Studio Masters – HDMusic.me

Andrea Lucchesini – Dialogues: Scarlatti & Berio / Schubert & Widmann (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:19:09 minutes | 1,41 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © audite Musikproduktion

A dialogue between historical and contemporary composers. Luciano Berio’s references to Scarlatti and Jörg Widmann’s homage to Schubert are contrasted by Andrea Lucchesini with original works of the two earlier composers, weaving both original and reference into a new whole. Prominent modern-day composers cultivate a relationship with historical compositional styles, bringing to light innovations and divergences as well as a continuation of and indebtedness to the past. Berio and Widmann are both closely involved with this new recording: Lucchesini and Berio enjoyed a close personal relationship during the composer’s lifetime, while Jörg Widmann wrote a text for the new production and is also connected to Andrea Lucchesini.

Andrea Lucchesini is one of the leading Italian pianists of our day. His triumph at the Dino Ciani International Competition at a young age marked the beginning of his international concert career. He has since performed all over the world with leading orchestras under renowned conductors as well as in solo recitals. His primary interest lies in contemporary music. Berio’s Echoing Curves was premiered by Lucchesini, and he was also involved in the composition of the Sonata, Berio’s last work for solo piano. Since 1990 the pianist has increasingly devoted himself to chamber music as well, performing in many different instrumental combinations and particularly in close collaboration with the cellist Mario Brunello and the Quartetto di Cremona.

Tracklist:
1. Sonata in D Major, K 491 (05:33)
2. 6 Encores for Piano: I. Brin (01:52)
3. 6 Encores for Piano: II. Leaf (01:25)
4. Sonata in G Major, K 454 (04:57)
5. 6 Encores for Piano: IV. Erdenklavier (01:20)
6. Sonata in F Minor, K 239 (03:10)
7. 6 Encores for Piano: III. Wasserklavier (01:57)
8. Sonata in F Minor, K 466 (05:35)
9. 6 Encores for Piano: V. Luftklavier (03:21)
10. Sonata in a Major, K 342 (02:07)
11. 6 Encores for Piano: VI. Feuerklavier (02:58)
12. Sonata in G Major, K 146 (03:05)
13. Moments Musicaux, D 780: I. Moderato (05:39)
14. Idyll and Abyss. Six Schubert Reminiscences for Piano: I. unreal, from afar (01:57)
15. Moments Musicaux, D 780: II. Andantino (06:40)
16. Idyll and Abyss. Six Schubert Reminiscences for Piano: II. Allegretto, un poco agitato (03:55)
17. Moments Musicaux, D 780: III. Air russe (01:58)
18. Idyll and Abyss. Six Schubert Reminiscences for Piano: III. like a music box (01:19)
19. Idyll and Abyss. Six Schubert Reminiscences for Piano: IV. Scherzando (01:51)
20. Moments Musicaux, D 780: IV. Moderato (05:42)
21. Idyll and Abyss. Six Schubert Reminiscences for Piano: V. ♩ ≈ 50 (01:23)
22. Moments Musicaux, D 780: V. Allegro vivace (02:07)
23. Idyll and Abyss. Six Schubert Reminiscences for Piano: VI. sad, desolate (02:43)
24. Moments Musicaux, D 780: VI. Plaintes d’un Troubadour (06:35)

Personnel:
Andrea Lucchesini, piano

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Emanuel Ax – Chopin: Piano Concerto No. 2, Op. 21 & 3 Novuelles Études & Scherzo No. 2, Op. 31 (1978/2018)
FLAC (tracks) 24 bit/96 kHz | Time – 49:37 minutes | 925 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © RCA Red Seal

Born in Poland in 1949, Emanuel Ax moved with his family to Canada before settling in New York City in 1961. There, beginning in 1966, he studied piano with Mieczyslaw Munz at the Juilliard School of Music. He made a concert tour of South America in 1969; in the year that followed he completed a bachelor’s degree in French at Columbia University and became an American citizen.

Ax had his New York recital debut in 1973, at Alice Tully Hall. In 1974, at the age of twenty-five, he took first place in the Arthur Rubinstein International Piano Master Competition in Tel Aviv. A successful American concert tour was the result, along with numerous European appearances. He received the prestigious Young Concert Artists’ Michaels Award in 1975, and the coveted Avery Fisher Prize in 1979.

An exclusive Sony Classical recording artist since 1987, Mr. Ax made his debut on this label with a collection of Chopin scherzos and mazurkas. He has won two Grammy Awards, both for recordings of the piano sonatas of Franz Joseph Haydn.

Devoted to chamber music, Mr. Ax regularly performs with artists such as Yo-Yo Ma, Peter Serkin, Young Uck Kim, and Jaime Laredo; the late Isaac Stern was also a frequent partner. These collaborations frequently result in widely acclaimed recordings and additional Grammy Awards.

In recent years Mr. Ax has developed an enthusiasm for twentieth-century music, including the works of Paul Hindemith, Aaron Copland, and others. He has given the premier performances of compositions by John Adams, Christopher Rouse, Bright Sheng, Melinda Wagner, and others. This growing interest in contemporary music has produced numerous commissions for new music and further additions to his acclaimed discography.

Tracklist:
1. Piano Concerto No. 2 in F minor, Op. 21 : I. Maestoso 14:59
2. Piano Concerto No. 2 in F minor, Op. 21 : II. Larghetto 09:18
3. Piano Concerto No. 2 in F minor, Op. 21 : III. Allegro vivace 08:53
4. 3 Nouvelles études, B.130 : Étude in F Minor 02:25
5. 3 Nouvelles études, B.130 : Étude in D-Flat 01:39
6. 3 Nouvelles études, B.130 : Étude in A-Flat 02:15
7. Scherzo No. 2 in B-Flat Minor, Op. 31 10:08

Personnel:
Emanuel Ax, piano

Digitally remastered

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In tandem with his multi-instrumentalist brother Orestes, bassist Israel “Cachao” López introduced to Cuban music the African rhythms that transformed the island’s traditional danzón into what is now known as the mambo – he also pioneered the descarga, the late-night jam sessions that revolutionized the sound and scope of Afro-Cuban pop and jazz. Born in Havana on September 14, 1918, just over a decade after Orestes, Cachao was the product of a sprawling, multi-generational musical family. At age eight he joined a local children’s septet that featured singer Roberto Faz, himself a significant figure in Cuban musical history as well, and within a year teamed with another future legend, pianist Ignacio Villa (aka Bola de Nieve) to play his neighborhood movie theater in support of silent film presentations. As a teen, Cachao played contrabass with the Orquesta Filarmónica de la Habana, supporting guest conductors including Igor Stravinsky, Herbert von Karajan, and Heitor Villa-Lobos before joining Orestes in the Orquesta Arcaño y Sus Maravillas in 1937. By the time of Cachao’s arrival, the orchestra was beginning to move away from its roots in French parlor music into a more African-inspired, rhythmic approach fusing the popular danzón style with syncopated percussion – together the López brothers composed more than 3,000 danzónes for the group, most notably 1938’s “Mambo,” which introduced an atypically slow, heavy rhythm and galvanized Cuban music for generations to follow.

By the time Cachao finally left the Orquesta Arcaño y Sus Maravillas in 1949, mambo was virtually synonymous with Cuban music as a whole. During the decade to follow, he played in a series of musical revues and orchestras, most notably enjoying an extended stint with bandleader José Fajardo. Over time Cachao began organizing descargas (i.e., “discharges”), informal, after-hours jam sessions that enabled the assembled musicians to experiment in a variety of styles and instrumental configurations. The improvisational, jazz-inspired approach proved so rewarding that in 1957 Cachao began recording the sessions, releasing to international acclaim the Pan Art LP Descargas en Miniature, featuring conguero legend Tata Güines. The Cuban Revolution of 1959 nevertheless spelled the demise of Havana’s reign as a center of music and nightlife, and after leaving with the Ernesto Duarte Orchestra for a Spanish tour in 1962, Cachao did not return to his homeland, beginning an exile that extended for the remainder of his lifetime. He soon settled in New York City, playing in support of Tito Rodriguez and later Eddie Palmieri – Cachao spent much of the 1970s in Las Vegas, headlining revues at the MGM, Sahara, and Tropicana hotels, before settling in Miami in 1978. Although the South Florida region was by now home to a growing community of Cuban refugees, Cachao spent the 1980s in relative obscurity, often playing quinceañeras and weddings to support himself while Latin music struggled to reclaim its onetime commercial prominence.

