Studio Masters – HDMusic.me

In 2016, Jon Anderson, Trevor Rabin and Rick Wakeman brought together their incredible talents and long experience of working in Yes to take to the road for a series of concerts celebrating Yes’ musical legacy of the seventies, eighties and nineties. Yes featuring Jon Anderson, Trevor Rabin and Rick Wakeman toured first in North America and then brought their live show to the UK in early 2017, including this performance captured at the Manchester Apollo. The band are in superb form in front of a sell-out crowd who are clearly loving every minute of the show which includes classic tracks such as Roundabout, Owner Of A Lonely Heart, And You And I, Hold On, Heart Of The Sunrise, Rhythm Of Love, I’ve Seen All Good People and many more.

Tracklist
1. Intro / Cinema / Perpetual Change
2. Hold On
3. I’ve Seen All Good People : (i) Your Move (ii) All Good People
4. Lift Me Up
5. And You & I (i) Cord Of Life (ii) Eclipse (iii) The Preacher, The Teacher (iv) Apocalypse
6. Rhythm Of Love
7. Heart Of The Sunrise
8. Changes
9. Long Distance Runaround / The Fish (Schindleria Praematurus)
10. Awaken
11. Make It Easy / Owner Of A Lonely Heart
12. Roundabout

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https://subyshare.com/rvxf9jf0qzog/YesLiveAtTheAp0ll020182448.part2.rar.html

Although he was particularly renowned for his music for harpsichord and for guitar, British composer Stephen Dodgsons was a versatile craftsman of chamber music. The examples here reveal his intricate but surprising turns of phrase, from the subtle exploration of sonorities in the Septet Variations to the sunlit beauty of the Pastoral Sonata. Dodgson’s mastery of color and texture is evident in his Solway Suite, while the early Capriccio and Finale treats the listener to a kaleidoscope of whimsical and witty interludes. Exciting, innovative and passionate, Karolos comprises some of the UK’s most eminent soloists and chamber musicians. Tailoring their programmes to suit each individual audience, Karolos is proud to offer concerts which range from core classics of the 18th, 19th, and 20th centuries, to premieres and performances of works by prominent and emerging composers. The group’s discography reflects their commitment to rediscovering neglected masterpieces.

Tracklist:
01. Septet Variations: Tema
02. Septet Variations: Var. 1
03. Septet Variations: Var. 2
04. Septet Variations: Var. 3
05. Septet Variations: Var. 4
06. Septet Variations: Var. 5
07. Septet Variations: Var. 6
08. Septet Variations: Var. 7
09. Septet Variations: Var. 8
10. Septet Variations: Var. 9
11. Septet Variations: Var. 10
12. Septet Variations: Coda
13. Pastoral Sonata: I. Overture
14. Pastoral Sonata: II. Elegy
15. Pastoral Sonata: III. Carnival
16. Solway Suite: I. Invocation
17. Solway Suite: II. Scherzo
18. Solway Suite: III. Pastorale
19. Solway Suite: IV. Ground
20. Solway Suite: V. Badinage
21. Echoes of Autumn
22. Sonata for Three: I. Allegro deciso
23. Sonata for Three: II. Lento
24. Sonata for Three: III. Agitato
25. Capriccio & Finale: Capriccio. Lento espressivo
26. Capriccio & Finale: Vivace

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The Second Symphony by Leonard Bernstein, The Age of Anxiety, based on a poem of the same name by W. H. Auden, is a work of the composer-conductor’s relative youth, dating from 1948-1949, when he was just turning thirty. The symphony is presented as a series of variations, but not variations around an initial theme. No: each variation takes on elements of the previous variation, varies in turn, and so on. It brings to mind an unbroken metamorphosis. As one might imagine, Bernstein mixes classical symphonic elements with jazz, in particular in the solo piano passage – tackled here by Krystian Zimerman, who had the good fortune to perform with Bernstein several times. In its own way, it is a kind of homage to the centenary of the composer’s birth: as Zimerman mentions in the liner notes, Bernstein asked him if he wanted to play this symphony with him for his hundredth birthday. And he almost keeps the promise, although the orchestra is the Berlin Philharmonic, under Sir Simon Rattle.

