Studio Masters – HDMusic.me

Alice Cooper – A Paranormal Evening at the Olympia Paris (2018)
FLAC (tracks) 24-bit/48 kHz | Time – 1:28:39 minutes | 1,09 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | © earMUSIC

“A Paranormal Evening At The Olympia Paris” which was recorded during Alice Coopers’ European Tour 2017 on the 7th of December at the L’Olympia in Paris gives the audience the chance the be a witness to a fine and legendary theatrical performance. Supported by the outstanding performance of his band, the ‘master of shock rock’ takes the audience on a journey through the darkness, performing his big hits like “Poison”, “School’s Out” and “No More Mr. Nice Guy” as well as the recent track “Paranoiac Personality” featured on the latest studio album “Paranormal”.

“A Paranormal Evening At The Olympia Paris” is a live album full of music, murder and madness. The showman Alice Cooper himself fascinates with a passionate performance and together with his band, easily turns the whole concert into an unforgettable happening. An enthusiastic crowd and stunning guitar and drum solos underline the vibrating energy of this “Paranormal Evening”, caught in high quality audio.

Tracklist:
01. Brutal Planet (Live at the L’Olympia) 05:35
02. No More Mr. Nice Guy (Live at the L’Olympia) 03:10
03. Under My Wheels (Live at the L’Olympia) 03:01
04. Department of Youth (Live at the L’Olympia) 02:55
05. Pain (Live at the L’Olympia) 03:52
06. Billion Dollar Babies (Live at the L’Olympia) 03:38
07. The World Needs Guts (Live at the L’Olympia) 03:48
08. Woman of Mass Distraction (Live at the L’Olympia) 06:23
09. Poison (Live at the L’Olympia) 04:49
10. Halo of Flies (Live at the L’Olympia) 10:56
11. Feed My Frankenstein (Live at the L’Olympia) 05:02
12. Cold Ethyl (Live at the L’Olympia) 03:41
13. Only Women Bleed (Live at the L’Olympia) 05:13
14. Paranoiac Personality (Live at the L’Olympia) 03:48
15. Ballad of Dwight Fry (Live at the L’Olympia) 04:51
16. Killer / I Love the Dead Themes (Live at the L’Olympia 03:41
17. I’m Eighteen (Live at the L’Olympia) 05:29
18. School’s Out (Live at the L’Olympia) 08:47

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The German-Japanese pianist Alice Sara Ott is one of several young artists trying to break out from the pack of young recitalists, with creatively enjoyable results for listeners. She cultivates a high-fashion look and, still unusually in the concert music realm, uses videos to promote her music. Here she takes a venerable theme, that of the musical nocturne, and tries to bring fresh approaches to some familiar works. Partly it’s that some of the music isn’t conventionally thought of as “night music”; the Gnossiennes and Gymnopédies of Satie don’t specifically refer to nightfall, and despite its title, Ravel’s Gaspard de la nuit is no nocturne. Except that, in Ott’s hands, it is. Nightfall for her is not a mere atmospheric mood but a moment of deep introspection, and many of her interpretations run counter to type or seem to raise psychological issues. Sample the technically perilous Scarbo movement from Gaspard de la nuit, which is generally a test of pianistic muscle. Ott, in her own trenchant notes, tells you that Scarbo is instead “a gnome who attacks artists in the night and drinks their blood, [and] confronts us with our fear of failure.” It’s a novel idea but perhaps one not so removed from Ravel’s own conception of the work, despite his stated intention of simply outdoing Balakirev’s Islamey in terms of sheer virtuosity. Her Debussy is likewise unsettled, with shifts between light and shade that are not smoothed out. A highly recommended outing from a promising rising star.

Tracklist:
1. Rêverie, L. 6804:43
2. Suite bergamasque, L. 75 : 1. Prélude 04:18
3. Suite bergamasque, L. 75 : 2. Menuet 04:23
4. Suite bergamasque, L. 75 : 3. Clair de lune 04:54
5. Suite bergamasque, L. 75 : 4. Passepied 03:50
6. Gnossiennes : 1. Lent 04:17
7. 3 Gymnopédies : 1. Lent et douloureux 03:25
8. Gnossiennes : 3. Lent 02:55
9. Gaspard de la Nuit, M. 55 : 1. Ondine 06:50
10. Gaspard de la Nuit, M. 55 : 2. Le Gibet 09:20
11. Gaspard de la Nuit, M. 55 : 3. Scarbo 10:14
12. RPavane pour une infante défunte, M. 19 06:54

Personnel:
Alice Sara Ott, piano

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He’s the best-known French-speaking reggae singer, but that doesn’t stop him also expressing himself in the language of his roots, Dioula, as well as the language of Bob Marley, English. A range of spices that colour an art, and especially a message, which is good, as its purpose is to speak to as many people as possible. The first title of this new album by Alpha Blondy confirms the perceptible engagement in his repertoire: Political Brouhaha denounces politics and electoral promises. Another song called Nos hôpitaux (Our hospitals) describes a catastrophic situation, that of the medical equipment of a whole continent. It’s not the first time that Alpha Blondy has spoken out. In the early 1980s, the country was still governed by a single party, that of Félix Houphouët-Boigny, President from 1960 to 1993. There was no multiparty system, and his music was like a rallying point for the opposition. His song Brigadier Sabari, which denounces police violence, has even become a hymn.