Cachao’s fortunes turned in 1989, when he befriended Cuban-born actor Andy Garcia, an avowed fan of the bassist’s music. Garcia set about assembling a tribute concert held in Miami in the summer of 1992 – the actor also financed the documentary portrait Cachao: Como Su Ritmo No Hay Dos, and with Miami Sound Machine co-founder Emilio Estefan, Jr. co-produced Cachao’s acclaimed 1994 comeback LP, Master Sessions, Vol. 1, which earned a Grammy Award for Best Tropical Latin Performance. As his international profile grew, Cachao experienced a creative resurgence that culminated with Mambo Mass, a daring liturgical work encompassing elements of Afro-Cuban music, opera, and classical traditions that premiered at Los Angeles’ St. Vincent de Paul Catholic Church in 2000. That same year he issued the LP Cuba Linda, and toured the globe with a 15-member orchestra that at times featured Garcia on bongos. Cachao teamed with fellow Cuban maestros Bebo and Patato Valdés for 2003’s El Arte del Sabor, winning a second Grammy for Best Traditional Tropical Latin Album, and another Grammy followed for 2005’s solo release ¡Ahora Si! In 2006 Cachao was honored at two Jazz at Lincoln Center concerts featuring the Afro-Latin Jazz Orchestra – later that year, he also led a mambo all-star band at a JVC Jazz Festival program at Carnegie Hall. Cachao died from kidney failure in a Coral Gables, FL, hospital on March 22, 2008 – he was 89 years old. ~ Jason Ankeny

Tracklist:
1. Malanga amarilla (Remasterizado) 03:13
2. Cógele el golpe (Remasterizado) 02:42
3. Descarga cubana (Remasterizado) 03:00
4. A gozar timbero (Remasterizado) 03:00
5. Pamparana (Remasterizado) 02:33
6. Goza mi trompeta (Remasterizado) 02:58
7. Controversia de metales (Remasterizado) 02:59
8. Guajeo de saxos (Remasterizado) 02:23
9. Sorpresa en flauta (Remasterizado) 02:47
10. Estudio en trompeta (Remasterizado) 02:21
11. Conciencia musical (Remasterizado) 04:24
12. Arriba cubano (Remasterizado) 03:57
13. El señor violín (Remasterizado) 04:05
14. Año del 61 (Remasterizado) 05:26
15. Ni por manteca ni por mantequilla (Remasterizado) 05:00

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‘For some years now we have been interested in the experiments of composers on the frontiers of Baroque musical language. The music of the sons of Bach and especially of Carl Philipp Emanuel has already come to fascinate us, and we had the same urge to discover and let ourselves be surprised when we decided to tackle Geminiani. To immerse ourselves in his op.7 was an exciting process, questioning our experience of Baroque music and rousing the enthusiasm of all the musicians of Café Zimmermann.’ (Celine Frisch, harpsichord)

‘“WHAT?!” was the first stunned reaction of the musicians after reading through Geminiani’s Concertos op.7. A composition that is invariably controversial, at once surprising and familiar. Then it was a new discovery with each concerto, with different textures and styles from one movement to the other. This music led us along unexpected paths from the church to the theatre, from Italy to France, from the seventeenth century to the eighteenth.’ (Pablo Valetti, violin)

‘Geminiani’s music reflects my state of mind, one foot in the seventeenth century and the other in the eighteenth. The rhetoric and architecture it employs are still compatible with the Baroque. But the choice and exploration of emotions are already very new, similar to the way we feel today. This state of inner contradiction was probably not always understood by Geminiani’s contemporaries, but it is exactly what we look for and admire nowadays.’ (Petr Skalka, cello)

‘What a wonderful surprise it was to study and record Geminiani’s op.7! In this strangely little-played set of concertos, I discovered an infinite variety of forms and colours, totally unpredictable every time, from one concerto to another and even from one movement to another.’(Patricia Gagnon, viola)

Tracklist:
1. Concerto in D Major, H.115, Op. 7: I. Andante 01:55
2. Concerto in D Major, H.115, Op. 7: II. L’arte della fuga, a 4 parte reale 03:01
3. Concerto in D Major, H.115, Op. 7: III. Andantino – Adagio 01:31
4. Concerto in D Major, H.115, Op. 7: IV. Allegro Moderato 03:05
5. Concerto in D Minor, H.116, Op. 7: I. Grave 01:36
6. Concerto in D Minor, H.116, Op. 7: II. Allegro assai 02:55
7. Concerto in D Minor, H.116, Op. 7: III. Andante 01:39
8. Concerto in D Minor, H.116, Op. 7: IV. Allegro 03:15
9. Concerto in C Major, H.117, Op. 7: I. Francese Presto 02:30
10. Concerto in C Major, H.117, Op. 7: II. Inglese Andante 02:29
11. Concerto in C Major, H.117, Op. 7: III. Italiano Allegro Assai 05:15
12. Concerto in D Minor, H.118, Op. 7: I. Andante 06:09
13. Concerto in D Minor, H.118, Op. 7: II. Andante 01:42
14. Concerto in D Minor, H.118, Op. 7: III. Allegro 03:11
15. Concerto in C Minor, H.119, Op. 7: I. Andante 01:10
16. Concerto in C Minor, H.119, Op. 7: II. Allegro – Grave 03:34
17. Concerto in C Minor, H.119, Op. 7: III. Allegro 02:50
18. Concerto in B-Flat Major, H.120, Op. 7: I. Allegro moderato – Adagio – Andante – Andante 03:04
19. Concerto in B-Flat Major, H.120, Op. 7: II. Adagio – Presto 02:10
20. Concerto in B-Flat Major, H.120, Op. 7: III. Affetuoso – Andante 02:47
21. Concerto in B-Flat Major, H.120, Op. 7: IV. Allegro moderato 01:30
22. Concerto in B-Flat Major, H.120, Op. 7: V. Andante – Adagio – Allegro assai – Adagio – Presto 06:36

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Court life in 17th and 18th century Germany provided a rich cultural climate: the countless Princes and Dukes competed each other in maintaining court orchestras of the highest caliber, fighting for the best musicians and composers. Both composers on this CD, Georg Philipp Telemann and Johann Melchior Molter, held the post of Kapellmeister at the court of Johann Wilhelm of Saxe-Eisenach, Molter being the successor of his illustrious colleague Telemann. The works presented here are Sonatas and Concertos a Quattro, chamber music for flute or oboe, violin, viola and basso continuo: music aimed to entertain the connoisseur, a happy blend of intellectual challenge and pure delight.The Camerata Bachiensis play on historical instruments, its leader Roberto de Franceschi playing both flute and oboe. They perform at all important Early Music Festivals, they won the 2013 Telemann Competition in Magdeburg, and are Ensemble-in-Residence in the Bach Museum Leipzig.