“Zimerman’s pianism was extraordinary, a staggering combination of dexterity with nuance, each phrase telling a story. Rattle breathed with him, the two sharing razor-sharp wit and a mood of playful delirium with the orchestra,” Financial Times, 20 June 2018.

Tracklist:
1. Leonard Bernstein on “The Age of Anxiety“ – Interview by Humphrey Burton 01:47
2. Symphony No. 2 “The Age of Anxiety” / Part 1 / 1. The Prologue : Lento moderato 02:25
3. Symphony No. 2 “The Age of Anxiety” / Part 1 / 2. The Seven Ages : Variation 1. L’istesso tempo 01:00
4. Symphony No. 2 “The Age of Anxiety” / Part 1 / 2. The Seven Ages : Variation 2. Poco più mosso 01:29
5. Symphony No. 2 “The Age of Anxiety” / Part 1 / 2. The Seven Ages : Variation 3. Largamente, ma mosso 01:26
6. Symphony No. 2 “The Age of Anxiety” / Part 1 / 2. The Seven Ages : Variation 4. Più mosso 00:51
7. Symphony No. 2 “The Age of Anxiety” / Part 1 / 2. The Seven Ages : Variation 5. Agitato 00:50
8. Symphony No. 2 “The Age of Anxiety” / Part 1 / 2. The Seven Ages : Variation 6. Poco meno mosso 01:29
9. Symphony No. 2 “The Age of Anxiety” / Part 1 / 2. The Seven Ages : Variation 7. L’istesso tempo 01:59
10. Symphony No. 2 “The Age of Anxiety” / Part 1 / 3. The Seven Stages : Variation 8. Molto moderato, ma movendo 01:49
11. Symphony No. 2 “The Age of Anxiety” / Part 1 / 3. The Seven Stages : Variation 9. Più mosso. Tempo di Valse 01:20
12. Symphony No. 2 “The Age of Anxiety” / Part 1 / 3. The Seven Stages : Variation 10. Più mosso 00:30
13. Symphony No. 2 “The Age of Anxiety” / Part 1 / 3. The Seven Stages : Variation 11. L’istesso tempo 00:54
14. Symphony No. 2 “The Age of Anxiety” / Part 1 / 3. The Seven Stages : Variation 12. Poco più vivace 00:13
15. Symphony No. 2 “The Age of Anxiety” / Part 1 / 3. The Seven Stages : Variation 13: L’istesso tempo 00:41
16. Symphony No. 2 “The Age of Anxiety” / Part 1 / 3. The Seven Stages : Variation 14: Poco più vivace 00:34
17. Symphony No. 2 “The Age of Anxiety” / Part 2 / 1. The Dirge : Largo 07:34
18. Symphony No. 2 “The Age of Anxiety” / Part 2 / 2. The Masque : Extremely fast 04:29
19. Symphony No. 2 “The Age of Anxiety” / Part 2 / 3. The Epilogue : L’istesso tempo – Adagio / Andante – quasi cadenza – Lento molto 08:19

Personnel:
Krystian Zimerman, piano
Die Berliner Philharmoniker
Sir Simon Rattle, conductor

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The music on “Lampedusa Lullaby” packs an incredible power. It disturbs, connects, it has a way of getting through to the feet, the head and the soul – and all the same time. KUU! is a band of superlatives. It is an outstanding representation of new European jazz at its most innovative, but also shows on “Lampedusa Lullaby” with razor-sharp precision a way that rock music can function in 2018.

KUU!’s songs are so well honed, they have a way of emotionally hitting the spot, and also staying lodged in the mind. The reason why this band has been making such waves in Germany is the special chemistry between the artists, combined with a sixth sense and an urgency about the way they communicate. The band members – Kalle Kalima, Frank Möbus (both on guitars) with drummer Christian Lillinger – are never short of creative ideas, and they form a strong yet supple understructure for the phenomenally expressive singer Jelena Kuljić.

Kuljić was born in 1976 in Serbia, and left her home country after the civil war. She had started out as a young impetuous punk, then studied jazz singing in Berlin, where she became an established presence and built a reputation on the scene. She has a parallel career as an actress, and is now a member of the ensemble at the Münchner Kammerspiele. As a vocalist, she has unbelievable energy. To call her a force of nature is certainly no overstatement. She can focus with the directness of a beam of light, and she knows how to hover in the space close to the core of what really matters. As a performer she has authenticity, and makes the messages she conveys not just comprehensible and believable but also unavoidable.

