Studio Masters – HDMusic.me

The Speer Family was a Southern gospel family musical group. It was founded in 1921 by George Thomas (“Dad”) Speer (1891–1966), his wife, Lena Darling (“Mom”) Speer (ne Brock; 1899–1967), and his sister and brother-in-law, Pearl Claborn (1902–1979) and Logan Claborn (William Logan Claborn; 1896–1981).

Tracklist:

1.Heaven Came Down and Glory Filled My Soul – 2:13
2.Jesus, Hold My Hand – 2:44
3.Where Was I? – 2:26
4.I Know When I Got Saved – 2:14
5.He Cared That Much For Me – 2:23
6.I Will Follow Thee – 1:46
7.Jesus Is The One Who Loves You – 1:56
8.Just Another Mile – 2:46
9.Tender Is The Love Of Jesus – 1:51
10.You Can’t Run Away From God – 2:16
11.Each Step I Take – 2:32
12.Remind Me, Dear Lord – 2:16

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Tracklist:

1.Medley: Down Yonder / Hello! Ma Baby – 2:21
2.Medley: Rock-A-Bye Your Baby with a Dixie Melody / My Mammy – 3:03
3.Hey, Look Me Over (from the Broadway production ‘Wildcat’) – 2:12
4.Medley: When Johnny Comes Marching Home / It’s a Long, Long Way to Tipperary – 2:06
5.You Are My Sunshine – 2:37
6.Bill Bailey, Won’t You Please Come Home? – 2:39
7.Carolina in the Morning – 3:06
8.Side by Side – 2:56
9.Battle Hymn of the Republic – 2:20
10.Bye Bye Blackbird – 2:49
11.Medley: Georgia Camp Meeting / When the Saints Go Marching In – 3:10
12.Do-Re-Mi (from the musical production ‘The Sound of Music’) – 1:52
13.Medley: I’ve Got a Lovely Bunch of Cocoanuts / MacNamara’s Band – 2:58
14.Hava Nageela – 3:34
15.Medley: Yankee Doodle / Yankee Doodle Boy / Dixie – 2:35
16.Beer Barrel Polka (Roll Out the Barrel) – 2:38

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Trombone Shorty makes his debut for Blue Note Records with Parking Lot Symphony, featuring the irrepressible first single, a cover of Allen Toussaint’s Here Come The Girls. The 12 track tour de force was produced by Chris Seefried (Fitz and the Tantrums, Andra Day) and true to its title, contains multitudes of sound: from brass band blare and deep groove funk to bluesy beauty and hip-hop/pop swagger, all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as Trombone Shorty says, music brings unity.

“Before I introduced the band to the music, I actually went in the studio for about two weeks, myself and just an engineer. He set up a bunch of instruments in a circle for me, with microphones and I was able to jump from each one whenever an idea came and keep rolling to build some of those tracks.”
– Trombone Shorty

“It’s hard to imagine an artist more steeped in the culture of New Orleans … you can hear street rhythms interwoven with funk, R&B and rock influences in tracks like the title number … also showcases Andrews’ ability to play a wide range of instruments … he’s on trombone, of course, but also tuba, guitar and trumpet.”
– NPR

“… his reputation is beginning to acquire some serious international momentum … he’s created a very likeable and distinctive sound within the New Orleans tradition, which he interprets very broadly and flavours with everything from trap … through funk, R&B, soul, rap to occasional bursts of shamelessly brassy pop … the energy, charm and charisma of this album is impossible to dislike.”
– The Arts Desk

Tracklist:

1.Laveau Dirge No. 1 – 2:10
2.It Ain’t No Use – 4:34
3.Parking Lot Symphony – 3:47
4.Dirty Water – 3:47
5.Here Come the Girls – 4:01
6.Tripped Out Slim – 2:19
7.Familiar – 3:19
8.No Good Time – 4:10
9.Where It At? – 3:26
10.Fanfare – 3:12
11.Like a Dog – 3:18
12.Laveau Dirge Finale – 4:44

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Apex is the fourth studio album by Canadian heavy metal band Unleash the Archers. It was released on June 2, 2017, through Napalm Records.[2][3] A concept album, it tells the story of a man called The Immortal, who has been cursed to be unable to die and serve anyone who awakens him from his eternal slumber inside a mountain, and a horrid task given to him by the cruel Matriarch.

Tracklist:

1.Awakening – 7:18
2.Shadow Guide – 3:57
3.The Matriarch – 4:02
4.Cleanse The Bloodlines – 5:55
5.The Coward’s Way – 5:06
6.False Walls – 8:06
7.Ten Thousand Against One – 5:38
8.Earth and Ashes – 6:35
9.Call Me Immortal – 5:47
10.Apex – 8:20

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Leontyne Price, Plcido Domingo, London Symphony Orchestra, Erich Leinsdorf – Verdi: Aida (1971/2016)
FLAC (tracks) 24 bit/96 kHz | Time – 02:21:42 minutes | 2,52 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical

Sony Classical is delighted to offer lovers of singing another ten complete recordings from the RCA Red Seal, CBS/Sony Classical and Eurodisc catalogues. The latest instalment of this wide-ranging series not only features some of the greatest voices of the last century but also spotlights once popular works that have been unduly neglected in recent times. At the Metropolitan in the second half of the last century, the core Italian repertoire was dominated by a formidable triumvirate of stars: soprano Leontyne Price, tenor Plcido Domingo and baritone Sherrill Milnes. Two of their most memorable recordings were set down by RCA in London in the early 1970s, both conducted by Erich Leinsdorf. “Price, the supreme Verdi soprano of her time,” declared the BBC Music Magazine, “is unsurpassed as Aida … [with] Domingo and Milnes on top form and Grace Bumbry as a formidable Amneris.” Gramophone also lauded Leinsdorf’s contribution: “He catches the grandeur of the public scenes, the delicacy of the intimate ones and carefully judges the weight and pace of each scene.”