Tracklist:
1. Political Brouhaha
2. Kanou
3. Life
4. Alphaman Redemption
5. Human Race
6. Nos Hopitaux
7. Les Paiens
8. Cigarettes
9. Whole Lotta Love
10. Oté-Fê
11. Je Suis Venu Te Dire Que Je M’en Vais
12. Black Hole

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The fourth full length album from pop sensation Ariana Grande.
Since making her full-length debut with 2013’s Yours Truly (featuring the game-changing, triple-platinum smash “The Way”), Grande has brought her striking vocal presence to a genre-blurring breed of pop, taking on R&B, soul, and electronic music with equal nuance and assurance. Arriving in 2014, her sophomore effort, My Everything, garnered a Grammy Award nomination for Best Pop Vocal Album and spawned the 6x-platinum hits “Problem” and “Bang Bang” (a Grammy nominee for Best Pop Duo/Group Performance). Grande embraced a more uncompromising vision than ever before in the making of Dangerous Woman. With People noting that the album “celebrates feminine might,” Entertainment Weekly praised Grande for “having something meaningful to say with that jaw-dropping voice – one of the most exquisite in pop today.” Grande wrapped up her widely lauded Dangerous Woman Tour in support of the album last year, performing 85 arena shows worldwide.

Tracklist
1. Raindrops
2. Blazed (Feat. Pharrell Williams)
3. The Light Is Coming (Feat. Nicki Minaj)
4. R.E.M.
5. God Is a Woman
6. Sweetener
7. Successful
8. Everytime
9. Breathin’
10. No Tears Left to Cry
11. Borderline (Feat. Missy Elliott)
12. Better Off
13. Goodnight N Go
14. Pete
15. Get Well Soon

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Dangerous Woman is the Grammy-nominated multi-platinum star Ariana Grande’s third full-length album. The record features musical collaborations with Lil Wayne (“Let Me Love You”), Macy Gray (“Leave Me Lonely”), Nicki Minaj (“Side to Side”) and Future (“Everyday”).

Ariana Grande took her first tentative steps into adulthood with My Everything, the 2014 album that tempered her retro-diva stance with modern R&B. Released two years later, Dangerous Woman consolidates this soulful shift while offering a snazzier, sophisticated spin on the ’90s pop that provides the foundation of Grande’s music. Much of the latter comes from a fruitful partnership with producer Max Martin and his colleague Ilya, a team responsible for over half of the standard album’s tracks (they also have their hands in several of the deluxe edition’s bonus cuts). Tommy Brown and Mr. Franks are the other chief collaborators here, shepherding many of the cuts with a heavier R&B influence – the stuttering “Let Me Love You,” featuring a verse from Lil Wayne, the slow-burning torch of “Leave Me Lonely” – but their productions aren’t far removed from the Martin/Ilya cuts. “Everyday,” a heavy thrumming jam featuring Future, is helmed by Ilya alone and the Rihanna-copping “Side to Side” bears a Martin credit. What all the producers do is keep the focus on the individual track, carving it into a seamless sculpture of rhythm and melody where Grande winds up as the accent to the song. Restraint serves her well: there are times she lets go with a full-throated roar, but Grande spends most of Dangerous Woman at a simmer that reinforces the sultry seduction of the title. A fair chunk of the album is devoted to cinematic ballads, which makes the bright blasts of disco – “Be Alright,” “Greedy” – so alluring, but the entire record benefits from this single-minded concentration. Track by track, Dangerous Woman has sly, subtle distinctions – a little bit of torch gives way to some heavy hip only to have frothy pop surface again – and while some of these cuts work better than others, the range is impressive, as is Grande’s measured, assured performance.

Tracklist:
01 – Moonlight
02 – Dangerous Woman
03 – Be Alright
04 – Into You
05 – Side To Side [feat. Nicki Minaj] 06 – Let Me Love You [feat. Lil Wayne]
07 – Greedy
08 – Leave Me Lonely [feat. Macy Gray]
09 – Everyday [feat. Future]
10 – Sometimes
11 – I Don’t Care
12 – Bad Decisions
13 – Touch It
14 – Knew Better / Forever Boy
15 – Thinking Bout You

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Vilde Frang – Bartók: Violin Concerto No. 1 – Enescu: Octet (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 58:05 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: prestoclassical.co.uk | Digital Booklet, Front Cover | © Warner Classics

Bela Bartok and George Enescu were born in same Year – 1881, Bartok in the Austrian-Hungarian city of Nagyszentmiklos (today Romania), Enescu in the Moldovian town of Liveni-Botosani (today Romania). Both pieces on this recording are youth works of theirs – 1900 (Enescu Octet) and 1907 (Bartoks 1st violin concerto). Both works were neglected – Enescus Octet for nearly a decade due to the challenges of the piece (being premiered in 1909) , and Bartoks concerto was neglected by its dedicatee, the violinist Stefi Geyer (who was also his young love), and was published only after her death, in 1956 (being premiered in 1958). Bartok and Enescu both died in self-chosen exile – Bartok 1945 in New York, Enescu 1955 in Paris – yet both were respected and admired for being contributers to the development of their countries’ culture and art, particularly as great «ambassadors» for the folk music.