Tracklist:
01. Sonata II in F Major, TWV 43:1: I. Adagio
02. Sonata II in F Major, TWV 43:1: II. Allegro
03. Sonata II in F Major, TWV 43:1: III. Adagio
04. Sonata II in F Major, TWV 43:1: IV. Allegro
05. Sonata à quadro in E Minor, MWV 9.19: I. Allegro
06. Sonata à quadro in E Minor, MWV 9.19: II. Siciliana
07. Sonata à quadro in E Minor, MWV 9.19: III. Vivace
08. Sonata à 4 in G Major, TWV 43:12: I. Dolce
09. Sonata à 4 in G Major, TWV 43:12: II. Allegro
10. Sonata à 4 in G Major, TWV 43:12: III. Soave
11. Sonata à 4 in G Major, TWV 43:12: IV. Vivace
12. Concertino in E Minor, MWV 9.30: I. Allegro
13. Concertino in E Minor, MWV 9.30: II. Vivace
14. Sonata IV in C Major, TWV 43:1: I. Adagio
15. Sonata IV in C Major, TWV 43:1: II. Allegro
16. Sonata IV in C Major, TWV 43:1: III. Adagio
17. Sonata IV in C Major, TWV 43:1: IV. Allegro
18. Sonata à quadro in B-Flat Major, MWV 9.16: I. Allegro
19. Sonata à quadro in B-Flat Major, MWV 9.16: II. Andante
20. Sonata à quadro in B-Flat Major, MWV 9.16: III. Vivace
21. Sonata VI in D Minor, TWV 43:2: I. Adagio
22. Sonata VI in D Minor, TWV 43:2: II. Allegro
23. Sonata VI in D Minor, TWV 43:2: III. Adagio
24. Sonata VI in D Minor, TWV 43:2: IV. Allegro
25. Concert à 4 in D Major, TWV 51:6: I. Molto allegro
26. Concert à 4 in D Major, TWV 51:6: II. Adagio
27. Concert à 4 in D Major, TWV 51:6: III. Vivace

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Der Freischütz is one of the great milestones in the history of opera. The resounding success of its premiere in 1821 practically made it a manifesto for German Romantic opera, one that would become a significant formative influence on Wagner. Although it has its roots in the Singspiel tradition exemplified by Mozart’s Die Zauberflöte, Der Freischütz cut new ground with its potent mixture of supernatural elements, dreams, folk melodies, evocations of nature, and symphonic tone painting. Here, von Weber exploited his brilliant orchestral imagination–using, for example, carefully divided string tremolos and a gleaming choir of four horns–to maximum effect.

This legendary recording from 1973 was Carlos Kleiber’s first studio project, and the scrupulous attention he lavished on the score resulted in an interpretation that continues to sound bold, fresh, and authoritative. The Dresden Staatskapelle plays in top form, whether in tenderly sprung wind solos or in the truly spooky atmospherics of the famous Wolf’s Glen scene. Peter Schreier’s dark, pungent tenor is something of an acquired taste, but he gives fervent voice to the despair of hunter/protagonist Max. Gundula Janowitz sings with stirring beauty and enriches the two-dimensional character of Max’s beloved Agathe with remarkable depth, revealing both her innocence and her agonized foreboding. And Theo Adam delivers a thoroughly spiteful, loathesome vocal portrait of the nefarious Kaspar, whose pact with the devil Samiel goes awry. For a work that is not performed nearly as often as it deserves to be, this recording is essential. (Thomas May)

For sheer thrills, no one has yet outshone Kleiber’s swashbuckling 1973 Der Freischütz. True, for scrupulous textual honesty, there are strong rivals. On Teldec, Harnoncourt underscores Weber’s brilliant instrumental detail, and benefits from not just Orgonasova’s Agathe and Salminen’s brutalising Kaspar, but Cachemaille’s Kuno, Schäfer’s Ännchen and Moll’s Hermit. Some earlier versions have weathered particularly well. Jochum (DG budget price) allows Weber’s miraculous orchestration to ratchet up tension, free of dazzling ‘effects’ (unlike Kubelík/Decca). Keilberth’s 1958 EMI reading, with Prey and Frick, was a yardstick, sharing with Furtwängler’s cough-ridden Salzburg performances arguably the best Agathe of all:Elisabeth Grümmer. But if you can hang in with his tempi (contrast Davis’s granite Philips version), Kleiber win hands down. The Staatskapelle is putty in his fingers. Janowitz’s melting Agathe, Schreier’s assertive Max, Mathis and Adam remain my dream cast. (Roderic Dunnett, BBC Music Magazine)

Tracklist:
1. Overture 09:44
2. Act 1 : “Viktoria! Viktoria! …” – Bauern-Marsch – “Schau der Herr mich an als König!” 04:49
3. Act 1 : “Was gibt’s hier?” 03:25
4. Act 1 : “O diese Sonne” – “Das Wild in Fluren und Triften” 06:56
5. Act 1 : “Ein braver Mann” 00:20
6. Act 1 : Walzer 01:21
7. Act 1 : “Nein, länger trag’ ich nicht die Qualen” – “Durch die Wälder, durch die Auen” 06:29
8. Act 1 : “Kamerad!” 00:51
9. Act 1 : “Hier im irdschen Jammertal” 02:00
10. Act 1 : “Bruderherz!” 02:06
11. Act 1 : “Schweig – damit dich niemand warnt!” 03:07
12. Act 2 : “Schelm! Halt fest!” 04:48
13. Act 2 : “So! Da oben mag ich den Herrn Urältervater” 00:30
14. Act 2 : “Kommt ein schlanker Bursch gegangen” 03:43
15. Act 2 : “Und der Bursch nicht minder schön” 00:50
16. Act 2 : “Wie nahte mir der Schlummer” – “Leise, leise, fromme Weise!” 08:19
17. Act 2 : “Meine Agathe!” 01:21
18. Act 2 : “Wie? Was? Entsetzen!” 06:37
19. Act 2 : “Milch des Mondes fiel aufs Kraut” – “Samiel! Samiel! Erschein!” – “Ha!-Furchtbar gähnt der düstre Abgrund” 16:26
20. Act 3 : Entr’acte 01:44
21. Act 3 : “Ein herrliches Jagdwetter!” 02:07
22. Act 3 : “Und ob die Wolke sie verhülle” 05:57
23. Act 3 : “Du hast dich dazugehalten!” 01:19
24. Act 3 : “Einst träumte meiner sel’gen Base” – “Trübe Augen, Liebchen, taugen” 06:10
25. Act 3 : “Nun muß ich aber den Kranz holen” 00:18
26. Act 3 : “Wir winden dir den Jungfernkranz” 04:55
27. Act 3 : “Was gleicht wohl auf Erden dem Jägervergnügen?” 02:28
28. Act 3 : “Genug der Freuden des Mahls”Otto Mellies 01:28
29. Act 3 : “Schaut, o schaut! Er traf die eigne Braut!”0 9:21
30. Act 3 : “Wer legt auf ihn so strengen Bann?” 09:15

Personnel:
Franz Crass, bass
Siegfried Vogel, bass
Bernd Weikl, baritone
Theo Adam, bass baritone
Peter Schreier, tenor
Edith Mathis, soprano
Günther Leib, baritone
Gundula Janowitz, soprano
Leipzig Radio Chorus
Dresden Staatskapelle
Carlos Kleiber, conductor

Digitally remastered

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Carrie Underwood has long been America’s country-pop sweetheart, belting playful revenge anthems and hear-me-roar power ballads. But her sixth album brings a shift in tone: Topical and contemplative, it represents a period of personal change (at 35, she’s a new mom and expecting her second child), and comes at a moment so politically fraught that even traditionally conservative country megastars are daring to ask tough questions. There’s urgency in songs like “The Bullet” and “Love Wins” (detailing the emotional wreckage of shootings and the importance of gay rights, respectively), and courageous reflections on private battles in “Drinking Alone” and “Spinning Bottles.” The title track draws a hard line between vulnerability and weakness. “Falling apart is as human as it gets,” she sings. On any other album, the party songs (“Southbound”) and hip-hop collaborations (“The Champion,” featuring Ludacris) would steal the spotlight, but here they’re simply outshined. Thirteen years after her American Idol debut, we’re finally getting to know the woman behind the mic.