The lyrics are thematically diverse, tending to be based on powerful commentaries on the times we live in. The surreal, the utopian and on occasion the comic characterize her poetry, but Jelena Kuljić does not just colour or sketch things in. She communicates the inescapable truths of a song like “We Watch Them Fall” with an unbelievable alertness and expressiveness. Sometimes she does this with a punk attitude, sometimes in psychedelic indulgence, sometimes she’s pseudo-naive. She knows how to provoke and spread mischief. She can feign and evade, but when she declaims words like “It’s a simple gravity. We watch them fall. They are food of the next revolution,” she makes her point with telling precision.

In the title track “Lampedusa Lullaby” KUU! present a dark dystopian vision of human cargo on the move: “Endless journey through the night, over black-eyed sea.” Kuljić can dwell on the feeling of being in unfamiliar places, of uncertain dawn, of strangers and of past events – her songs can become slide shows from other people’s lives. Lampedusa is no longer just a Mediterranean island between Tunisia and Sicily. As a real place with its traffickers and migrants, where cross-border death, unscrupulousness and illegality are all too commonplace, it has become a metaphor for a large-scale criminal business where the fates of individuals count for far too little, and where there is evidence everywhere of the failure of traditional politics to meet new challenges. These are the things that Jelena Kuljić has such a strong imperative and a need to sing about.

KUU! is a band of superlatives. It is an outstanding representation of new European jazz at its most innovative, but also shows on “Lampedusa Lullaby” with razor-sharp precision a way that rock music can function in 2018. That way is neither about grandstanding nor competing, it is about collective expression. Without faffing or fiddling, they find a place to go – and they go there together. In the centre, the drums turn up the pressure, while to the left and right the two guitars merge into a gigantic and sensitive meta-instrument. And what emerges quite naturally is good, forceful and evocative music beyond category. It is unnecessary to mention either Zappa or Nina Hagen as reference points, just listen with the volume turned up, and forget all preconceptions. It speaks to us because it has something to say.

The music on “Lampedusa Lullaby” packs an incredible power. It disturbs, connects, it has a way of getting through to the feet, the head and the soul – and all the same time. Sometimes three conspiratorial individualists with their instruments might lay out a comfortable rug for their singer – and sometimes it might be a bed of nails. Heard live, and with Jelena Kuljić’s theatrical art coming into play, this music grows ingeniously, inventively – and irresistibly.

Tracklist:
1. Impossible 03:54
2. Lampedusa Lullaby 05:43
3. Scream 04:32
4. On the Mountain 04:06
5. Crossing Border in a Milktruck 07:51
6. About Death 03:08
7. My Eyes Are Blind 06:48
8. Thank You Iceland 04:13
9. We Watch Them Fall 05:46

Personnel:
Jelena Kuljić, vocals
Kalle Kalima, guitar
Frank Möbus, guitar
Christian Lillinger, drums

Recorded by Zodiaque in Berlin, 2016-2017
Mixed and mastered by Klaus Scheuermann
Produced by the artists

Download:

https://subyshare.com/6uaymunspn0s/KUULampedusaLullaby20182444.1.rar.html

Georg Philipp Telemann (1681–1767) is one of the most outstanding German Baroque composers and was an influential musical force in the first half of the 18th century. After initial success as a musician in Leipzig, in 1712 he was appointed the city director of music and Kapellmeister in Frankfurt am Main. He gained widespread international fame by 1737/38 at the latest by performing several concerts in Paris. Of his over 1,400 extant sacred cantatas, the maestro composed at least 54 for bass solo. The L’arpafestantechamber orchestra, which has already earned international critical acclaim for its Splendid Harmonyalbum featuring works by Schützpupils, has now made a recording with bass-baritone and Telemann expert Klaus Mertensof further undiscovered sacred cantatas for bass solo with period instruments. Discovered in archives, some of these cantatas were reconstructed for the recording. The opening chorus and the cantata “All’s Glückund Ungelücke” for the Twelfth Sunday after Trinity, the communion cantata “Fliehethin, ihrbösenTage” and “Sollichnichtvon Jammer sagen,” as well as the cantata “VaterunserimHimmelreich,” an exegesis of the first stanza of Martin Luther’s hymn of the same name, are world premiere recordings. The cantata “Herr! erhöremeineStimme” was also recorded for the first time for this release and stands out for the remarkable dramatic suspense which builds up and is only resolved in the third movement. The CD is rounded out with further Telemann works: two quartets for 2 violins, viola and basso continuo, the Sonata in F major and the Concerto in E minor.