Absolutely stunning. Had the Heifetz-Piatigorsky team tackled Enescu’s string Octet, I doubt that they would have topped this version by Vilde Frang and friends…What most absorbs me about this wonderful piece are its rich ingredients, an aspect that Frang and her collaborators appear to relish to the full. – Gramophone Magazine, October 2018

Frang and friends make a gutsy, quasi-orchestral sound in Enescu’s Octet of 1900 (so much so that I had to check that the recording didn’t use the version which the composer sanctioned for full string-section), with plenty of gypsy dash in the outer movements in particular; an entirely persuasive bit of advocacy for a piece that really deserves to be recorded and performed more often. – Presto Classical, September 2018

This is a marvellously played pair of works by the contemporaries Bartok and Enescu…Enescu’s precocious Octet in C is a magnificent structure, realised here by wonderful soloists including Frang and the violist Lawrence Power. – Sunday Times, 16th September 2018

Tracklist:
1. Violin Concerto No. 1, BB 48a, Sz. 36: I. Andante sostenuto 09:09
2. Violin Concerto No. 1, BB 48a, Sz. 36: II. Allegro giocoso 11:54
3. Octet in C Major, Op. 7: I. Très modéré 11:56
4. Octet in C Major, Op. 7: II. Très fougueux 07:46
5. Octet in C Major, Op. 7: III. Lentement 09:10
6. Octet in C Major, Op. 7: IV. Mouvement de valse bien rythmée 08:07

Personnel:
Vilde Frang (violin),
Erik Schumann (violin),
Gabriel Le Magadure (violin),
Roseanne Philippens (violin),
Lawrence Power (viola),
Lily Francis (viola),
Nicolas Altstaedt (cello),
Jan-Erik Gustavsson (cello)

Orchestre de Radio France,
Mikko Franck (conductor)

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I love the whole symphony but from the second movement two favorite moments, two details, spring to mind. First, the recapitulation when the solo violin takes flight, like a buzzing bee around a flower, and then accidentally finds itself in a wonderful modulation to E major. The second is the ending. The flowers, that move and dance elegantly against the wind, suddenly expose their Tristan-like soul. From the vast first movement I would choose the huge, yawning creature’s (Pan’s?) first appearance. Conducting the Scherzo I am always carried away by the inserted episodes which interrupt the post horn – first by a group of baroque birds, then rococo ones flying up from the pages of a Mozart piano concerto. What an ingenious and unpredictable use of different styles! Finally, the endless melody of the last movement moves me every time with its intimate beauty and honesty. There is something divine in the wealth of this great masterpiece. Iván Fischer

Tracklist

Gustav Mahler (1860-1911)

Symphony No. 3
1. Entschieden 33:14
2. Tempo di Menuetto 10:14
3. Comodo, Scherzando 18:31
4. Sehr Langsam 08:15
5. Lustig im Tempo 04:02
6. Langsam. Ruhevoll 21:31

Personnel
Gerhild Romberger (alto)
Cantemus Children’s Choir (chorus)
Chor des Bayerischen Rundfunks (chorus)
Budapest Festival Orchestra
Iván Fischer (conductor)

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Berliner Philharmoniker & Herbert von Karajan – Mendelssohn: Symphonies Nos. 3 & 4; Hebrides Overture (1971,1973/2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:18:34 minutes | 1,52 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet | © Deutsche Grammophon

“Karajan’s Berlin Philharmonic performance is worthy of Mendelssohn’s inspiration, and this album makes a splendid memento of a famous Scottish visit.” (Penguin Guide)

Tracklist:

Felix Mendelssohn Bartholdy (1809-1847)

The Hebrides, Op.26 (Fingal’s Cave)
1 The Hebrides 10:51

Symphony No. 3 In A Minor, Op. 56, MWV N 18 – Scottish
2 1. Andante con moto – Allegro un poco agitato – Assai animato – Andante come prima 13:54
3 2. Vivace non troppo 04:27
4 3. Adagio 11:48
5 4. Allegro vivacissimo – Allegro maestoso assai 09:27

Symphony No. 4 In A Major, Op. 90, MWV N 16 – Italian
6 1. Allegro vivace 08:04
7 2. Andante con moto 06:27
8 3. Con moto moderato 08:00
9 4. Saltarello (Presto) 05:40

Personnel
Berliner Philharmoniker
Herbert von Karajan, conductor

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Michail Lifits – Shostakovich: 24 Preludes, Op. 34 & Piano Quintet, Op. 57 (2017)
FLAC (tracks) 24-bit/96 kHz | Time – 01:12:30 minutes | 1.18 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Mora.jp | Artwork: Front Cover | © Decca

With his “mature sound, seemingly full of wisdom” (Süddeutsche Zeitung), his sensible, delicately balanced touch, and his interpretive maturity, Michail Lifits casts a spell over audience and press alike.

After two highly acclaimed recordings of Mozart and Schubert, Michail Lifits now dedicates himself to the masterworks of Dmitri Shostakovich: the humorous and enigmatic 24 Preludes, Op. 34, and one of the best-loved chamber music pieces, the Piano Quintet, Op. 57.

Tracklist:

Dmitri Shostakovich (1906 – 1975)