Tracklist:
1. Cry Pretty (04:07)
2. Ghosts On The Stereo (04:13)
3. Low (03:31)
4. Backsliding (04:37)
5. Southbound (03:22)
6. That Song That We Used To Make Love To (03:35)
7. Drinking Alone (04:18)
8. The Bullet (04:10)
9. Spinning Bottles (03:16)
10. Love Wins (03:48)
11. End Up With You (03:13)
12. Kingdom (04:34)
13. The Champion (feat. Ludacris) [Bonus Track] (03:42)

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Carrie Underwood – Storyteller (2015)
FLAC (tracks) 24 bit/44.1kHz | Time – 45:51 minutes | 561 MB | Genre: Country, Pop Rock
Studio Masters, Official Digital Download – Source: highresaudio.com | © 19 Recordings Limited/Arista Nashville

“Something in the Water,” the new single tacked onto Carrie Underwood’s 2014 compilation Greatest Hits: Decade #1, was an operatic blowout on par with her 2012 smash “Blown Away” — something grand and melodramatic, suggesting Vegas as much as it suggested inspirational music. Storyteller, her fifth album and first since her career recap, certainly contains cinematic elements — Underwood has been proud to be a diva ever since she prowled the stages of American Idol a decade prior — but the title isn’t a feint; she spends a good chunk of the album reiterating, singing about heartbreak, hair triggers, red wine, dirty laundry, and smoke breaks, the mundane details that turn life so joyous and tragic. Subtlety isn’t Underwood’s strong suit so the songs tend to be a bit on the nose, whether she’s pledging devotion to her newborn son on the sweet closer “What I Never Knew I Always Wanted” or streamlining Bobbie Gentry’s “Ode to Billy Joe” via the stomping “Choctaw County Affair,” but that directness is key to her appeal: there are no greys in Carrie’s music, only blazing primary colors. Appropriately enough, Storyteller gleams with steely assurance, perhaps the toughest and boldest record yet but one that hardly soft-pedals her softer side. Carrie isn’t an unapologetic spitfire like her “Something Bad” duet partner Miranda Lambert. She is, as she says in her album title, a Storyteller, and there’s an unmistakable distance between her theatrics and the subjects of her tunes; she isn’t living these songs, she’s performing them. Like a skilled actor, Underwood chooses her roles wisely — she’s comfortable swaggering through the leadoff pair of “Renegade Runaway” and “Dirty Laundry,” while she eases into the comforting melancholy of “The Girl You Think I Am” — and she knows how to deliver the essence of each song, modulating her performances not only so they match the grand productions of Jay Joyce, Mark Bright, and Zach Crowell but so they always are the focal point. That’s no small feat and Storyteller is no small album: it demands attention and it deserves it, too.

Tracklist:
1. Renegade Runaway 03:38
2. Dirty Laundry 03:24
3. Church Bells 03:13
4. Heartbeat 03:30
5. Smoke Break 03:18
6. Choctaw County Affair 03:29
7. Like I’ll Never Love You Again 03:36
8. Chaser 04:22
9. Relapse 03:23
10. Clock Don’t Stop 03:21
11. The Girl You Think I Am 03:37
12. Mexico 03:27
13. What I Never Knew I Always Wanted 03:33

Personnel:
All vocals — Carrie Underwood
Featured vocals — Sam Hunt
Background vocals — Perry Coleman, Zach Crowell, Chris DeStefano, Jerry Flowers, Hillary Lindsey, The McCrary Sisters, James Moore
Accordion — Charlie Judge
Banjo — Pat McGrath
Cello — Devin Malone
Dobro — Adam Ollendorff
Drums — Fred Eltringham, Chris McHugh
Guitars — Tom Bukovac, Zach Crowell, Jerry Flowers, Kenny Greenberg, Jay Joyce, Devin Malone, Pat McGrath, Rob McNelley, Michael Rhodes, Dave Roe, Jimmie Lee Sloas, Bryan Sutton, Ilya Toshinsky, Derek Wells, Forest Glen-Whitehead
Harmonica — Travis Meadows
Banjo — Pat McGrath
Cello — Devin Malone
Dobro — Adam Ollendorff
Drums — Fred Eltringham, Chris McHugh
Guitars — Tom Bukovac, Zach Crowell, Jerry Flowers, Kenny Greenberg, Jay Joyce, Devin Malone, Pat McGrath, Rob McNelley, Michael Rhodes, Dave Roe, Jimmie Lee Sloas, Bryan Sutton, Ilya Toshinsky, Derek Wells, Forest Glen-Whitehead
Harmonica — Travis Meadows
Keyboards — Zach Crowell, John Deaderick, Jay Joyce
Mandolin — Pat McGrath, Ilya Toshinsky
Pedal steel guitar — Devin Malone
Percussion — Eric Darken, Fred Eltringham
Piano — Jimmy Nichols
Synthesizer — Charlie Judge
Synthesizer pads — Jay Joyce

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After Polyeucte (1878), Gounod tackled the operatic genre for the last time in 1881 with what is probably his most ambitious work, Le Tribut de Zamora. The action takes place in ninth-century Spain – from Act Two onwards, on ‘a picturesque site on the banks of the Guadalquivir before Córdoba’. Here Gounod – finally noted more for his neoclassical pastiches (Le Médecin malgré lui and Cinq-Mars) and his ardent Romanticism (Faust and Roméo et Juliette) – was given an opportunity to display his talents as an orchestrator and colourist in an exotic setting. He produced an epic in the tradition of French grand opéra, with numerous ensembles and showpiece airs. Despite an unequivocal success on its first run, despite the stirring national anthem ‘Debout! Enfants de l’Ibérie’, Le Tribut de Zamora sank into oblivion within a few short years. We can now appreciate in this opera precisely what certain detractors complained of at the time: the fact that we meet here once again the irresistible lyricism of Faust and Roméo et Juliette.

Tracklist:
CD1
01. Le Tribut de Zamora, Acte I: Prélude
02. Le Tribut de Zamora, Acte I: Chœur. Au vieux pays de Cantabrie
03. Le Tribut de Zamora, Acte I: Aubade. Ô blanc bouquet de l’épousée (Manoël)
04. Le Tribut de Zamora, Acte I: Scène. Qu’entends-je ?
05. Le Tribut de Zamora, Acte I: Vision et Arioso. La torche du vainqueur brûlait la ville prise (Xaïma)
06. Le Tribut de Zamora, Acte I: Scène. Le seigneur sarrasin parle à ma ﬁancée
07. Le Tribut de Zamora, Acte I: Duo. Pourquoi ce langage odieux ? (Xaïma, Manoël)
08. Le Tribut de Zamora, Acte I: Arioso. Ce Sarrasin disait que mon seigneur et maître (Xaïma)
09. Le Tribut de Zamora, Acte I: Chœur. Entendez-vous la cloche ailée
10. Le Tribut de Zamora, Acte I: Scène. Que la cloche se taise et qu’on ferme l’église
11. Le Tribut de Zamora, Acte I: Arioso et Scène. Vous osez proférer des menaces (Ben-Saïd)
12. Le Tribut de Zamora, Acte I: Finale. Voici le premier nom
13. Le Tribut de Zamora, Acte I: Finale (Suite). Xaïma Ferreras !
14. Le Tribut de Zamora, Acte II: Chœur. Fêtons, fêtons l’anniversaire
15. Le Tribut de Zamora, Acte II: Kasidah. La flèche siffle
16. Le Tribut de Zamora, Acte II: Scène. Assez ! je ne veux pas qu’on chante
17. Le Tribut de Zamora, Acte II: Air. Que me dis-tu ? Qu’il faut encore te suivre ? (Hermosa)
18. Le Tribut de Zamora, Acte II: Scène, Marche et Chœur. Ah ! voici le convoi d’Espagne
19. Le Tribut de Zamora, Acte II: Scène. Je connais cet homme, il me semble
20. Le Tribut de Zamora, Acte II: Récitatif. Notre très clément souverain (Le Cadi)
21. Le Tribut de Zamora, Acte II: Marche des captives
22. Le Tribut de Zamora, Acte II: Scène et Arioso. Seule en ce lieu (Xaïma, Hermosa)
23. Le Tribut de Zamora, Acte II: Finale. Oh ! la pauvre femme
24. Le Tribut de Zamora, Acte II: Morceau d’ensemble. L’ange qui chaque nuit
25. Le Tribut de Zamora, Acte II: Finale (Suite). À cents dinars d’or
CD2
01. Le Tribut de Zamora, Acte III: Scène. Écoutez ! écoutez les clairons d’or !
02. Le Tribut de Zamora, Acte III: Introduction et Barcarolle. Ma belle, effleurons de nos rames (Une jeune esclave)
03. Le Tribut de Zamora, Acte III: Danse grecque
04. Le Tribut de Zamora, Acte III: Danse espagnole
05. Le Tribut de Zamora, Acte III: Romance. Je m’efforce en vain de te plaire ! (Ben-Saïd)
06. Le Tribut de Zamora, Acte III: Trio. Mon frère ! Il faut qu’Hadjar (Hadjar, Xaïma, Ben-Saïd)
07. Le Tribut de Zamora, Acte III: Scène. Sa dernière heure décidera mon sort !
08. Le Tribut de Zamora, Acte III: Morceau d’ensemble. Un pardon de ta bouche altière !
09. Le Tribut de Zamora, Acte III: Scène. À la pitié pour moi, qui souffre tant
10. Le Tribut de Zamora, Acte III: Duo. De sa mort qui donc parle ici ? (Hermosa, Xaïma)
11. Le Tribut de Zamora, Acte III: Duo (Suite). Que s’est-il donc passé ? (Hermosa, Xaïma)
12. Le Tribut de Zamora, Acte IV: Introduction et Cavatine. J’ai pu, la nuit venue (Manoël)
13. Le Tribut de Zamora, Acte IV: Scène et Duo. Manoël ! Sans moi tu veux mourir ? (Xaïma, Manoël)
14. Le Tribut de Zamora, Acte IV: Scène, Romance et Trio. Malheureux ! (Hermosa, Xaïma, Manoël)
15. Le Tribut de Zamora, Acte IV: Trio (Suite). Mais sans mourir (Hermosa, Xaïma, Manoël)
16. Le Tribut de Zamora, Acte IV: Scène et Cavatine. Lui ! Manoël ! Encore ! (Ben-Saïd, Xaïma)
17. Le Tribut de Zamora, Acte IV: Duo. Tu mens, traître ! (Ben-Saïd, Xaïma)
18. Le Tribut de Zamora, Acte IV: Scène. Tu ne passeras pas !
19. Le Tribut de Zamora, Acte IV: Cantabile et Scène. Te la rendre !
20. Le Tribut de Zamora, Acte IV: Scène ﬁnale. Non ! N’appelle personne