Tracklist:
1. Fliehet hin, ihr bösen Tage, TWV 4:19 : I. Fliehet hin, ihr bösen Tage (Aria) 03:39
2. Fliehet hin, ihr bösen Tage, TWV 4:19 : II. Ich bin ein Wandersmann (Recitativo) 02:13
3. Fliehet hin, ihr bösen Tage, TWV 4:19 : III. Der Gott, der mir hat versprochen (Choral) 01:51
4. Fliehet hin, ihr bösen Tage, TWV 4:19 : IV. Jedoch, was will ich klagen (Recitativo) 03:15
5. Fliehet hin, ihr bösen Tage, TWV 4:19 : V. Weicht ihr Trauergeister (Aria) 02:03
6. All’s Glück und Ungelücke, TWV 1:73 : I. All’s Glück und Ungelücke (Chroal) 00:54
7. All’s Glück und Ungelücke, TWV 1:73 : II. Des Menschen Sein und Leben (Recitativo) 00:52
8. All’s Glück und Ungelücke, TWV 1:73 : III. Kreuz und Leiden sind Gefährten (Aria) 05:08
9. All’s Glück und Ungelücke, TWV 1:73 : IV. Indes, ist Jesus allezeit (Recitativo) 00:44
10. All’s Glück und Ungelücke, TWV 1:73 : V. Weg, was das Herz betrübet (Aria) 03:49
11. All’s Glück und Ungelücke, TWV 1:73 : VI. Weicht, ihr Trauergeister (Choral) 00:55
12. Sonata à 4 in F Major, TWV 43:F3 : I. Vivace 02:05
13. Sonata à 4 in F Major, TWV 43:F3 : II. Andante 02:12
14. Sonata à 4 in F Major, TWV 43:F3 : III. Allegro 02:33
15. Vater unser im Himmelreich, TWV 1:1461 : I. Vater unser im Himmelreich (Choral) 00:52
16. Vater unser im Himmelreich, TWV 1:1461 : II. O seligster Gewinn (Recitativo) 00:34
17. Vater unser im Himmelreich, TWV 1:1461 : III. Es vergehen alle Schmerzen (Aria) 03:44
18. Vater unser im Himmelreich, TWV 1:1461 : IV. Allein, soll das Gebet rechtschaffen sein (Recitativo) 00:35
19. Vater unser im Himmelreich, TWV 1:1461 : V. Da Jesus durch sein Blut (Aria) 01:42
20. Vater unser im Himmelreich, TWV 1:1461 : VI. O Jesu voller Gnad’ (Choral) 00:42
21. Concerto à 4 in E Minor, TWV 43:e5 : I. Vivace 03:13
22. Concerto à 4 in E Minor, TWV 43:e5 : II. Cantabile 01:37
23. Concerto à 4 in E Minor, TWV 43:e5 : III. Presto 02:05
24. Soll ich nicht von Jammer sagen, TWV 1:1371 : I. Soll ich nicht von Jammer sagen (Aria) 04:14
25. Soll ich nicht von Jammer sagen, TWV 1:1371 : II. Ach Gott! Ich will es nur bereuen (Recitativo) 01:17
26. Soll ich nicht von Jammer sagen, TWV 1:1371 : III. Vergib mir alle meine Sünde (Aria) 02:30
27. Soll ich nicht von Jammer sagen, TWV 1:1371 : IV. Hier hast du Herz und Hand (Recitativo) 01:37
28. Soll ich nicht von Jammer sagen, TWV 1:1371 : V. Heil’ger Geist erleuchte mich (Aria) 03:27
29. Herr erhöre meine Stimme, TWV 1:738 : I. Herr erhöre meine Stimme (Aria) 04:21
30. Herr erhöre meine Stimme, TWV 1:738 : II. Vater unser, der du bist im Himmel (Arioso) 06:40
31. Herr erhöre meine Stimme, TWV 1:738 : III. Ja, ja, das wirst du tun (Aria) 03:23

Personnel:
L’Arpa Festante
Klaus Mertens (bass baritone)

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Bandleader Harald Lassen is conquering the world with his band Lassen, which includes Belgian hot shot pianist Bram de Looze (LABtrio) and a Norwegian rhythm section reminiscent of the seventies jazz heyday – Tore Flatjord (drums) and Stian Andersen (bass).