01. Twenty-Four Preludes, Op. 34: No. 1 in C Major. Moderato – Michail Lifits
02. Twenty-Four Preludes, Op. 34: No. 2 in A Minor. Allegreto – Michail Lifits
03. Twenty-Four Preludes, Op. 34: No. 3 in G Major. Andante – Michail Lifits
04. Twenty-Four Preludes, Op. 34: No. 4 in E Minor. Moderato – Michail Lifits
05. Twenty-Four Preludes, Op. 34: No. 5 in D Major. Allegro vivace – Michail Lifits
06. Twenty-Four Preludes, Op. 34: No. 6 in B Minor. Allegretto – Michail Lifits
07. Twenty-Four Preludes, Op. 34: No. 7 in A Major. Andante – Michail Lifits
08. Twenty-Four Preludes, Op. 34: No. 8 in F-Sharp Minor. Allegretto – Michail Lifits
09. Twenty-Four Preludes, Op. 34: No. 9 in E Major. Presto – Michail Lifits
10. Twenty-Four Preludes, Op. 34: No. 10 in C-Sharp Minor. Moderato non troppo – Michail Lifits
11. Twenty-Four Preludes, Op. 34: No. 11 in B Major. Allegretto – Michail Lifits
12. Twenty-Four Preludes, Op. 34: No. 12 in G-Sharp Minor. Allegro non troppo – Michail Lifits
13. Twenty-Four Preludes, Op. 34: No. 13 in F-Sharp Major. Moderato – Michail Lifits
14. Twenty-Four Preludes, Op. 34: No. 14 in E-Flat Minor. Adagio – Michail Lifits
15. Twenty-Four Preludes, Op. 34: No. 15 in D-Flat Major. Allegretto – Michail Lifits
16. Twenty-Four Preludes, Op. 34: No. 16 in B-Flat Minor. Andantino – Michail Lifits
17. Twenty-Four Preludes, Op. 34: No. 17 in A-Flat Major. Largo – Michail Lifits
18. Twenty-Four Preludes, Op. 34: No. 18 in F Minor. Allegretto – Michail Lifits
19. Twenty-Four Preludes, Op. 34: No. 19 in E-Flat Major. Andantino – Michail Lifits
20. Twenty-Four Preludes, Op. 34: No. 20 in C Minor. Allegretto furioso – Michail Lifits
21. Twenty-Four Preludes, Op. 34: No. 21 in B-Flat Major. Allegretto poco moderato – Michail Lifits
22. Twenty-Four Preludes, Op. 34: No. 22 in G Minor. Adagio – Michail Lifits
23. Twenty-Four Preludes, Op. 34: No. 23 in F Major. Moderato – Michail Lifits
24. Twenty-Four Preludes, Op. 34: No. 24 in D Minor. Allegretto – Michail Lifits
25. Piano Quintet in G Minor, Op. 57: I. Prelude. Lento-Poco più mosso-Lento – Michail Lifits & Szymanowski Quartet
26. Piano Quintet in G Minor, Op. 57: II. Fugue. Adagio – Michail Lifits & Szymanowski Quartet
27. Piano Quintet in G Minor, Op. 57: III. Scherzo. Allegretto – Michail Lifits & Szymanowski Quartet
28. Piano Quintet in G Minor, Op. 57: IV. Intermezzo. Lento-Appassionato – Michail Lifits & Szymanowski Quartet
29. Piano Quintet in G Minor, Op. 57: V. Finale. Allegretto – Michail Lifits & Szymanowski Quartet

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Liza Ferschtman, Dmitry Ferschtman – Kodaly, Ravel, Schulhoff – Duos for Violin & Violincello (2012)
DSF Stereo DSD128/5.64 MHz | Time – 02:05:04 minutes | 4,93 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

The name of Zoltn Kodly will always be irrevocably bound up with that of fellow countryman and friend Bla Bartk, with whom he collected and investigated the sources of original Hungarian folk music. After studying German and Hungarian, he even devoted a thesis to the Hungarian folksong in 1906. Despite political troubles and despite being thwarted by the Hungarian regime with its Nazi sympathies, as a member of the opposition Kodly metamorphosed into the fundament of Hungarian cultural life. And in contrast to Bartk, he even managed to get works performed abroad, works such as Psalmus Hungaricus and parts of Hary Jans. Kodly had made it his object to create a tradition of true Hungarian artistic music on the basis of Hungarian folklore and tradition, as can be heard in his own works. He remained in Hungary even when his good friend Bartk was given political asylum in the United States. He received many honours and afterthe war he was an internationally famed composer and instructor. Kodly died in Budapest in 1967.

Tracklist:

01 – Duo for Violin & Cello Op. 7- I. Allegro serioso, non troppo
02 – Duo for Violin & Cello Op. 7- II. Adagio
03 – Duo for Violin & Cello Op. 7- III. Maestoso e largamente, ma non troppo lento – Presto
04 – Sonate pour Violon et Violoncelle- I. Allegro
05 – Sonate pour Violon et Violoncelle- II. Tres vif
06 – Sonate pour Violon et Violoncelle- III. Lent
07 – Sonate pour Violon et Violoncelle- IV. Vif avec entrain
08 – Duo for Violin & Cello- I. Moderato
09 – Duo for Violin & Cello- II. Zingaresca Allegro giocoso
10 – Duo for Violin & Cello- III. Andantino
11 – Duo for Violin & Cello- IV. Moderato

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The Netherlands Symphony Orchestra, Jan Willem de Vriend – Mendelssohn: Symphony No. 2 “Lobgesang” (2013)
DSF Stereo DSD128/5.64 MHz | Time – 01:02:32 minutes | 5,19 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

It is June 1840, you are in the Thomaskirche in Leipzig, the church where the famous composer Johann Sebastian Bach was once kapellmeister. You are there to attend the premiere of a piece of music on the occasion of the 400th anniversary of the invention of the printing press by Johannes Gutenberg. The successful composer Felix Mendelssohn will conduct his own music. Mild excitement takes hold of you; you feel that it is going to be a magnificent concert, with orchestra, choir, soloists. Finally, it starts. The trombones begin with a regal theme that resounds through the church. The orchestra takes over the theme. You are immediately swept up by, immersed in the music — an overwhelming experience.

That must certainly have been the experience of the audience at this first performance of Mendelssohn’s symphony-cantata, as he liked to describe it. That the beginning of the piece is so overawing, by the nature of the theme and scoring of wind instruments, is not something you immediately expect from a composer such as Mendelssohn. He is known more for refinement, a cultivated melancholy that is fascinating, but does not threaten to make off with you. And of course, there is the virtuosity, which never stoops to affectation and always remains functional.1 As impressive as the regal trombone theme is, other passages of Lobgesang have probably moved audiences more deeply.