Personnel:
Judith van Wanroij, soprano (Xaima)
Jennifer Holloway, mezzo-soprano(Hermosa)
Edgaras Montvidas, tenor (Manoel)
Tassis Christoyannis, baritone (Ben-Said)
Boris Pinkhasovich, Juliette Mars, baritone (Iglésia)
Münchner Rundfunkorchester
Chor des Bayerischen Rundfunks
Hervé Niquet, conductor

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“Er brennt Feuerwerke klanglicher Vielfalt und virtuoser technischer Zauberkunst nieder”, schreibt der “Spiegel” über den jungen Marimbaspieler Christoph Sietzen, der laut “Gramophone” einer der besten Multi-Percussionisten weltweit ist. Seine “feinfarbigen Nuancen, technische Präzision, perfekte Balance zwischen Technik, spontan-kreativer Inspiration und einer auf der intensiven Ausgestaltung eines jeden Tones beruhenden Musikalität” zeigt Sietzen, der auch Teil des Wave Quartetts ist, auf seinem neuen Album “Incantations”. Mit dem Romanian National Symphony Orchestra unter Leitung von Cristian Mandeal präsentiert er zwei faszinierende Werke für Orchester und Schlagzeug: “Frozen in Time” (2007) von Avner Dorman und “Incantations” (2008) von Einojuhani Rautavaara. Beide Konzerte sind rhythmisch mitreißend und verbinden in faszinierender Weise Elemente indisch-afrikanischer Musik, des südamerikanischen Tangos, Elemente des Jazz und der Minimal Music mit traditioneller Klassik.

“Beschwörendes Singen der Instrumente von großer Kraft. Sietzen haut das so farbenreich wie makellos.” (Rondo)

“Bei diesem jungen Musiker kommen aber noch eine erfrischende musikantische Natürlichkeit, technische Beherrschung und blendendes Feeling sowie eine ausgeprägte Bühnenpräsenz hinzu, um eine außerordentliche Persönlichkeit zu offenbaren: exzellent.” (Salzburger Nachrichten)

Tracklist:
1. Frozen in Time : I. Indoafrica 09:40
2. Frozen in Time : II. Eurasia 11:00
3. Frozen in Time : III. The Americas 06:26
4. Incantations : I. Pesante 07:32
5. Incantations : II. Espressivo 08:41
6. Incantations : III. Animato 07:09

Personnel:
Christoph Sietzen, Percussion
Romanian National Symphony Orchestra
Cristian Mandeal, Dirigent

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With these recordings – which mark the launch of the Stradivari collection – discover the unique instruments lovingly preserved at the Philharmonie de Paris’s Museum of Music: the finest examples of the art of instrument-making which, like the iconic harpsichord crafted in 1652 by Ioannes Couchet, are given a new life thanks to the skill and commitment of its keen conservators.

When this ‘national treasure’ is entrusted into the hands of an expert like Christophe Rousset, the magic is evident. As the sumptuous sonority of Louis Couperin’s music is revealed, poetry meets fantasy.

Tracklist:
CD 1
1. Suite in D Major: 2. Prélude [non mesuré] 03:04
2. Suite in D Major: 58. Allemande. Il faut jouer cette pièce fort lentement 03:30
3. Suite in D Major: 59. Courante 01:09
4. Suite in D Major: 60. Sarabande 02:19
5. Suite in D Major: 61. Gaillarde 02:19
6. Suite in D Major: 62. Chaconne 01:56
7. Suite in C Major: 10. Prélude [non mesuré] 02:23
8. Suite in C Major: 126. Le Moutier, Allemande de Mr. de Chambonnières – Double du Moutier par Mr. Couperin 02:49
9. Suite in C Major: 18. Courante 01:34
10. Suite in C Major: 17. Courante 01:29
11. Suite in C Major: 16. Courante 01:25
12. Suite in C Major: 23. Sarabande 02:11
13. Suite in C Major: 24. Sarabande 02:20
14. Suite in C Major: 26. Chaconne 02:48
15. Suite in C Major: 29. Menuet 00:57
16. Suite in C Major: 25. Sarabande 01:25
17. Suite in C Major: 9. Prélude [non mesuré] 03:20
18. Suite in A Major: 8. Prélude [non mesuré] 01:40
19. Suite in A Major: 99. Allemande 03:20
20. Suite in A Major: 112. Courante 01:55
21. Suite in A Major: 113. Sarabande 03:02
22. Suite in A Major: 114. Gigue 01:42
23. Suite in B-Flat Major: 4. Prélude [non mesuré] 01:36
24. Suite in B-Flat Major: 118. Allemande 02:09
25. Suite in B-Flat Major: 119. Courante 01:14
26. Suite in B-Flat Major: 121. Chaconne 02:05
27. Suite in B-Flat Major: 5. Prélude [non mesuré] 01:47
28. Suite in B-Flat Major: 97. Sarabande 02:04
29. Suite in B-Flat Major: 96. Chaconne ou Passacaille 03:14
30. Suite in E Minor: 14. Prélude [non mesuré] 01:15
31. Suite in E Minor: 63. Allemande de la Paix 02:49
32. Suite in E Minor: 64. Courante 01:18
33. Suite in E Minor: 65. Sarabande 03:36
34. Suite in B Minor: 115. Allemande 03:04
35. Suite in B Minor: 116. Courante 01:37
36. Suite in B Minor: 117. Sarabande 02:27
CD 2
1. Suite in F Major: 12. Prélude [non mesuré, changement de mouvement, non mesuré] 01:39
2. Suite in F Major: 66. Allemande 03:00
3. Suite in F Major: 70. Courante 01:11
4. Suite in F Major: 74. Sarabande 02:21
5. Suite in F Major: 79. Gigue 01:22
6. Suite in F Major: 80. Chaconne 02:30
7. Suite in G Major: 129. Prélude [non mesuré] 00:58
8. Suite in G Major: 82. Allemande 02:53
9. Suite in G Major: 83. Allemande 02:40
10. Suite in G Major: 84. Courante 01:27
11. Suite in G Major: 85. Courante 01:31
12. Suite in G Major: 87. Sarabande 02:56
13. Suite in G Major: 88. Gaillarde 01:45
14. Suite in G Major: 89. Chaconne 05:13
15. Suite in D Minor: 35. Allemande 04:00
16. Suite in D Minor: 43. Courante 01:35
17. Suite in D Minor: 39. Courante 01:43
18. Suite in D Minor: 47. Sarabande en Canon 01:54
19. Suite in D Minor: 122. Gigue 01:43
20. Suite in D Minor: 57. Chaconne la Complaignante 02:21
21. Suite in A Minor: 7. Prélude [non mesuré] 00:53
22. Suite in A Minor: 100. Allemande 03:23
23. Suite in A Minor: 103. Courante 01:26
24. Suite in A Minor: 106. Courante 02:06
25. Suite in A Minor: 107. Sarabande 02:07
26. Suite in A Minor: 110. Sarabande 02:16
27. Suite in A Minor: 111. Menuet de Poitou et son Double 01:41
28. Suite in D Minor: 37. Pièces de trois sortes de mouvemens 02:06
29. Suite in D Minor: 38. Courante 01:45
30. Suite in D Minor: 41. Courante 01:34
31. Suite in D Minor: 49. Sarabande 01:54
32. Suite in D Minor: 124. Gavotte 01:10

Personnel:
Christophe Rousset, harpsichord

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Since her very first disc, Claire Désert has summoned the Schumannian rages in solo or in chamber music.