Tracklist:

1.Aida: Preludio – 3:34
2.Aida: Act I: Scene 1: Sì, corre voce che l’Etiope – 1:31
3.Aida: Act I: Scene 1: Se quel guerrier io fossi!… Celeste Aida – 4:29
4.Aida: Act I: Scene 1: Quale insolita gioia nel tuo sguardo! – 2:37
5.Aida: Act I: Scene 1: Dessa! – 1:27
6.Aida: Act I: Scene 1: Ohimè! Di guerra fremere – 2:01
7.Aida: Act I: Scene 1: Alta cagion v’aduna – 1:09
8.Aida: Act I: Scene 1: Il sacro suolo dell’Egitto è invaso dai barbari etiopi – 1:53
9.Aida: Act I: Scene 1: Su! Del Nilo al sacro lido – 2:46
10.Aida: Act I: Scene 1: Ritorna vincitor! … Numi, pieta – 7:01
11.Aida: Act I: Scene 2: Possente, possente Fthà – 3:06
12.Aida: Act I: Scene 2: Danza sacra delle sacerdotesse – Immenso Fthà – 1:52
13.Aida: Act I: Scene 2: Mortal, diletto ai Numi – 1:02
14.Aida: Act I: Scene 2: Nume, custode e vindice – 4:04
15.Aida: Act II: Scene 1: Chi mai fra gl’inni e i plausi – 2:59
16.Aida: Act II: Scene 1: Danza degli schiavi mori – 1:26
17.Aida: Act II: Scene 1: Vieni, sul crin ti piovano – 1:44
18.Aida: Act II: Scene 1: Fu la sorte dell’armi – 5:01
19.Aida: Act II: Scene 1: Pietà ti prenda del mio dolor – 1:58
20.Aida: Act II: Scene 1: Su! Del Nilo al sacro lido – 2:29
21.Aida: Act II: Scene 2: Gloria all’Egitto, ad Iside – Marcia trionfale – 4:46
22.Aida: Act II: Scene 2: Ballabile – 4:17
23.Aida: Act II: Scene 2: Vieni, o guerriero vindice – 2:03
24.Aida: Act II: Scene 2: Salvator della patria – 1:13
25.Aida: Act II: Scene 2: Concedi in pria – 0:42
26.Aida: Act II: Scene 2: Che veggo! Egli? Mio padre! – 0:54
27.Aida: Act II: Scene 2: Quest’assisa ch’io vesto vi dica – 0:59
28.Aida: Act II: Scene 2: Ma tu, Re, tu, signore possente – 3:54
29.Aida: Act II: Scene 2: O Re, pei sacri Numi – 2:21
30.Aida: Act II: Scene 2: Gloria all’Egitto ad Iside – 1:10
31.Aida: Act II: Scene 2: Fa’ cor – della tua patria – 1:44
32.Aida: Act III: O tu che sei d’Osiride – 2:03
33.Aida: Act III: Vieni d’Iside al tempio – 2:59
34.Aida: Act III: Qui Radamès verrà! – 0:57
35.Aida: Act III: O patria mia – 5:27
36.Aida: Act III: Ciel! Mio padre! – 1:15
37.Aida: Act III: Rivedrai le foreste imbalsamate – 1:40
38.Aida: Act III: In armi ora si desta il popol nostro – 2:21
39.Aida: Act III: Padre, a costoro schiava non sono – 2:50
40.Aida: Act III: Pur ti riveggo, mia dolce Aida – 1:21
41.Aida: Act III: Nel fiero anelito di nuova guerra – 1:44
42.Aida: Act III: Fuggiam gli ardori inospiti – 4:17
43.Aida: Act III: Aida! Tu non m’ami – 0:34
44.Aida: Act III: Ah no! Fuggiamo! – 1:35
45.Aida: Act III: Ma, dimmi – 0:57
46.Aida: Act III: Ah no! Ti calma, ascoltami – 1:30
47.Aida: Act III: Muori! Arresta insano! – 0:50
48.Aida: Act IV: Scene 1: L’aborrita rivale a me sfuggia – 1:22
49.Aida: Act IV: Scene 1: Io l’amo, io l’amo sempre – 1:32
50.Aida: Act IV: Scene 1: Già i sacerdoti adunansi – 2:15
51.Aida: Act IV: Scene 1: Ah! Tu dêi vivere! – 2:58
52.Aida: Act IV: Scene 1: Chi ti salva, sciagurato – 1:57
53.Aida: Act IV: Scene 1: Ohimè! Morir mi sento – 2:21
54.Aida: Act IV: Scene 1: Spirto del nume, sovra noi discendi! – 1:44
55.Aida: Act IV: Scene 1: Radamès! Radamès! Radamès! – 3:16
56.Aida: Act IV: Scene 1: A lui vivo, la tomba! – 3:20
57.Aida: Act IV: Scene 2: La fatal pietra sova me si chiuse – 2:00
58.Aida: Act IV: Scene 2: Presago il core della tua condanna – 2:12
59.Aida: Act IV: Scene 2: Vedi? Di morte l’angelo – 1:38
60.Aida: Act IV: Scene 2: O terra, addio – 5:05

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Leontyne Price, Carlo Bergonzi, RCA Italia Opera Orchestra, Thomas Schippers – Verdi: Ernani (1968/2016)
FLAC (tracks) 24 bit/96 kHz | Time – 02:09:45 minutes | 2,3 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical

Tracklist:

1.Ernani: Prelude – 3:35
2.Ernani: Act I: Scene 1 Evviva! Beviam! Beviam! – 3:45
3.Ernani: Act I: Scene 1 Mercè, diletti amici… Come rugiada al cespite – 4:22
4.Ernani: Act I: Scene 1 Dell’ esiglio nel dolore – 3:27
5.Ernani: Act I: Scene 2 Surta è la notte – 2:19
6.Ernani: Act I: Scene 2 Ernani! Ernani, involami – 4:15
7.Ernani: Act I: Scene 2 Tutto sprezzo che d’Ernani non favella a questo core – 5:09
8.Ernani: Act I: Scene 2 Qui mi trasse amor possente – 1:17
9.Ernani: Act I: Scene 2 Da quel dì che t’ho veduta – 4:41
10.Ernani: Act I: Scene 2 Tu se’ Ernani! – 3:00
11.Ernani: Act I: Scene 2 Che mai veggio! Infelice! E tuo credevi – 8:05
12.Ernani: Act I: Scene 2 Vedi come il buon vegliardo – 7:39
13.Ernani: Act II: Esultiamo! Letizia ne inondi! – 5:20
14.Ernani: Act II: Oro, quant’oro ogn’avido – 5:20
15.Ernani: Act II: Ah, morir, potessi adesso – 3:24
16.Ernani: Act II: No, vendetta più tremenda – 2:02
17.Ernani: Act II: Cugino, a che munito il tuo castel ritrovo? – 3:15
18.Ernani: Act II: Lo vedremo, veglio audace – 5:26
19.Ernani: Act II: Vieni meco, sol di rose – 4:22
20.Ernani: Act II: A te, scegli, seguimi – 5:50
21.Ernani: Act III: È questo il loco? – 3:20
22.Ernani: Act III: Gran Dio! Costor sui sepolcrali marmi – 1:12
23.Ernani: Act III: Oh, de’ verd’anni miei – 8:25
24.Ernani: Act III: Un patto! Un giuramento! – 5:48
25.Ernani: Act III: O sommo Carlo, più del tuo nome – 4:18
26.Ernani: Act IV: Oh, come felici gioiscon gli sposi! – 7:33
27.Ernani: Act IV: Tutto ora tace intorno – 12:48

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In 2004, he said that his album Solo Piano was a project that had relieved him of a variety of complexes that he had had about the relationship of his music to his character. How to sum up this singer, musician, entertainer? This record with a strong whiff of Satie solved a lot of problems, Jason Beck alias Chilly Gonzalez said at the time… A good decade later, this brilliant Canadian Zebedee bounds between passports, costumes, locations, eras and styles, always one step ahead of getting pigeonholed into a single role or genre. But he regularly returns to this solo, introspective work, as if compelled. This time, Solo Piano III rounds off what he describes as a trilogy. “The musical purity of Solo Piano III is not an antidote for our times”, he says, “it is a reflection of all the beauty and ugliness around us. “

Less monolithic than its predecessors, this final volume racks up a series of refined nods and winks with a rare intelligence. Satie and Chopin are never far away, and the same goes for Liszt, Bach or, more recently, Chico Marx of the Marx Brothers, the childhood idol of his to whom he dedicated the well-named Chico. Each track on this timeless record is dedicated to one of his “underdogs”. Thomas Bangalter of Daft Punk, Fanny Mendelssohn, sister of Felix Mendelssohn, Rudolf Steiner, founder of anthroposophy, composer and writer Hildegard von Bingen, aviator Amelia Earhart, the first woman to fly over the Atlantic in 1928, but also groups like Migos and Beach House or Conchita Cintron, the first woman rejoneadora: all are crowned with this pianist’s laurels. – Max Dembo

Tracklist:

1.Treppen – 1:30
2.Pretenderness – 2:44
3.Prelude in C Sharp Major – 2:38
4.Famous Hungarians – 2:05
5.Chico – 1:35
6.Nimbus – 2:01
7.Be Natural – 3:47
8.Ellis Eye – 2:54
9.Present Tense – 2:41
10.Cactus Impromptu – 2:21
11.Lost Ostinato – 3:00
12.Blizzard in B Flat Minor – 1:37
13.October 3rd – 3:19
14.Kopfinko – 3:46
15.Whist – 2:27

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Berliner Philharmoniker & Herbert von Karajan – Mozart: Late Symphonies (Remastered) (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 03:17:53 minutes | 3,37 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Deutsche Grammophon

Bereits historisch ist die Beschftigung von Herbert von Karajan mit Mozarts Symphonien. Einen wichtigen Teil davon findet Sie hier vereint. Mozart: Late Symphonies” fasst die Einspielungen der Symphonien Nr. 32 bis Nr.41 Jupiter” zusammen und dokumentiert die Berliner Philharmoniker einmal mehr als Weltklasse-Orchester mit charismatischem Maestro an der Spitze.

“Ein meisterhaft gespielter Mozart. Karajans Klangpalette ist ungemein raffiniert.” (FonoForum)

“Beautifully played and vitally alert readings” (Penguin Guide)

Tracklist:

1.Symphony No.32 in G, K.318 (Overture in G) – Allegro – Andante – Tempo I – 9:01
2.Symphony No.33 in B flat, K.319 – 1. Allegro assai – 6:56
3.Symphony No.33 in B flat, K.319 – 2. Andante moderato – 4:56
4.Symphony No.33 in B flat, K.319 – 3. Menuetto – 3:29
5.Symphony No.33 in B flat, K.319 – 4. Finale (Allegro assai) – 4:25
6.Symphony No.35 In D, K.385 ‘Haffner’ – 1. Allegro con spirito – 5:31
7.Symphony No.35 In D, K.385 ‘Haffner’ – 2. Andante – 4:22
8.Symphony No.35 In D, K.385 ‘Haffner’ – 3. Menuetto – 3:18
9.Symphony No.35 In D, K.385 ‘Haffner’ – 4. Finale (Presto) – 3:32
10.Symphony No.36 In C, K.425 – ‘Linz’ – 1. Adagio – Allegro spiritoso – 7:56
11.Symphony No.36 In C, K.425 – ‘Linz’ – 2. Andante – 7:04
12.Symphony No.36 In C, K.425 – ‘Linz’ – 3. Menuetto – 4:21
13.Symphony No.36 In C, K.425 – ‘Linz’ – 4. Finale (Presto) – 7:13
14.Symphony No.29 in A, K.201 – 1. Allegro moderato – 7:08
15.Symphony No.29 in A, K.201 – 2. Andante – 6:02
16.Symphony No.29 in A, K.201 – 3. Menuetto – 4:08
17.Symphony No.29 in A, K.201 – 4. Allegro con spirito – 4:12
18.Symphony No.38 In D, K.504 ‘Prague’ – 1. Adagio – Allegro – 10:21
19.Symphony No.38 In D, K.504 ‘Prague’ – 2. Andante – 9:01
20.Symphony No.38 In D, K.504 ‘Prague’ – 3. Finale (Presto) – 5:41
21.Symphony No.39 in E flat, K.543 – 1. Adagio – Allegro – 8:15
22.Symphony No.39 in E flat, K.543 – 2. Andante con moto – 8:13
23.Symphony No.39 in E flat, K.543 – 3. Menuetto (Allegretto) – 4:07
24.Symphony No.39 in E flat, K.543 – 4. Finale (Allegro) – 4:10
25.Symphony No.40 in G minor, K.550 – 1. Molto allegro – 7:21
26.Symphony No.40 in G minor, K.550 – 2. Andante – 7:45
27.Symphony No.40 in G minor, K.550 – 3. Menuetto (Allegretto) – Trio – 4:39
28.Symphony No.40 in G minor, K.550 – 4. Finale (Allegro assai) – 4:41
29.Symphony No.41 in C, K.551 – ‘Jupiter’ – 1. Allegro vivace – 11:22
30.Symphony No.41 in C, K.551 – ‘Jupiter’ – 2. Andante cantabile – 7:46
31.Symphony No.41 in C, K.551 – ‘Jupiter’ – 3. Menuetto (Allegretto) – 5:10
32.Symphony No.41 in C, K.551 – ‘Jupiter’ – 4. Molto allegro – 6:04