Tracklist:

01 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- I. Sinfonia- Maestoso con moto Allegro
02 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- I. Sinfonia- Allegretto un poco agitato
03 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- I. Sinfonia- Adagio religioso
04 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- II. Chor-Sopran solo- Allegro moderato maestoso Animato
05 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- II. Chor-Sopran solo- Allegro di molto
06 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- II. Chor-Sopran solo- Molto pi moderato ma con fuoco
07 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- III. Tenor solo- Recitativo
08 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- III. Tenor solo- Allegro moderato
09 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- IV. Chor- A tempo moderato
10 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- V. Sopran I und II solo-Chor- Andante
11 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VI. Tenor solo- Allegro un poco agitato
12 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VI. Tenor solo- Allegro assai agitato
13 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VI. Tenor solo- Tempo I, moderato
14 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VI. Sopran- Die Nacht ist vergangen!
15 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VII. Chor- Allegro maestoso e molto vivace
16 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VIII. Choral- Andante con moto
17 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VIII. Choral- Andante con moto
18 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- VIII. Choral- Un poco piu animato
19 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- IX. Sopran solo, Tenor solo- Andante sostenuto assai
20 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- X. Schlusschor- Allegro non troppo
21 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- X. Schlusschor- Pi vivace
22 – Symphony No. 2 in B-flat major, Op. 52 ‘Lobgesang’- X. Schlusschor- Maestoso como!

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Al Ayre Espanol, Eduardo Lopez Banzo – Handel’s Memories – A selection from Grand Concertos op. 6 (2012)
DSF Stereo DSD128/5.64 MHz | Time – 01:34:02 minutes | 7,45 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

George Frideric Handel arrived in England towards the end of 1710, encouraged by a group of music lovers excited by the extraordinary success he had achieved with his opera Agrippina in Venice. At the beginning of the 18th century, London was a very prosperous city in need of talent to modernize and revitalize its theatrical performances, and the German musician, who was then at the service of the Elector of Hanover (who would soon be crowned King of Great Britain), was the ideal candidate.

For many years, Handel was the most acclaimed composer of Italian opera in London, premiering at a rate of one show a year, and managing all aspects related to production, from the orchestra, which became one of the best in Europe, to the singers, with whom he did not always have optimal relationships. In 1733, he had a notorious clash with one of the most famous castrati of the time, Senesino, who founded, with the support of a good portion of the aristocracy, the Opera of the Nobility, determined to rival the German composer. Two Italian opera companies were too much for a city where this genre had seriously declined during the previous decade, hence the considerable losses they both accumulated during consecutive seasons. In 1737, Senesino’s opera closed permanently. Handel, exhausted by excessive work and the constant upsets, became seriously ill.

Tracklist:

1-01 – Concerto grosso, Op. 6 No. 1 in G major, HWV319- I. A tempo giusto
1-02 – Concerto grosso, Op. 6 No. 1 in G major, HWV319- II. Allegro
1-03 – Concerto grosso, Op. 6 No. 1 in G major, HWV319- III. Adagio
1-04 – Concerto grosso, Op. 6 No. 1 in G major, HWV319- IV. Allegro
1-05 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- I. Allemande
1-06 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- II. Grave – Andante allegro
1-07 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- III. Adagio
1-08 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- IV. Siciliane
1-09 – Concerto grosso, Op. 6 No. 8 in C minor, HWV326- V. Allegro
1-10 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- I. Larghetto e affettuoso
1-11 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- II. Allegro ma non troppo
1-12 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- III. Musette- Larghetto
1-13 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- IV. Allegro
1-14 – Concerto grosso, Op. 6 No. 6 in G minor, HWV324- V. Allegro
2-01 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- I. Ouverture
2-02 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- II. Air
2-03 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- III. Allegro
2-04 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- IV. Allegro
2-05 – Concerto grosso, Op. 6 No. 10 in D minor, HWV328- V. Allegro moderato
2-06 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- I. [Ouverture]2-07 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- II. Presto
2-08 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- III. Largo
2-09 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- IV. Allegro
2-10 – Concerto grosso, Op. 6 No. 5 in D major, HWV323- V. Menuet- Un poco larghetto
2-11 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- I. Andante larghetto, e staccato
2-12 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- II. Allegro
2-13 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- III. Largo e staccato
2-14 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- IV. Andante
2-15 – Concerto grosso, Op. 6 No. 11 in A major, HWV329- V. Allegro

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Created by ten-time Latin Grammy winner Javier Limón, The Paco de Lucía Project reassembles the original band that toured with the legendary flamenco guitarist for the last ten years of his career. A longtime collaborator and producer of Paco de Lucía, Javier Limón brings the secrets of flamenco at the highest level to create an experience that honors the legacy of Paco de Lucía, while paving a new path into the future of flamenco. Paco de Lucía was widely considered to be the world’s premier flamenco guitarist and by many to be Spain’s greatest musical export. He had a revolutionary influence on flamenco music, both as a composer and otherwise. Throughout his 50 year career, he performed and recorded with musical legends such as Eric Clapton, Chick Corea, Carlos Santana and Al Di Meola, among many others.