Here, with three major piano works, she portrays the soul of German Romanticism, from its dark forests to its popular romances.

This is also the whole universe of Schumann, between virtuosity, madness and fervour.

Tracklist:
1. Fantasie, Op. 17: I. Durchaus phantastisch und leidenschaftlich vorzutragen 13:02
2. Fantasie, Op. 17: II. Mässig, durchaus energisch 07:28
3. Fantasie, Op. 17: III. Langsam getragen 12:26
4. 3 Romanzen, Op. 28: I. Sehr markirt 03:31
5. 3 Romanzen, Op. 28: II. Einfach 03:52
6. 3 Romanzen, Op. 28: III. Sehr markirt 07:19
7. Waldszenen, Op. 82: I. Eintritt 02:02
8. Waldszenen, Op. 82: II. Jäger auf der Lauer 01:31
9. Waldszenen, Op. 82: III. Einsame Blumen 02:01
10. Waldszenen, Op. 82: IV. Verrufene Stelle 03:24
11. Waldszenen, Op. 82: V. Freundliche Landschaft 01:12
12. Waldszenen, Op. 82: VI. Herberge 02:02
13. Waldszenen, Op. 82: VII. Vogel als Prophet 03:39
14. Waldszenen, Op. 82: VIII. Jagdlied 02:36
15. Waldszenen, Op. 82: IX. Abschied 03:47

Personnel:
Claire Désert, piano

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Cyprien Katsaris & Hélène Mercier – Brahms: 21 Hungarian Dances & 16 Waltzes for Piano Four (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:10:19 minutes | 580 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Warner Classics

“Exceedingly satisfied with our musical collaboration on our Brahms/Schumann recording, I suggested to Helene Mercier that we take on the complete cycles of Brahms’s 21 Hungarian Dances and 16 Waltzes, Op.39, which, unlike me, she had already played in concert.

It was extremely important to both of us that the gypsy spirit was to the fore in the Hungarian Dances, likewise Viennese elegance in the Waltzes. I must humbly acknowledge how impressed I was by my Quebecoise partner’s level of understanding of this very distinctive music. All her musical suggestions that broke with the usual rules made sense, and we tried never to lose sight of the improvisatory character symbolising the freedom of the Gypsies.” (Cyprien Katsaris)

Tracklist:
1. 16 Waltzes, Op. 39: No. 3 in G-Sharp Minor 01:13
2. 16 Waltzes, Op. 39: No. 5 in E Major 01:18
3. 16 Waltzes, Op. 39: No. 6 in C-Sharp Major 01:02
4. 21 Hungarian Dances, WoO 1: No. 3 in F Major 02:24
5. 21 Hungarian Dances, WoO 1: No. 4 in F Minor 04:15
6. 21 Hungarian Dances, WoO 1: No. 5 in F-Sharp Minor 02:07
7. 21 Hungarian Dances, WoO 1: No. 6 in D-Flat Major 03:05
8. 21 Hungarian Dances, WoO 1: No. 7 in A Major 01:34
9. 21 Hungarian Dances, WoO 1: No. 8 in A Minor 02:38
10. 16 Waltzes, Op. 39: No. 7 in C-Sharp Minor 02:18
11. 16 Waltzes, Op. 39: No. 8 in B-Flat Major 01:09
12. 16 Waltzes, Op. 39: No. 14 in A Minor 01:30
13. 16 Waltzes, Op. 39: No. 4 in E Minor 01:16
14. 21 Hungarian Dances, WoO 1: No. 9 in E Minor 01:50
15. 16 Waltzes, Op. 39: No. 9 in D Minor 01:14
16. 16 Waltzes, Op. 39: No. 10 in G Major 00:36
17. 21 Hungarian Dances, WoO 1: No. 10 in E Major 01:51
18. 16 Waltzes, Op. 39: No. 15 in A Major 01:28
19. 16 Waltzes, Op. 39: No. 1 in B Major 00:52
20. 21 Hungarian Dances, WoO 1: No. 1 in G Minor 02:39
21. 21 Hungarian Dances, WoO 1: No. 2 in D Minor 03:20
22. 16 Waltzes, Op. 39: No. 16 in D Minor 01:11
23. 21 Hungarian Dances, WoO 1: No. 11 in D Minor 03:07
24. 21 Hungarian Dances, WoO 1: No. 12 in D Minor 02:24
25. 21 Hungarian Dances, WoO 1: No. 13 in D Major 01:32
26. 21 Hungarian Dances, WoO 1: No. 14 in D Minor 01:46
27. 21 Hungarian Dances, WoO 1: No. 15 in B-Flat Major 02:20
28. 21 Hungarian Dances, WoO 1: No. 16 in F Minor 02:19
29. 21 Hungarian Dances, WoO 1: No. 17 in F-Sharp Minor 03:09
30. 21 Hungarian Dances, WoO 1: No. 18 in D Major 01:27
31. 16 Waltzes, Op. 39: No. 11 in B Minor 01:33
32. 16 Waltzes, Op. 39: No. 12 in E Major 01:42
33. 16 Waltzes, Op. 39: No. 13 in C Major 00:46
34. 21 Hungarian Dances, WoO 1: No. 19 in B Minor 01:50
35. 16 Waltzes, Op. 39: No. 2 in E Major 01:32
36. 21 Hungarian Dances, WoO 1: No. 20 in E Minor 02:37
37. 21 Hungarian Dances, WoO 1: No. 21 in E Minor 01:25

Personnel:
Hélène Mercier, piano
Cyprien Katsaris, piano

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Tracklist:
1. Piano Sonata No. 23 In F Minor, Op. 57 “Appassionata” : I. Allegro assai 09:34
2. Piano Sonata No. 23 In F Minor, Op. 57 “Appassionata” : II. Andante con moto (attaca) 06:06
3. Piano Sonata No. 23 In F Minor, Op. 57 “Appassionata” : III. Allegro ma non troppo 07:56
4. Piano Sonata No. 26 in E-flat Major, Op. 81a “Les Adieux” : I. Adagio; Allegro (Les adieux) 07:15
5. Piano Sonata No. 26 in E-flat Major, Op. 81a “Les Adieux” : II. Andante expressivo (L’absence) 03:19
6. Piano Sonata No. 26 in E-flat Major, Op. 81a “Les Adieux” : III. Vivacissimamente (Le retour) 05:41
7. Polonaise in C, Op. 89 05:38

Personnel:
Emanuel Ax, piano

Digitally remastered

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Young British composer Rebecca Dale, the first female composer to sign to Decca Classics, will release her debut album ‘Requiem For My Mother’ on 31st August – featuring two major works: her brand new Materna Requiem and her choral symphony When Music Sounds.

At the heart of Rebecca’s first recording is her Materna Requiem – a beautifully moving and uplifting tribute to her late mother, who died in 2010. The work draws from both the traditional text of the Catholic Mass and contemporary poetry and is a homage to parents everywhere. It features the voices of soprano Louise Alder, tenor Trystan Griffiths and young choristers Hannah Dienes-Williams and Edward Hyde (BBC Radio 2 Young Chorister of the Year 2016) alongside the Royal Liverpool Philharmonic Orchestra. The work will receive its world premiere performance at The North Wales International Music Festival in St Asaph Cathedral on 22nd September.