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Katia and Marielle Labque’s attachment to their homeland is no secret. They decide to pay tribute to their roots interpreting a repertoire gathering works by Basque composers, dating from the Renaissance to the present day.

The album Amoria (“love” in Euskara) dives at the heart of Basque culture with composers who managed to blend popular folklore to academic music. Alongside the ensemble Hegiak, the countertenor Carlos Mena or the Escolana Easo Araoz Gazte choir, the two pianists reassess five centuries of music with Euskara, the Basque tongue, as a watermark — and culminating with a jubilant Bolro.

“There are talks about my heart’s stiffness. This isn’t true. Though I am Basque and Basque people seldom confide, and in few people only. You would not believe with what regrets I left Saint-Jean-de Luz. I really felt this nostalgic impression only when I saw the ocean disappear first, then the Pyreneans. My country truly is one of the finest, the most beautiful I’d say! The sea is bordered by acacia trees! And soft green hills from the top of which fall the small balls of oaks trimmed la Basque. And on the top of it all, the Pyreneans, magically mauve. Besides, there is the light. It is not the relentless sky of the other southern country. Here, its shine is delicate. It makes the folks agile, elegant and their joy isn’t vulgar. Dances are light, voluptuous without excess. Although very practiced, religion itself intertwines with a hint of skepticism.” Maurice Ravel

Tracklist:

1.Con amores, la mi madre – Arr for fortepianos by Carlos Mena – 5:01
2.Sarabanda – Arr. for fortepianos and viola da gamba by Francisco Ibáñez Irribarria – 3:30
3.Tono al nacimiento de nuestro Señor Jesus – 4:01
4.Agota – Arr. for fortepianos by Francisco Ibáñez Irribarria – 8:09
5.Prière, op. 17 – With lyrics adapted from ‘Ezkonduien koplak’ – 3:30
6.Oñazez – 2:40
7.Deskalabratua naiz (Elegiaca) – 2:23
8.2 Mélodies hébraïques, M.22: 1. Kaddisch – 5:49
9.Boléro, M.81 – Arr. for piano duet and percussions – 15:55
10.Haurtxoa seaskan – 3:19
11.Haika mutil – 5:16
12.Elurra iruñan – 3:31
13.Bateran – 3:23
14.Discret charme aux arbres – 7:06

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Arno Piters, Members Of The Royal Concertgebouw Orchestra – Brahms, Schumann: Strings attached (2013)
DSF Stereo DSD128/5.64 MHz | Time – 01:52:16 minutes | 5,22 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

People have been making arrangements of music for many centuries. This can take a variety of forms, from arranging existing melodies into partsong versions such as chorales or folk tunes to writing elaborate compositions based on a specific theme. Another common type of arrangement is writing for a different instrumentation than the original. Composers of today and yesteryear have adapted or “improved”, more or less drastically, their own compositions or those of other composers.

Until around the mid-eighteenth century adaptation was felt to be on a par with an original composition. Bach, for example, did not consider it beneath himself to adapt works of colleagues such as Vivaldi and Telemann for his own use. But with the rise of the genius cult in the mideighteenth century, arrangements of music began to decline in status. Even so, significant composers such as Mozart and Beethoven eagerly threw themselves into making new adaptations. Beethoven primarily arranged his own work for different instrumentations, making for more ways of performing it, but he also wrote arrangements for string quartets of parts of the Well-tempered Clavier; Mozart, too, wrote similar adaptations. Then and later, Bach’s music continued to be in demand as material for arrangers: both Mendelssohn and Schumann composed complete piano accompaniments to his music for solo violin and solo cello, and Mendelssohn modernised the instrumentation of the St. Matthew Passion to suit the taste of the period. But nineteenthcentury composers also frequently made arrangements of their own work. Schumann, for example, transformed his original Symphony No. 2 into Symphony No. 4. A widely known example is Bruckner’s propensity to revise his own works, which would later make authenticity a problem. And Mahler thought nothing of refreshing the instrumentation of symphonies by Beethoven and more particularly Schumann, a custom that was considered completely acceptable in that day and age. In time though, the “improvements” made by Rimsky-Korsakow to the music of his colleague Moussorgski acquired a bad name.