The outfit plays colourful, passionate and catchy jazz, inspired by the 1970s and their life so far. Common for all four musicians is the love of good melodies, the importance of jazz history paid with an unmatched need to explore.

A band that despite short existence already played for a packed Ronnie Scott’s in London and was booked to Norway’s biggest festivals in 2017, represented Norway at Jazzahead 2018 and now release their debut album on Jazzland Recordings.

Harald Lassen’s saxophone can croon smoothly or bark and squeal, turn on a thread between nostalgic longing and driving futurism. The backline of Bram De Looze (keys), plus Andersen and Flatjord (drums, percussion) do not seem like a backline at all, instead forming a unified musical organism with Lassen. They push the music forward; they change the moods and textures, taking each track to new soundscapes (particularly on the track “Ekstase”).

Tracklist:
1. Alt flyter 04:49
2. Ekstase 10:41
3. Kulturrus 02:54
4. You Should Have Been There 06:41
5. Lila Eule 06:06
6. Min by 03:56
7. Det er dette som er meninga 04:46

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Laura Pontecorvo & Rinaldo Alessandrini – Bach: Sonate a cembalo obligato e traversiere solo (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 58:23 minutes | 1,1 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Arcana

Sadly, the majority of Bach’s works for transverse flute and clavier (be that obbligato or continuo) have survived only in truncated form, in manuscripts stuffed full of mistakes – surely the result of a hasty copy job from an older work, now lost – to say nothing of doubtful attributions, meaning that flautists have little choice but to take what they’re given and do the best with it they can. And that is exactly what Laura Pontecorvo is doing, ably accompanied by Rinaldo Alessandrini on the harpsichord: the truncated works have been finished, the errors corrected, the transpositions restored to their original form, with the result that we find ourselves confronted by works which are almost “new”, but still very much by Bach! What links all these works is that the harpsichord part is more than a simple basso continuo – which would require that the harpsichord player improvise an accompaniment, or at least write one for themselves – but a concerting part, written by Bach himself. Incidentally, this gives us an excellent idea of how one should write one’s own basso continuo: imitations galore, a great harmonic transparency, unflagging elegance. The missing parts of the Sonata BWV 1032 – the original manuscript is sadly incomplete – have been deftly filled in by Alessandrini, who manages to perfectly respect the Cantor’s discourse.

Tracklist:
01. Sonata for Flute and Harpsichord in B Minor, BWV 1030: I. Andante
02. Sonata for Flute and Harpsichord in B Minor, BWV 1030: II. Largo e dolce
03. Sonata for Flute and Harpsichord in B Minor, BWV 1030: III. Presto
04. Violin Sonata in G Major, BWV 1019: I. Allegro (Transcripted for Flute and Harpischord)
05. Violin Sonata in G Major, BWV 1019: II. Largo (Transcripted for Flute and Harpischord)
06. Violin Sonata in G Major, BWV 1019: III. Allegro (Transcripted for Flute and Harpischord)
07. Violin Sonata in G Major, BWV 1019: IV. Adagio (Transcripted for Flute and Harpischord)
08. Violin Sonata in G Major, BWV 1019: V. Allegro (Transcripted for Flute and Harpischord)
09. Organ Sonata in C Minor, BWV 526: I. Vivace (Transcripted for Flute and Harpsichord in E Minor)
10. Organ Sonata in C Minor, BWV 526: II. Largo (Transcripted for Flute and Harpsichord in E Minor)
11. Organ Sonata in C Minor, BWV 526: III. Allegro (Transcripted for Flute and Harpsichord in E Minor)
12. Sonata for Flute and Harpsichord in A Major, BWV 1032: I. Vivace (Reconstruction by Rinaldo Alessandrini)
13. Sonata for Flute and Harpsichord in A Major, BWV 1032: II. Largo e dolce
14. Sonata for Flute and Harpsichord in A Major, BWV 1032: III. Allegro