Rebecca Dale says of the album: “It’s an amazing feeling to be releasing my first album and sharing my music with everyone. The Requiem is a very personal piece to me, and it uses melodies I wrote when I was a child so you could say I’ve been working on it for most of my life! When I first wrote the Requiem I didn’t even realise it would receive a performance so it’s a hugely exciting moment to hear it on record, and I hope the piece connects with people.”

The first track from Rebecca’s new album, ‘Pie Jesu’, is out now and expresses a parent’s love for their son or daughter – so instead of using a child’s voice as is tradition for this movement, it’s represented as a father singing to his newborn.

The process of writing the Materna Requiem has been somewhat cathartic for Rebecca – she describes the musical tribute to her mother as “a way for me to build a bridge back to her”. Rebecca is keen to help others who have suffered the loss of a parent and is a supporter of Winston’s Wish – the UK’s first childhood bereavement charity. Donation buckets will be available at the premiere performance of the work, plus Rebecca will be taking part in ‘TrekFest’ for the charity.

Rebecca’s work first came to public attention when BBC Radio 3 premiered her choral symphony ‘When Music Sounds’ in 2014 and the track, ‘I’ll Sing’, went to No.1 on the Classical iTunes chart. It seems fitting that the whole piece is recorded on her debut album. Performed by the Cantus Ensemble – one of London’s leading chamber choirs – this inspiring orchestral work is a glorious counterpart to the Requiem and concludes the album in stunning style.

Tracklist:
1. Materna Requiem : 1. Introit 04:10
2. Materna Requiem : 2. Kyrie 04:02
3. Materna Requiem : 3. Pie Jesu 03:54
4. Materna Requiem : 4. Lacrimosa 08:52
5. Materna Requiem : 5. Agnus Dei 02:22
6. Materna Requiem : 6. Paradisum Interlude 02:37
7. Materna Requiem : 7. Ave Maria 04:33
8. Materna Requiem : 8. Dies Irae & Requiem Variations 08:17
9. Materna Requiem : 9. Libera Me 03:47
10. Materna Requiem : 10. In Paradisum: If I Should Go 02:41
11. When Music Sounds : 1. Prelude: To The Wild 02:01
12. When Music Sounds : 2. Song’s Flight 03:25
13. When Music Sounds : 3. Out Of The Water 03:12
14. When Music Sounds : 4. Strange Dreams 06:20
15. When Music Sounds : 5. I’ll Sing 05:01
16. When Music Sounds : 6. The Earth I Know 07:36

Personnel:
Louise Alder, soprano
Trystan Griffiths, tenor
Royal Liverpool Philharmonic Orchestra
Clark Rundell, conductor

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Fazil Say – Debussy: Préludes, Book 1 – Satie: 3 Gymnopédies & 6 Gnossiennes (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:39 minutes | 999 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Warner Classics

Perhaps because their piano music was so different, Satie and Debussy were close friends from the time of the Gymnopédies onwards and whereas Satie’s titles here look back to ancient Greek civilisation, Debussy derived the individual preludes in his first collection from more contemporary literature, art or nature. But, like Satie, he wanted to make them look different in publication and placed their titles at the end, although he must have realised that once played, their titles would never be forgotten.

Tracklist:
1. Préludes, Book 1, L. 117, L. 125: I. Danseuses de Delphes 02:40
2. Préludes, Book 1, L. 117, L. 125: II. Voiles 04:06
3. Préludes, Book 1, L. 117, L. 125: III. Le vent dans la plaine 02:21
4. Préudes, Book 1, L. 117, L. 125: IV. Les sons et les parfums tournent dans l’air du soir 03:20
5. Préludes, Book 1, L. 117, L. 125: V. Les collines d’Anacapri 02:35
6. Préludes, Book 1, L. 117, L. 125: VI. Des pas sur la neige 03:51
7. Préludes, Book 1, L. 117, L. 125: VII. Ce qu’a vu le vent d’ouest 03:52
8. Préludes, Book 1, L. 117, L. 125: VIII. La fille aux cheveux de lin 02:50
9. Préludes, Book 1, L. 117, L. 125: IX. La sérénade interrompue 02:22
10. Préludes, Book 1, L. 117, L. 125: X. La cathédrale engloutie 06:39
11. Préludes, Book 1, L. 117, L. 125: XI. La danse de Puck 02:43
12. réludes, Book 1, L. 117, L. 125: XII. Minstrels 02:57
13. 6 Gnossiennes: I. Lent 03:38
14. 6 Gnossiennes: II. Avec étonnement 01:35
15. 6 Gnossiennes: III. Lent 02:26
16. 6 Gnossiennes: IV. No. 4 02:28
17. 6 Gnossiennes: V. No. 5 03:04
18. 6 Gnossiennes: VI. No. 6 02:22
19. 3 Gymnopédies: I. Lent et douloureux 03:55
20. 3 Gymnopédies: II. Lent et triste 03:07
21. 3 Gymnopédies: III. Lent et grave 02:48

Personnel:
Fazil Say, piano

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Dall Abaco was born in 1710 in Brussels, he followed in the footsteps of his father and studied music, showing such talent that at the age of 19 he was appointed cellist in the court orchestra of Prince Clemens August of Bavaria in Bonn, 10 years later becoming its Kapellmeister.

However certain forms of misbehaving ( a rowdy gossipmonger, swindler and gambler he was called..) he decided to try his luck elsewhere and he moved to Verona, where he became a respected musician and composer,a member of the Accademia Filarmonica.

Dall Abaco was one of the greatest cellists of his time. Few of his compositions survived, and his 11 Capriccios for cello solo are still in manuscript. Some passages are of unparalleled virtuosity, while the style is mostly the Empfindsame Stil, melancholy and expressive.

Francesco Galligioni is one of the foremost cellists in the field of Early Music. He regularly collaborates with the Venice Baroque Orchestra, Giuliano Carmignola, Andrea Marcon, John Eliot Gardiner, Federico Guglielmo and Diego Fasolis.

Tracklist:
01. Capriccio I, introduzione-tempo giusto
02. Capriccio II, allemanda
03. Minuetto
04. Capriccio III, allegro di molto
05. Capriccio IV, aria andante
06. Capriccio allegro
07. Minuetto (2)
08. Capriccio V, bizzarria
09. Capriccio VI, courante
10. Fantasia
11. Capriccio VII, andante
12. Capriccio VIII, Minuetto
13. Fantasia vivace
14. Capriccio IX, toccata
15. Capriccio X, aria
16. Largo-Double
17. Capriccio XI, aria da capriccio-presto

Personnel:
Francesco Galligioni, cello

Download:

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Nonesuch Records is pleased to announce that it will release Gabriel Kahane’s 8980: Book of Travelers later this year. The album’s genesis began on the day after the 2016 presidential election, when Kahane embarked—with no cell phone or other internet-connected device—on a looping, 8,980-mile railway journey through the United States. Over the course of two weeks, he broke bread with dozens of strangers whose stories were woven into a song cycle that he subsequently premiered at Brooklyn Academy of Music (BAM) earlier this year. Written and performed by Kahane (vocals and keyboards), and conceived in collaboration with director Daniel Fish and designer Jim Findlay (set and video design) with lighting by Mark Barton, 8980: Book of Travelers is a personal yet expansive meditation on the idiosyncrasies and anachronisms of train travel, which simultaneously grapples with the wrenching reality of a divided country.