Tracklist:

01 – Clarinet Sonata No. 1 in F minor, Op. 120.1- I. Allegro appassionato
02 – Clarinet Sonata No. 1 in F minor, Op. 120.1- II. Andante un poco Adagio
03 – Clarinet Sonata No. 1 in F minor, Op. 120.1- III. Allegretto grazioso
04 – Clarinet Sonata No. 1 in F minor, Op. 120.1- IV. Vivace
05 – Fantasiestcke Op. 73- I. Zart und mit Ausdruck
06 – Fantasiestcke Op. 73- II. Lebhaft, leicht
07 – Fantasiestcke Op. 73- III. Rasch und mit Feuer
08 – Clarinet Sonata No. 2 in E-flat major, Op. 120.2- I. Allegro amabile
09 – Clarinet Sonata No. 2 in E-flat major, Op. 120.2- II. Allegro appasionato
10 – Clarinet Sonata No. 2 in E-flat major, Op. 120.2- III. Andante con moto, Allegro

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Netherlands Radio Philharmonic Orchestra, James Gaffigan – Prokofiev: Symphonies Nos. 3 & 4 (first version) (2015)
DSF Stereo DSD128/5.64 MHz | Time – 38:21 minutes | 4,54 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Challenge Records

Sergei Prokofiev has a large reputation, although many of his works are seldom heard. The reason for this is that his music has a certain image, one created to some extent by the composer himself and one from which he found it difficult in later years to distance himself, no matter how hard he tried. One might summarise this image as that of a poker-faced comedian. Compositions that confirm this impression, such as the Classical Symphony, the Third Piano Concerto and some of his early piano works are amongst his best-known works.
He shows a different side in his works for voice; a side that is clearly close to his heart, since even though most of his operas enjoyed little in the way of success during his lifetime, he wrote at least eight of them, with lyricism to the fore and a tendency for declamation and unpredictable forms. The less popular of these include L’Ange de feu, based on the 1907 novel by the writer Bryusov, setting a 16th century tale of the passionate young girl Renata, who becomes obsessed by the devil. She vacillates between fascination and rejection. She can neither circumvent nor defy her own sorcery and is ultimately condemned to death. Prokofiev worked on this piece almost throughout the 1920s. When he realised that a performance was unlikely at the time, and because he was unaccustomed to leaving his musical inventions unperformed, he rearranged the material from the opera into a new symphony, his Third.

Tracklist:

01 – Symphony No. 3 in C minor, Op. 44- I. Moderato
02 – Symphony No. 3 in C minor, Op. 44- II. Andante
03 – Symphony No. 3 in C minor, Op. 44- III. Allegro agitato
04 – Symphony No. 3 in C minor, Op. 44- IV. Andante mosso
05 – Symphony No. 4 in C major, Op. 47- I. Andante assai Allegro eroico
06 – Symphony No. 4 in C major, Op. 47- II. Andante tranquillo
07 – Symphony No. 4 in C major, Op. 47- III. Moderato, quasi Allegretto
08 – Symphony No. 4 in C major, Op. 47- IV. Allegro risoluto Moderato Coda

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DSD64

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So-called entertainment or light music tends to carry a negative connotation these days. For many, it would seem that achieving overnight success and making loads of money are on a par with easy music, preferably performed by musicians in very smart attire. But that certainly hasn’t always been the case. Indeed, Bach, Mozart, Schubert, Beethoven and, of course, the Strauss family — to name but a few great composers — whose music belongs to the Netherlands Symphony Orchestra’s repertoire, could provide audiences of their day with plenty of exciting, entertaining fare with their contradances, lndlers, waltzes and quodlibets to which people danced, laughed and drank. Mastering this aspect of composition was an aart for such masters.
The main difference with much of today’s popular music is perhaps that, in the past, superficiality was not necessarily a prerequisite. The same holds true for NedSym Lite. After our concert performances featuring works by Beethoven, Schumann and Wagner, for instance, why not enjoy NedSym Lite? Performed with such skill, mastery and success! We simply couldn’t resist sharing all this with you on a CD…

Tracklist:

01 – Sirba arr. Tim Nobel
02 – Autumn in New York arr. Rob van Bavel
03 – Schn Rosmarin
04 – Ballade au bord du Danube arr. Willem Wolthuis
05 – Bei mir bistu shein arr. Tim Nobel
06 – Thistles and Dragonflies arr. Tim Nobel
07 – Hora ca la Caval arr. Tim Nobel
08 – Oblivion
09 – Just one of those Things arr. Rob van Bavel
10 – Hungarian Dance No. 5
11 – Autumn Leaves arr. Tim Nobel
12 – Ravels Tomb arr. Rob van Bavel
13 – Winterzon arr. Tim Nobel
14 – Heyser Bulgar arr. Tim Nobel
15 – Walzermelodien sind ein Gruss aus Wien
16 – Adios Nonino arr. Tim Nobel
17 – De Viersprong arr. Tim Nobel

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Though her last album took a little time to gain traction, Jain asserted she was ready to bring African rhythms to modern pop like never before. With attention behind her this time, Jain leans even further into new sounds while offering her usual knack for quirky hooks. Though her rhythms are strong as ever, Jain’s rarely weird enough to stand out like she’s done in the past.

With its unnerving mix of organic and synthetic elements, “On My Way” makes you listen closer as Jain belts louder and louder in her intoxicating rhythms. While the song doesn’t quite bring enough oomph out of its choruses, it more than makes up for it with all the lush instrumentation and exotic melodies it infuses in its pop. “Flash – Pointe-Noire” on the other hand blends funk with a vintage cinematic grandeur, as its powerful beats are heightened through sharp strings. The percussion through the second verse only pushes this feeling further as the song expands into a sonic dish that keeps revealing new flavours.

“Alright” moves along on its slinking grooves again, as Jain’s own vocals ride along for a song that focuses on simple pop rather than opening new doors. This said, it ends up being the bridges that really make the song interesting. Unfortunately in a similar attempt at straightforward but addictive writing, “Oh Man” delivers a more generic product in progressions that only feels new in tone. This however feels mostly a product of its instrumentation, as even the hooks lose their appeal over time.

Between the tones and overt “Inspector Gadget” rework, “Inspecta” feels utterly out of place in the record. Though it feels like a fun update on a classic theme song, this track straddles cheesiness and not pushing the envelope enough. Jain does however find a nice mix of unusual sounds and rhythms on “Dream” as her heavy pop slow-burns with its pointed instrumentation. It’s only a shame it doesn’t have more cards to play, as it feels so barebones that its later choruses take too long.