Personnel:
Laura Pontecorvo, flute
Rinaldo Alessandrini, harpsichord

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Le Concert de la Loge & Julien Chauvin – Haydn : Symphony No. 82 “L’Ours” (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:34 minutes | 1,08 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © France/Little Tribeca

The too well-known Concert de la Loge, the period-instruments orchestra led by the violinist Julien Chauvin, comes back with the third episode of Haydn’s journey in Paris. His complete Parisian Symphonies recording continues this fall with the number 82 nicknamed “The Bear”. It is coupled with the Symphonie concertante for bassoon, horn, flute and oboe of one of his contemporaries, François Devienne. This colorful third volume draws a witty and virtuoso panorama of French 18th century music.

Après « La Reine » et « La Poule », le Concert de la Loge, l’orchestre sur instruments d’époque emmené par le violoniste Julien Chauvin, poursuit l’intégrale des Symphonies parisiennes de Haydn avec la n°82 surnommée « L’Ours ». Elle est ici couplée à deux œuvres rares composées par des contemporains français d’Haydn, musiciens au Concert de la Loge Olympique fondé en 1793 – commanditaire des Symphonies parisiennes et illustre modèle de la formation de Julien Chauvin. On découvre ainsi la Symphonie concertante pour basson, cor naturel, flûte et hautbois de François Devienne et la Symphonie concertante mêlée d’airs patriotiques pour deux violons de Jean-Baptiste Davaux. Ce troisième volume offre une plongée au cœur d’un programme de concert typique du XVIIIe siècle musical français, époque à la virtuosité pleine de malice.

Tracklist:
1. Symphony No. 82 in C Major, Hob.I:82 ‘The Bear’ : I. Vivace 07:52
2. Symphony No. 82 in C Major, Hob.I:82 ‘The Bear’ : II. Allegretto 06:36
3. Symphony No. 82 in C Major, Hob.I:82 ‘The Bear’ : III. Menuet. Trio 03:29
4. Symphony No. 82 in C Major, Hob.I:82 ‘The Bear’ : IV. Finale. Vivace assai 05:07
5. Symphonie concertante mêlée d’airs patriotiques pour deux violons principaux : I. Allegro moderato 09:54
6. Symphonie concertante mêlée d’airs patriotiques pour deux violons principaux : II. Adagio un poco andante 04:20
7. Symphonie concertante mêlée d’airs patriotiques pour deux violons principaux : III. Allegro moderato 06:13
8. Symphonie concertante No. 4 en fa majeur pour flûte, hautbois, basson et cor : I. Allegro 13:05
9. Symphonie concertante No. 4 en fa majeur pour flûte, hautbois, basson et cor : II. Air varié 07:58

Personnel:
Le Concert de la Loge
Julien Chauvin, violin, direction

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Still in the framework of Led Zeppelin’s fiftieth anniversary, Jimmy Page wanted to add a new iteration to the double live that wasn’t unanimously received upon its release. Granted he had already dusted it off in 2007, adding no less than six new tracks, including Black Dog, Heartbreaker and an epic version of Since I’ve Been Loving You that might actually top the original. For a total of 34 minutes and 40 seconds of additional happiness. But, despite these presents, the criticism is once again the same: even in Hi-Res Audio (at last!), The Song Remains the Same remains very frustrating compared to the studio-album versions. Released a little later in 1976, because the film had been delayed, it seemed offbeat compared to the band’s two latest productions, Physical Graffiti and Presence. This also meant giving a miss to a few marvels, like the immortal Kashmir and a few other gems. An injustice that hasn’t been repaired to this day, except for Led Zeppelin DVD and Celebration Day, as the first didn’t feature a purely audio version, and the second was only recorded in 2007, without the late John Bonham.