Tracklist:
01. El Cafetal (Rumba)
02. El Ciego Sin Bastón
03. Manuela (Taranta)
04. Gabriela (Tangos)
05. Aires (Alegrías)
06. Ayuda Pedía Un Minero (Taranta)
07. Spain
08. Zyriab
09. Son Tres
10. El Boquerón
11. Moraíto Siempre (Bulerías)

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New album from the Scottish folk/rock duo composed of the identical twin brothers Charlie and Craig Reid. This is Craig and Charlie’s 11th studio album recorded again at the legendary Rockfield Studios in Wales featuring 13 new Reid/Reid songs produced by Dave Eringa (Manic Street Preachers, Roger Daltrey). Angry Cyclist finds The Proclaimers at the peak of their songwriting prowess. Instantly catchy hooks and melodies, gorgeous close harmonies, moving, as well as clever and subtle, biting lyrics, great arrangements and fantastic production (produced by Dave Eringa), all on a perfectly sequenced album.

The album opens with the title track (also the first single). Strings soundtrack a song full of Craig and Charlie’s unique and impassions vocals and a lyrical metaphor about the reactionary and bigoted times we live in. Their sharp, coruscating and dry observations continue on songs such as Looted, a song about the theft of the British Empire, and Classy, which takes a wry look at the ludicrous strata of the British class system.

Elsewhere on the album, Charlie and Craig are at their romantic and anthemic best, particularly on songs such as Streets Of Edinburgh, an incredibly moving paean to their hometown city. The song is destined to become a classic in their incredible canon. Other joyful moments come courtesy of You Make Me Happy and Sometimes It’s The Fools.

The Proclaimers have always been politically and socially aware artists. On many of Angry Cyclist songs they further skewer the hypocrisy and inequities that they see around them. What is remarkable about their writing is, after 30 years, it would be so easy for them to be cynical, but Angry Cyclist is incredibly positive, hopeful and optimistic: a life-affirming listen. Its’ vitality and passion easily puts many artists half their age, or younger, in the shade.

Strikingly individual, twin brothers Craig and Charlie Reid emerged 31 years ago with their debut album This Is The Story and Top 3 single Letter from America. Since then their enduring appeal across generations has have over the years seen them enjoy huge success across the globe.

The Proclaimers songs are timeless, capturing a gamut of human emotions, written with poignancy, emotional honesty, political fire and wit. Their songs feature at weddings, funerals and everything in-between and there is one song, an early celebration of falling head over heels in love that is known the world over and has become a staggering global anthem. There are many others that have gained great popularity in different parts of the planet and then there is a wide cross section of sublime songs embraced by a multitude that has kept up with The Proclaimers studio albums, compilation collections and extensive touring over three decades. They have even inspired a musical, the play and film Sunshine on Leith. The movie was the fifth highest grossing Independent UK film of 2013. The musical has its fourth UK run from April to June this year, with its biggest production to date by West Yorkshire Playhouse. The show has had fantastic audience and critical acclaim and now seems destined to head to London’s West End in 2019.

Tracklist:
01. Angry Cyclist
02. Stretch
03. Streets of Edinburgh
04. Then It Comes to Me
05. You Make Me Happy
06. Looted
07. The Hours Between
08. Information
09. Sometimes It’s the Fools
10. A Way with Words
11. Classy
12. The Battle of the Booze
13. I’d Ask the Questions

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It’s not surprising that The War and Treaty, a married duo comprised of Michael and Tanya Trotter, have received comparisons to Ike and Tina Turner. There are a couple of hard-charging, rock and soul originals on the Trotter’s upcoming album, Healing Tide, that recall the dueling vigor of the music the Turners made together. But while Tina Turner’s revelations have made us hear the volatility of her relationship with Ike in the musical heat they generated, the Trotters’ songs “All I Wanna Do” and “Healing Tide” convey an ecstatic, empowering sense of partnership that serves as the duo’s creative engine and core message.

Even though The War and Treaty is still a rising act in the Americana field, and seemed to arrive on the national scene almost out of nowhere just a couple of years back, the Trotters are hardly neophytes. Separately and together, they’ve tried on numerous stylistic identities and artistic approaches. Long before she met Michael, Tanya (nee Blount) dueted with Lauryn Hill in Sister Act 2 and recorded sultry, mid-’90s R&B slow jams in a Toni Braxton vein. Michael sang in church, and during a tour of duty in Iraq, was dealt the singular sacred duty of paying tribute to fallen comrades in song, before striking out as a smoothly seductive R&B singer-songwriter, citing influences like Gerald Levert and Tyrese. After teaming up in life and music, the pair dabbled in sleek soul updates under their combined surnames. But they also drew inspiration from voices embraced as touchstones across generations and genres — Ray Charles, Aretha Franklin, Johnny Cash and Nina Simone among them — and ultimately settled into a rootsy aesthetic animated by the range of their musical experiences.

Both Tanya and Michael take turns venturing out on emotional limbs on Healing Tide, produced with the sympathetic touch of Buddy Miller. Voicing needs and longings in a tone simultaneously ardent and tentative, they make the risks of mutuality felt. In “Are You Ready To Love Me,” a strutting country-soul number laced with horns and pedal steel, she pleads for physical affection and promises eager attentiveness as a lover, building to her insistent delivery of the question posed in the title. He sings the first half of “If It’s In Your Heart” as though he’s summoning the courage to press his lover for honesty and find out whether or not the intensity of her devotion equals his own.