Jain comes back to life on “Star” as a primitive synth hook kicks things up for one of her strongest dance mixes on the whole record. With horns and strange effects slowly infecting the track more and more, Jain crafts a fine balance between African music and modern EDM. Though it certainly packs a political punch in its message against violence, “Feel It” just can’t pack that same creativity into its hooks. It’s a shame too as the track could certainly carry the power of many other political hits if it centered its writing with a little more overt melody.
The aggression behind “Abu Dhabi” balances out Jain’s playfulness as each section feels just as heavy as it is quirky. Each little break really showcases some amazing mixes of instruments that are hard to find, and it makes you want to hear more of this side of her sound. “Souldier” closes the record tenderly, and achieves a much more pointed blend of melody and message. While its reggae switch up doesn’t take away from the feeling, it’s not until its brass uptick that it truly adds to the feeling of fighting back.

Tracklist

01 – On My Way (00:03:23)
02 – Flash (Pointe-Noire) (00:02:19)
03 – Alright (00:03:42)
04 – Oh Man (00:03:22)
05 – Inspecta (00:03:05)
06 – Dream (00:03:04)
07 – Star (00:03:01)
08 – Feel It (00:02:39)
09 – Abu Dhabi (00:02:51)
10 – Souldier (00:03:46)

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https://subyshare.com/qzrwuvg491lo/JainS0uldier201824441.rar.html

Following a four-year-long hiatus, Jason Mraz presents his sixth album. Know remains faithful to the modern and sunny pop folk he’s been known for since his early days. However, this opus is by far his most sincere. After discovering Buddhism in Myanmar, many things have resounded in the mind of the two-time Grammy Award winning singer. Sharing, giving and many other positive thoughts: a myriad of wholesome vibes have influenced Mraz’s creativity. Supported by David Hodges and other long-time collaborators, this new project ventures in an enticing pop direction. A romantic duo with Meghan Trainor on More Than Friends, a dreamy folk ballad with Sleeping to Dream, sensational and catchy pop withHave It All or dancing and rhythmic pop on Might As Well Dance: Mraz is all the rage once again. – Anna Coluthe

Tracklist

01 – Let’s See What The Night Can Do (00:04:05)
02 – Have It All (00:03:46)
03 – More Than Friends (Feat Meghan Trainor) (00:03:01)
04 – Unlonely (00:03:51)
05 – Better With You (00:02:41)
06 – No Plans (00:02:27)
07 – Sleeping To Dream (00:03:42)
08 – Making It Up (00:02:52)
09 – Might As Well Dance (00:03:56)
10 – Love Is Still The Answer (00:06:06)

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Recorded live at London’s celebrated Wigmore Hall, this captivating recital by Joyce DiDonato and the Brentano Quartet was conceived around Jake Heggie’s song cycle Camille Claudel: Into the Fire, a work written for DiDonato – she describes it as “one of most moving projects I’ve ever been part of”. Songs by Debussy and Strauss and a quartet movement by Guillaume Lekeu complete the programme, which prompted the Financial Times to write that “the beauty and range” of DiDonato’s singing “are surely now at their impressive peak.”

DiDonato and her collaborators here…carry the colour of voice and string quartet through the recital…And the highest compliment I can pay all three of the arrangers is that it sounds as if those sounds were conceived and swathed this way all along…[Into the Fire] is a wonderful calling card for DiDonato. Small wonder she has become something of a muse for Heggie. – Gramophone Magazine， October 2018

Tracklist

RICHARD STRAUSS (1864–1949)
(arr. Misha Amory and Mark Steinberg)
1. Du meines Herzens Krönelein, Op.21/2
2. All mein’ Gedanken, Op.21/1
3. Die Nacht, Op.10/3
4. Ach Lieb, ich muß nun scheiden, Op. 21/3
5. Traum durch die Dämmerung, Op.29/1

GUILLAUME LEKEU (1870–1894)
6. Molto adagio

CLAUDE DEBUSSY (1862–1918)
Trois chansons de Bilitis (arr. Jake Heggie)
7. I. La Flûte de Pan
8. II. La Chevelure
9. III. Le Tombeau des Naïades

JAKE HEGGIE (b.1961)
Camille Claudel: Into the Fire
10. Prelude: Awakening
11. I. Rodin
12. II. La Valse
13. III. Shakuntala
14. IV. La Petite Châtelaine
15. V. The Gossips
16. VI. L’Âge mûr
17. VII. Epilogue: Jessie Lipscomb visits Camille Claudel, Montdevergues Asylum, 1929

RICHARD STRAUSS
18. Morgen!, Op.27/4 (arr. Mark Steinberg)

FRANZ XAVER GRUBER (1787–1863)
19. (Peace, peace) … Silent Night (arr. Brentano String Quartet)

Personnel:
Joyce DiDonato mezzo-soprano
Brentano String Quartet
Mark Steinberg violin · Serena Canin violin · Misha Amory viola · Nina Lee cello

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Live album or studio album? Woman Worldwide falls right between the two; it’s the synthesis of a huge one-year tour and the meticulous work by the French duo. It all began with their third album Woman, released in 2016, which gave rise to the creation of one of the most impressive live shows the following year. However, Xavier De Rosnay and Gaspard Augé have not just revisited Woman, they have also drawn from their previous two albums (Cross and Audio Video Disco) to create this supercharged mash-up. But for this duo, simply releasing an album isn’t enough. Their label Ed Banger adds that “After a year of testing, performing, refining and recording on the road, they returned to the studio in Paris to give their songs the finish that live performance doesn’t always allow.”

At first glance, the result seems enormous: you are quickly lead through ten years of Justice with a power that has never been reached before by the French duo. It shakes, it lifts, it explodes. But when you listen to the remix again, the mixing and arrangement work is so thorough that you can understand why one of the most talented electronic duets on the planet have chosen to present this work as a studio album. Our only regret is that no exclusive tracks have been included; it could have alleviated the pain of waiting until the next record. – Sylvain Di Cristo

Tracklist

01 – Safe and Sound (WWW) (00:07:32)
02 – D.A.N.C.E. (WWW) (00:03:16)
03 – Canon x Love S.O.S. (WWW) (00:04:47)
04 – Genesis x Phantom (WWW) (00:04:45)
05 – Pleasure x Newjack x Civilization (WWW) (00:05:38)
06 – Heavy Metal x DVNO (WWW) (00:04:43)
07 – Stress (WWW) (00:05:48)
08 – Love S.O.S. (WWW) (00:04:45)
09 – Alakazam ! x Fire (WWW) (00:06:09)
10 – Waters of Nazareth x We Are your Friends x Phantom 2 (WWW) (00:06:26)
11 – Chorus (WWW) (00:06:04)
12 – Audio, Video, Disco (WWW) (00:06:13)
13 – Stop (WWW) (00:04:26)
14 – Randy (WWW) (00:07:33)
15 – D.A.N.C.E. x Fire x Safe and Sound (WWW) (00:06:17)

