone saxophone, clarinet, bass clarinet
John Lamb – double bass
Sam Woodyard – drums
George Webb – vocals
Cliff Adams Singers – vocals

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