During the loping string band number “Here Is Where the Loving Is At,” which features harmonies from Emmylou Harris, the Trotters paint a picture of lasting partnership as an earthy, effortful endeavor. “Just hold me to the words I say,” Tanya implores, attacking the start of the next line with a teasingly determined growl. “And don’t go looking somewhere else instead.” Throughout “Hearts,” a gospelly piano ballad in 6/8 time, the couple swap grand declarations of the bleakness they’d face without each other’s company. They turn fierce when they declare their shared conviction during the bridge: “We’ve got a reason to keep our love growing strong / Everything between us helps us move along.” Then their belting softens into an intimate murmur of shared belief: “We’d find each other’s hearts.”

Tracklist:
01. Love Like There’s No Tomorrow
02. Healing Tide
03. Are You Ready to Love Me?
04. Hearts
05. Jeep Cherokee Laredo
06. One and the Same
07. If It’s in Your Heart
08. Here is Where the Loving is at (feat. Emmylou Harris)
09. All I Wanna Do
10. It’s Not over Yet
11. Little New Bern

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Maelstrom is Ulrike Haage’s most personal album. Personal on the one hand because she has worked with some of her longest-known musical accompanists such as the saxophonist Uwe Steinmetz, the drummers Tim Lorenz and Eric Schaefer and the electronic musician Christian Meyer. But especially personal because she has now arrived to the essence of her music, what makes her distinctive and incomparable as a composer. Her music seems to aim at the place where she imagines the soul of her audience to be. Music that expresses the silence before and after each sound, each thought, each feeling. Simply a dedication and trust in what is. Maelstrom was recorded in the UFO Sound Studios, Berlin, a former red-brick brewery. Because of many years of personal friendship, Bechstein provides again the C. Bechstein D 282 concert grand piano for the recordings.

Tracklist:
01. Harugasumi
02. Valzer Con Calore
03. Steps
04. Maelstrom
05. Umbra
06. Interlunium
07. Asa Nisi Masa
08. Over the Mountain’s Silence

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earMUSIC is delighted to announce the worldwide release of the debut album by ULTRAPHONIX, the new creation of Corey Glover (Living Colour) and George Lynch (Dokken, Lynch Mob) alongside the great rhythm section formed by drummer Chris Moore and Pancho Tomaselli on bass. Original Human Music is co-produced by Bob Daspit (Sammy Hagar) and it displays the magic match between Corey Glover’s iconic voice and George Lynch’s unique style on the guitar. The core and value of Ultraphonix lies in the songwriting and the quality of the songs. Original Human Music is an album where Corey’s profound and thoughtful lyrics sound loud, together with the warm and heavy wall of sound created by George Lynch. All sustained by a rhythm section that can go anywhere musically. To quote Lynch: “The album sounds like a fusion of early Chili Peppers meets King Crimson meets Judas Priest! It’s a super fun band.” Drawing on (very heavy) rock, funk and jazz influences, the band paints a picture of a band still believing that social consciousness could be celebrated through great rock songs.

Tracklist:
01. Baptism
02. Another Day
03. Walk Run Crawl
04. Counter Culture
05. Heart Full of Rain
06. Free
07. Wasteland
08. Take a Stand
09. Ain’t Too Late
10. Soul Control
11. What You Say
12. Power Trip

Personnel:
George Lynch – guitar
Corey Glover – vocals
Pancho Tomaselli – bass
Chris Moore – drums

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https://subyshare.com/fvhv8jx3u9km/Ultraph0nix0riginalHumanMusic20182444.1.rar.html

Christopher Robin is a 2018 American adventure comedy-drama film, based on A. A. Milne’s book Winnie-the-Pooh and is a live-action adaptation of the Disney franchise of the same name. The film written by Tom McCarthy, Alex Ross Perry, and Allison Schroeder, directed by Marc Forster, stars Ewan McGregor and Hayley Atwell.

Tracklist:
01. Geoff Zanelli & Jon Brion – Storybook
02. Jim Cummings, Brad Garrett, Toby Jones, Peter Capaldi, Sophie Okonedo, Nick Mohammed & Sara Sheen – Goodbye, Farewell
03. Geoff Zanelli & Jon Brion – Not Doing Nothing Anymore
04. Geoff Zanelli & Jon Brion – I Would Have Liked It to Go on For a While Longer
05. Geoff Zanelli & Jon Brion – Chapters
06. Geoff Zanelli & Jon Brion – Evelyn Goes It Alone
07. Geoff Zanelli & Jon Brion – Easy to Lose Your Way on a Foggy Day
08. Geoff Zanelli & Jon Brion – Through the Tree
09. Geoff Zanelli & Jon Brion – It’s Not Stress, It’s Pooh
10. Geoff Zanelli & Jon Brion – Train Station
11. Geoff Zanelli & Jon Brion – Sussex
12. Geoff Zanelli & Jon Brion – Returning to the Hundred Acre Wood
13. Geoff Zanelli & Jon Brion – Did You Let Me Go?
14. Geoff Zanelli & Jon Brion – Swimmer or Sinker
15. Geoff Zanelli & Jon Brion – Heffalump Battle
16. Geoff Zanelli & Jon Brion – Is It Christopher Robin?
17. Geoff Zanelli & Jon Brion – But I Found You, Didn’t I?
18. Geoff Zanelli & Jon Brion – Madeline’s Red Balloon
19. Geoff Zanelli & Jon Brion – Expotition to London
20. Geoff Zanelli & Jon Brion – Nothing Ever Bad Came from Bouncing
21. Geoff Zanelli & Jon Brion – A Father of Very Little Brain
22. Geoff Zanelli & Jon Brion – My Favorite Day
23. Geoff Zanelli & Jon Brion – I Do Nothing Every Day
24. Richard M. Sherman – Busy Doing Nothing
25. Richard M. Sherman – Christopher Robin

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For over a decade, The World’s Greatest Audiophile Vocal Recordings has served as an Audiophile must-have. Whether used to test out a new piece of hardware, or simply to sit back and enjoy, the album has been an enjoyable tool for many. It’s time for a 2018 update of the material to this same premise. The World’s Greatest Audiophile Vocal Recordings Vol. II features some of the most stunning and haunting vocal performances the label has produced during its thirty plus year tenure.