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Lenny Kravitz – Raise Vibration (2018)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:04:33 minutes | 700 MB | Genre: Rock
Studio Master, Official Digital Download | © BMG Rights Management (UK) Limited

View Raise Vibration, Lenny Kravitz’s 11th album, as something of a call to arms, a way to encourage good vibes in a time sorely lacking in positivity. Kravitz has been preaching about the power of love since the dawn of his career but, nearly 30 years later, the pendulum has swung toward darkness. Instead of succumbing to despair, Kravitz rallies, creating an impassioned collection that spins his signature sounds into something stirring and, at times, incandescent. As always, Kravitz excels as a magpie craftsman and producer, assembling elements of his idols into something that sounds like him, not them. On Raise Vibration, Prince isn’t far from his thoughts — the bracing “Who Really Are the Monsters?” pulsates to an electro-funk beat, a sound he hasn’t attempted before — which make sense, given the Purple One’s tragic 2016 passing. Mortality is on Kravitz’s mind — “Johnny Cash” is not about the country music great, but rather a song about his late mother, filtered through his own memories of meeting Cash — but the album itself leans toward life. While Kravitz still harbors a fondness for corny conventions — he borrows heavily from shopworn rock imagery, he writes an explicit summertime anthem — his sincere belief in these clichés winds up making them ingratiating. Of course, he’s helped by his craft. Nearly 30 years into his career, Kravitz knows how to sculpt not just sounds, but a cohesive LP, and that kind of pro assurance, when combined with his earnest hippie beliefs, make Raise Vibration a sunny, affirming listen.

Tracklist

01. We Can Get It All Together (4:40)
02. Low (5:19)
03. Who Really Are the Monsters? (5:19)
04. Raise Vibration (5:27)
05. Johnny Cash (6:18)
06. Here to Love (4:42)
07. It’s Enough (7:55)
08. 5 More Days ‘Til Summer (4:02)
09. The Majesty of Love (5:49)
10. Gold Dust (5:08)
11. Ride (5:59)
12. I’ll Always Be Inside Your Soul (3:58)

Download:

https://subyshare.com/0cyokvjps9ah/LennyKravitzRaiseVibrati0n20182444.1.rar.html

Following 2016’s ode to love The Divine Feminine, Pittsburgh rapper Mac Miller avoids treading water and continues his artistic maturation on his fifth full-length, Swimming. As flowing as the title suggests, Swimming undulates with laid-back slacker soul and hypnotic production, like a lava lamp bobbing along calm waves. Inspired by events preceding the album’s release, Miller’s moody and introspective lyrics hint at the post-breakup black cloud hovering above his head, while also addressing his struggles with maintaining sobriety. Coupled with his soulful sing-rapping and input from producer Jon Brion, Swimming is one of Miller’s more enjoyable and cohesive visions. Throughout, there’s an emo-R&B vibe that strongly recalls Frank Ocean, just with less eloquent or evocative lyrics. Highlights include the popping, Pharrell-assisted “Hurt Feelings,” the synth-funk bounce of the Snoop Dogg and Thundercat collaboration “What’s the Use?,” and “Self Care,” a narcotic cloud rap gem that benefits from co-writers Dev Hynes and J.I.D. The woozy production and marble-mouthed delivery can sometimes be a slog (similar to one of Drake’s or Post Malone’s overly long albums), but every now and then there’s something — be it the surprise jazz piano on “Small Worlds” or the orchestral sweep of “2009” — that pulls everything back into focus. Licking his wounds after a rough first half of 2018, Miller realizes “You could have the world in the palm of your hands/You still might drop it” on closer “So It Goes.” With an eye on the future, Swimming is ample evidence that Miller can pick up the pieces and continue evolving, his grasp on thoughtful, introspective hip-hop getting stronger by the album.

Tracklist

01 – Come Back to Earth (00:02:41)
02 – Hurt Feelings (00:04:05)
03 – What’s the Use (00:04:48)
04 – Perfecto (00:03:35)
05 – Self Care (00:05:45)
06 – Wings (00:04:10)
07 – Ladders (00:04:47)
08 – Small Worlds (00:04:31)
09 – Conversation Pt 1 (00:03:30)
10 – Dunno (00:03:57)
11 – Jet Fuel (00:05:45)
12 – 2009 (00:05:48)
13 – So It Goes (00:05:12)

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https://subyshare.com/e6w88xonyraf/MacMillerSwimming201824441.rar.html