Singer-songwriter and composer Gabriel Kahane has recorded critically-acclaimed albums including The Ambassador (called “one of the year’s best” by Rolling Stone); The Fiction Issue, an album of his chamber music with string quartet Brooklyn Rider; and Where Are the Arms. The staged version of The Ambassador, directed by Tony-winner John Tiffany, was presented by BAM (2014 Next Wave), CAP UCLA, and Carolina Performing Arts. As a composer of concert works, Kahane has been commissioned by Carnegie Hall, Los Angeles Philharmonic, Oregon Symphony, American Composers Orchestra, and Orpheus Chamber Orchestra, with whom he toured his WPA-inspired Gabriel’s Guide to the 48 States in 2013. He has appeared as soloist with the Los Angeles Chamber Orchestra, Colorado Symphony, the St. Paul Chamber Orchestra, and A Far Cry. An avid theater artist, Kahane’s musical February House, with playwright Seth Bockley, premiered at the Public Theater in 2012 and was recorded by the StorySound label. A two-time MacDowell Colony fellow, Kahane has performed and/or recorded with artists ranging from Sufjan Stevens, Andrew Bird, Blake Mills, Chris Thile, and Brad Mehldau, to Jeremy Denk, yMusic, and John Adams. He is a graduate of Brown University and resides in Brooklyn.

The election of Donald Trump had a powerful impact on many artists. They had to act! Regardless of the scale or stature of the project, they had to respond to the new situation. For composer Gabriel Kahane, this reaction was immediate. The day after the election, he packed his bags and set off on a journey with a simple, humanist aim: meeting people. It was a hunt for inspiration over 8980 miles end-to-end, and it gave birth to the album Book of Travelers. It’s a thirteen-day journey, told through the people Kahane met, and their stories. This “diary” album of eleven songs offers a worm’s eye view of America. Rolling out profiles and stories, we go beyond songs, venturing into a sort of theatrical album, where the only character on stage is a huckster. Classical piano compositions, Gabriel’s smooth, angelic voice offers a personal meditation, an opening onto the world and onto others. For his first album on Nonesuch, the Californian, who is sometimes compared to Rufus Wainwright or Sufjan Stevens, goes long on sincerity, calm tragedies and unadorned moments of happiness. He takes in a few personal stories as well, like his grandmother’s flight from Germany to the USA, on October 1, 1939. On this piano, buttressed against the weight of these stories, the intimacy of these lives are given proper respect by Kahane and his careful playing. – Anna Coluthe

Tracklist:
01. November
02. Baltimore
03. Model Trains
04. Baedeker
05. Friends Of Friends Of Bill
06. 8980
07. Little Love
08. What If I Told You
09. October 1, 1939
10. Port Of Hamburg
11. Singing With A Stranger

Personnel:
Gabriel Kahane, piano, vocals

Recorded at Zeitgeist Studios, Los Angeles, CA, in 2017
Produced by Tony Berg and Gabriel Kahane
Engineered and Mixed by Joseph Lorge

Download:

https://subyshare.com/eot6a3tidkit/GabrielKahaneB00k0fTravelers20182496.rar.html

Shelly Berg, José Serebrier & The Royal Philharmonic Orchestra – Gershwin Reimagined: An American In London (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:17:04 minutes | 1,27 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © UMC – Decca Gold

Gershwin Reimagined: An American in London features pianist Shelly Berg and the Royal Philharmonic Orchestra, conducted by José Serebrier, with special guest artists.

Produced by-Grammy Award-winning producer Gregg Field and recorded at the famed Air Lyndhurst Studios in London, the album is a sonically hi-def contemporary treatment of classic Gershwin pieces “Rhapsody in Blue,” “Fascinating Rhythm” “I Got Rhythm,” “Three Preludes,” “I Loves You Porgy/I’ve Got My Man Now,” and “American in Paris/Home Blues.”

It features virtuosic playing by the Shelly Berg Trio and Grammy-winning musicians Arturo Sandoval and Mark O’Connor, as well as vocal performances by Ledisi and Monica Mancini.

Tracklist:
1. Rhapsody In Blue 23:31
2. An American In Paris / Home Blues 21:24
3. I Loves You Porgy / My Man’s Gone Now 07:21
4. Fascinating Rhythm 04:46
5. Three Preludes 07:25
6. I Got Rhythm 12:40

Personnel:
Shelly Berg, piano
The Royal Philharmonic Orchestra
José Serebrier, conductor

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Gilbert O’Sullivan never departed from the whimsical template he minted with his 1971 debut, Himself: he merely spent the following decades finding variations on his playful post-McCartney pop. After his hits dried up — in the U.S., that happened after 1973, but he was a mainstay on the U.K. charts until 1975, popping up for a final time in 1980 with “Down, Down, Down” — his albums were largely modest affairs, which is why 2018’s Gilbert O’Sullivan is so striking. Working with a name producer for the first time in eons — it’s Ethan Johns, who has previously worked with Robyn Hitchcock, Ryan Adams, Kings of Leon, Tom Jones, and Paul McCartney himself — Gilbert doesn’t try anything new on this self-titled album, but his execution is the best it’s been since his popular peak. It’s not simply that Johns’ production is tasteful and warm, it’s that the producer steers O’Sullivan toward sanding away many of his cutesy tendencies, the kind of thing that kept Himself and Back to Front a shade mischievous. Without that impishness, Gilbert O’Sullivan sounds age-appropriate — as tuneful as ever, still sporting that cheerful wink, but comfortable in his skin. For anybody who’s harbored affection for O’Sullivan, this ease makes the album hard to resist.

Tracklist:
1. At the End of the Day 03:11
2. The Same the Whole World Over 03:15
3. Love How You Leave Me 02:51
4. What Is It About My Girl 03:40
5. I’ll Never Love Again 03:35
6. Where Did You Go To? 03:34
7. Dansette Dreams and 45’s 05:51
8. No Head for Figures but Yours 02:45
9. Penny Drops 02:43
10. This Riff 02:48
11. The Mind Boggles 03:39
12. For the Record 02:39

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Andrea Lucchesini – Dialogues: Scarlatti & Berio / Schubert & Widmann (2018) [Official Digital Download 24bit/96kHz]

Emanuel Ax – Chopin: Piano Concerto No. 2, Op. 21 & 3 Novuelles Etudes & Scherzo No. 2, Op. 31 (1978/2018) [Official Digital Download 24bit/96kHz]

Cachao – The Real Cuban Music (Remasterizado) (2018) [Official Digital Download 24bit/44,1kHz]

Cafe Zimmermann – Geminiani: Concerti Grossi Op. 7 (2018) [Official Digital Download 24bit/96kHz]

Camerata Bachiensis – Telemann & Molter: Flute and Oboe Quartets (2018) [Official Digital Download 24bit/44,1kHz]

Carlos Kleiber – Weber: Der Freischutz, J. 277 (1973/2018) [Official Digital Download 24bit/96kHz]

Carrie Underwood – Cry Pretty (2018) [Official Digital Download 24bit/44,1kHz]

Carrie Underwood – Storyteller (2015) [Official Digital Download 24bit/44,1kHz]

Chor des Bayerischen Rundfunks – Gounod: Le Tribut de Zamora (2018) [Official Digital Download 24bit/48kHz]

Christoph Sietzen – Incantations (2018) [Official Digital Download 24bit/44,1kHz]

Christophe Rousset – Louis Couperin: Nouvelles Suites de clavecin (2018) [Official Digital Download 24bit/96kHz]

Claire Desert – Schumann (2018) [Official Digital Download 24bit/96kHz

Cyprien Katsaris & Helene Mercier – Brahms: 21 Hungarian Dances & 16 Waltzes for Piano Four (2018) [Official Digital Download 24bit/44,1kHz]

Emanuel Ax – Beethoven: Piano Sonatas Nos. 23 & 26 (1981/2018) [Official Digital Download 24bit/96kHz]

Royal Liverpool Philharmonic Orchestra – Dale: Requiem For My Mother (2018) [Official Digital Download 24bit/96kHz]

Fazil Say – Debussy: Preludes, Book 1 – Satie: 3 Gymnopedies & 6 Gnossiennes (2018) [Official Digital Download 24bit/96kHz]

Francesco Galligioni – Dall’Abaco: Capricci a Violoncello Solo (2018) [Official Digital Download 24bit/88,2kHz]

Gabriel Kahane – Book Of Travelers (2018) [Official Digital Download 24bit/96kHz]

Shelly Berg, Jose Serebrier & The Royal Philharmonic Orchestra – Gershwin Reimagined: An American In London (2018) [Official Digital Download 24bit/96kHz]

Gilbert O’Sullivan – Gilbert O’Sullivan (2018) [Official Digital Download 24bit/96kHz]