Tracklist:
1. Insensatez – Rosa Passos, Ron Carter 05:54
2. First Time – Macy Gray 04:11
3. Ain’t No Sunshine – The Persuasions 03:21
4. Zombie – Meiko 03:09
5. Something so Right – Alexis Cole 06:21
6. Baker Street – Livingston Taylor 03:58
7. Maria Mulata – Marta Gómez 03:29
8. Spooky – Christy Baron 03:16
9. Someone to Watch over Me – Kenny Rankin 05:20
10. Cherokee – Camille Thurman 04:50
11. Fly Me to the Moon – Ana Caram 04:09
12. Can’t Help Falling in Love / Beyond the Sea – Melissa Menago 03:59
13. Have You Ever Seen the Rain – Casey Abrams 03:22
14. That’s What Friends Are For – Valerie Joyce 04:50
15. Full Moon in Paris – Amber Rubarth 03:26

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Netherlands Radio Philharmonic Orchestra,Jaap van Zweden – Anton Bruckner: Symphony No. 8 (2012)
DSF Stereo DSD128/5.64 MHz | Time – 01:19:24 minutes | 6,26 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

Despite the big differences between them, there is a certain kinship between Bruckner’s ‘official’ nine symphonies (the ones he decided to call ‘valid’): the broadly expansive themes with their lengthy build-up of tension and the expectant tremolo of the strings (first introduced by Beethoven in his Ninth Symphony) at the beginning, from which the main theme wells up. Bruckner often gives the singsong, sometimes distinctly lyrical second theme a contrapuntal second voice. The third theme, on the other hand, is often monolithic, full of clenched energy, that bursts out in unison and goes on to develop a huge rhythmic force. Then there are the long drawn-out Adagios with their heavenly cantilenas and the starkly contrasting, waggish Scherzos, almost smelling of earth. They are all just as characteristic of Bruckner’s compositions as the broadness of the codas in the outer movements, introduced by a soft roll of the timpanis. But despite the similarities, all his symphonies are fundamentally and completely different and are certainly not interchangeable. This can be said of each of the movements separately and of the entire work.

Tracklist:

01 – Symphony No. 8 in C minor, WAB 108- I. Allegro moderato
02 – Symphony No. 8 in C minor, WAB 108- II. Scherzo- Allegro moderato
03 – Symphony No. 8 in C minor, WAB 108- III. Adagio- Feierlich langsam, doch nicht schleppend
04 – Symphony No. 8 in C minor, WAB 108- IV. Finale- Feierlich, nicht schnell

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Alice Cooper – A Paranormal Evening at the Olympia Paris (2018) [Official Digital Download 24bit/48kHz]

Alice Sara Ott – Nightfall (2018) [Official Digital Download 24bit/96kHz]

Alpha Blondy – Human Race (2018) [Official Digital Download 24bit/44,1kHz]

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

Ariana Grande – Dangerous Woman (2016) [Official Digital Download 24bit/44,1kHz]

Vilde Frang – Bartok: Violin Concerto No. 1 – Enescu: Octet (2018) [Official Digital Download 24bit/96kHz]

Budapest Festival Orchestra, Ivan Fischer – Mahler: Symphony No. 3 (2017) [Official Digital Download 24bit/96kHz]

Berliner Philharmoniker & Herbert von Karajan – Mendelssohn: Symphonies Nos. 3 & 4; Hebrides Overture (1971,1973/2016) [Official Digital Download 24bit/96kHz]

Michail Lifits – Shostakovich: 24 Preludes, Op. 34 & Piano Quintet, Op. 57 (2017) [Official Digital Download 24bit/96kHz]

Liza Ferschtman, Dmitry Ferschtman – Kodaly, Ravel, Schulhoff – Duos for Violin & Violincello (2012) [Official Digital Download DSF DSD128/5.64MHz]

The Netherlands Symphony Orchestra, Jan Willem de Vriend – Mendelssohn: Symphony No. 2 “Lobgesang” (2013) [Official Digital Download DSF DSD128/5.64MHz]

Al Ayre Espanol, Eduardo Lopez Banzo – Handel’s Memories – A selection from Grand Concertos op. 6 (2012) [Official Digital Download DSF DSD128/5.64MHz]

The Paco de Lucia Project – The Paco de Lucia Project (2018) [Official Digital Download 24bit/44,1kHz]

The Proclaimers – Angry Cyclist (2018) [Official Digital Download 24bit/96kHz]

The War and Treaty – Healing Tide (2018) [Official Digital Download 24bit/44,1kHz]

Ulrike Haage – Maelstrom (2015/2018) [Official Digital Download 24bit/96kHz]

Ultraphonix – Original Human Music (2018) [Official Digital Download 24bit/44,1kHz]

Various Artists – Christopher Robin (Original Motion Picture Soundtrack) (2018) [Official Digital Download 24bit/48kHz]

Various Artists – The Worlds Greatest Audiophile Vocal Recordings Vol. II (2018) [Official Digital Download 24bit/96kHz]

Netherlands Radio Philharmonic Orchestra,Jaap van Zweden – Anton Bruckner: Symphony No. 8 (2012) [Official Digital Download DSF DSD128/5.64MHz]