With a flow that launched a thousand features, Nicki Minaj’s talent seemed to find its perfect niche in any of her multiple guest appearances on other artist’s hits or in chart-topping singles that wrapped the most digestible version of her snarling delivery in a sugar-coating designed for pop radio. The infectious sparkle of her singles was largely lacking in her full-length albums, which could feel inconsistent or torn between Minaj’s fierce skills as a rapper and her calculated pop star veneer. Fourth album Queen follows four years after 2014’s The Pinkprint, and finds Minaj offering a darker atmosphere and focusing on her ferocious rap skills more than her well-tested commercial accessibility. With an hour-plus-running time, Queen stretches out languidly, making space for Minaj to follow various paths as the album moves on. The more pop-leaning moments are few here, and the syrupy piano ballad “Come See About Me” feels awkward when it shows up in between narcotic Metro Boomin-produced trap dirges like “Sir” or “Chun Swae.” Melodic and radio-friendly fare, like the Ariana Grande-assisted “Bed,” lands closer to Minaj’s signature pop/rap hybrid formula, and she finds the sweet spot for this formula when she co-mingles sticky vocal hooks with vicious flows as on album-opener “Ganja Burns.” “Barbie Dreams” adds layers to Minaj’s return to rap form, referencing not just the Notorious B.I.G.’s Ready to Die classic “Just Playing (Dreams),” but also throws back the first time she visited this theme on “Dreams 07,” the first track on her debut mixtape Playtime Is Over. Rhyming over the same beat over a decade later, Minaj is at her meanest and most hilarious as she drags famous rappers in an unrelenting stream of bilious rhymes. Similarly, the jittery “LLC” uncorks Minaj’s flow at its most ruthless, delivering rhymes that are so quick, funny, and complexly constructed that they’re hard to take in the first time. Other strong moments come with the Foxy Brown collaboration “Coco Chanel,” a humid banger built on a dancehall-flavored beat, as well as the weirdly catchy “Majesty,” a song with a quirky hook that takes notes from My Beautiful Dark Twisted Fantasy-era Kanye West. In the same way as Drake’s tedious Scorpion, Queen overstays its welcome with an ample level of filler. Songs like “Hard White,” “Chun-Li,” and “Rich Sex” come off like bored exercises, and the Weeknd shows up on “Thought I Knew You” but doesn’t elevate the song from vaguely moody to truly connective. While Queen isn’t without highlights, it’s bogged down by the less-inspired material. When Minaj leans into her untouchable strengths as a rapper, things get really exciting and an album of tracks as strong as “LLC” or “Barbie Dreams” would be one for the books. As it stands, however, Queen is another chapter of Minaj’s good but largely meandering and inconsistent full-length album output.

Tracklist

01. Ganja Burns (04:54)
02. Majesty (feat. Eminem & Labrinth) (04:55)
03. Barbie Dreams (04:39)
04. Rich Sex (feat. Lil Wayne) (03:12)
05. Hard White (03:13)
06. Bed (feat. Ariana Grande) (03:09)
07. Thought I Knew You (feat. The Weeknd) (03:18)
08. Run & Hide (02:34)
09. Chun Swae (feat. Swae Lee) (06:10)
10. Chun-Li (03:11)
11. LLC (03:41)
12. Good Form (03:19)
13. Nip Tuck (03:27)
14. 2 Lit 2 Late Interlude (00:55)
15. Come See About Me (04:06)
16. Sir (feat. Future) (03:44)
17. Miami (03:10)
18. Coco Chanel (feat. Foxy Brown) (03:44)
19. Inspirations Outro (00:58)

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https://subyshare.com/keitdi1aopsu/NickiMinajQueen20182448.rar.html

Paul McCartney – Egypt Station (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 57:18 minutes | 1,165 GB | Genre: Rock
Studio Masters, Official Digital Download | © Capitol Records (US1A)

Not easy to be Paul McCartney in 2018… Anyone who listens to Egypt Station knows that at 76, the former Beatle has very little chance to deliver an album, or even just a handful of songs, that can match his masterpieces of the previous century. Sir Paul must be aware of that as well… And yet, this album hits the nail right on the head. And while his voice understandably has lost some of its haughtiness compared to his golden years, Macca is still a master at writing finely refined pop songs. After writing hundreds of them, he has no lesson to receive from anyone, but listening to Hand In Hand, Do It Now, Dominoes or Confidante, the imprints of his very singular craftsmanship shine through. And in terms of production, the Wings’ former front man was smart enough not to fall into the trap of trying to sound younger than he is. It’s indeed classicism that prevails throughout this Egypt Station, which will surely delight his die-hard fans! – Clotilde Maréchal

Tracklist

01. Opening Station (0:42)
02. I Don’t Know (4:27)
03. Come On To Me (4:11)
04. Happy With You (3:34)
05. Who Cares (3:13)
06. Fuh You (3:24)
07. Confidante (3:05)
08. People Want Peace (2:59)
09. Hand In Hand (2:35)
10. Dominoes (5:02)
11. Back In Brazil (3:21)
12. Do It Now (3:17)
13. Caesar Rock (3:29)
14. Despite Repeated Warnings (6:58)
15. Station II (0:47)
16. Hunt You Down/Naked/C-Link (6:23)

Download:

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The Speer Family – The Gospel in Song (1966/2016) [Official Digital Download 24bit/192kHz]

The World’s Finest Banjo Band – Recorded Live at Your Father’s Mustache (1967/2016) [Official Digital Download 24bit/192kHz]

Trombone Shorty – Parking Lot Symphony (2017) [Official Digital Download 24bit/48kHz]

Unleash The Archers – Apex (2017) [Official Digital Download 24bit/44,1kHz]

Leontyne Price, Plcido Domingo, London Symphony Orchestra, Erich Leinsdorf – Verdi: Aida (1971/2016) [Official Digital Download 24bit/96kHz]

Leontyne Price, Carlo Bergonzi, RCA Italia Opera Orchestra, Thomas Schippers – Verdi: Ernani (1968/2016) [Official Digital Download 24bit/96kHz]

Chilly Gonzales – Solo Piano III (2018) [Official Digital Download 24bit/44,1kHz]

Berliner Philharmoniker & Herbert von Karajan – Mozart: Late Symphonies (Remastered) (2018) [Official Digital Download 24bit/96kHz]

Katia & Marielle Labeque – Amoria (2018) [Official Digital Download 24bit/96kHz]

Arno Piters, Members Of The Royal Concertgebouw Orchestra – Brahms, Schumann: Strings attached (2013) [Official Digital Download DSF DSD128/5.64MHz]

Netherlands Radio Philharmonic Orchestra, James Gaffigan – Prokofiev: Symphonies Nos. 3 & 4 (first version) (2015) [Official Digital Download DSF DSD128/5.64MHz]

NedSym Lite – Crossroads (2013) [Official Digital Download DSF DSD64/2.82MHz]

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

Jason Mraz – Know. (2018) [Official Digital Download 24bit/44,1kHz]

Joyce DiDonato – Into the Fire (2018) [Official Digital Download 24bit/96kHz]

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

Lenny Kravitz – Raise Vibration (2018) [Official Digital Download 24bit/44,1kHz]

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

Nicki Minaj – Queen (2018) [Official Digital Download 24bit/48kHz]

Paul McCartney – Egypt Station (2018) [Official Digital Download 24bit/96kHz]