Four decades later, it could all seem very much incidental. One just needs to listen to it in a row after the first five studio albums, going through How the West Was Won then The Complete BBC Sessions and finally Celebration Day, to realise it holds up just fine! And while the critics were harsh at the time, it is now obvious that the recording audio quality is exceptional. Those who enjoy long instrumental digressions, which do credit to the talent for improvisation of Jimmy Page, Robert Plant, John Paul Jones and John Bonham, will be on cloud nine, with a brand new sound. Pending The Song Remains The Same II The Return for 1974-1980? – Jean-Pierre Sabouret

Tracklist:
01. Rock And Roll (Remastered) 03:56
02. Celebration Day (Remastered) 03:37
03. Black Dog (Remastered) 03:46
04. Over The Hills And Far Away (Remastered) 06:11
05. Misty Mountain Hop (Remastered) 04:43
06. Since I’ve Been Loving You (Remastered) 08:23
07. No Quarter (Remastered) 10:38
08. The Song Remains The Same (Remastered) 05:39
09. The Rain Song (Remastered) 08:20
10. The Ocean (Remastered) 05:16
11. Dazed And Confused (Remastered) 29:18
12. Stairway To Heaven (Remastered) 10:53
13. Moby Dick (Remastered) 11:02
14. Heartbreaker (Remastered) 06:19
15. Whole Lotta Love (Remastered) 13:52

Digitally remastered

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Led Zeppelin – Coda (1982) {Deluxe Edition 2015}
FLAC (tracks) 24-bit/96 kHz | Time – 1:37:08 minutes | 2,1 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: 7Digital | © Atlantic Records

The appropriately titled Coda was Led Zeppelin’s final album of studio recordings. Released in 1982, it was comprised of eight unreleased tracks recorded between 1970 and 1978. It peaked at #6 on the album charts and has been certified platinum in the U.S. Coda have been remastered for 2015 by guitarist and producer Jimmy Page and are accompanied by companion audio comprised of previously unreleased music related to the original release. The reissue campaign ends with a double-barrel blast of Led. Coda will be the only Led Zeppelin deluxe edition to include two companion discs, featuring 15 tracks recorded between 1968 and 1974. The oldest song in the collection is also perhaps the most interesting. The frenetic blues jam Sugar Mama was recorded in 1968 at Olympic Studios during sessions for the band’s eponymous debut. The song was completed but never officially released until now. Baby Come On Home from the same session is also included in the set. Also included is the previously unreleased St. Tristan’s Sword, a rollicking instrumental recorded during the Led Zeppelin III sessions in 1970.

Released two years after the 1980 death of John Bonham, Coda tied up most of the loose ends Led Zeppelin left hanging: it officially issued a bunch of tracks circulating on bootleg and it fulfilled their obligation to Atlantic Records. Coda doesn’t contain every non-LP track Zeppelin released — notably, the B-side “Hey Hey What Can I Do” and anything from the BBC sessions were left untouched (they’d be added to Coda on a 1993 CD revision of the compilation, and also appear on the major three-disc overhaul Jimmy Page masterminded in 2015) — but it does gather much of what was floating around in the wake of their demise, including three blistering rockers that were rejected for In Through the Out Door. If “Ozone Baby,” “Darlene,” or “Wearing and Tearing” — rockers that alternately cut loose, groove, and menace — had made the cut for In Through the Out Door, that album wouldn’t have had its vague progressive edge and when they’re included alongside a revival of the band’s early raver “We’re Gonna Groove,” the big-boned funk of the Houses of the Holy outtake “Walter’s Walk,” and the folk stomp “Poor Tom” (naturally taken from the sessions for Led Zeppelin III), they wind up underscoring the band’s often underappreciated lighter side. For heaviness, there’s a live version of “I Can’t Quit You Baby” and “Bonzo’s Montreux,” a solo showcase for the departed drummer, and when this pair is added to the six doses of hard-charging rock & roll, it amounts to a good snapshot of much of what made Led Zeppelin a great band: when they were cooking, they really did groove.

Tracklist:
CD1 #01 – We’re Gonna Groove
CD1 #02 – Poor Tom
CD1 #03 – I Can’t Quit You Baby
CD1 #04 – Walter’s Walk
CD1 #05 – Ozone Baby
CD1 #06 – Darlene
CD1 #07 – Bonzo’s Montreux
CD1 #08 – Wearing And Tearing

CD2 #01 – We’re Gonna Groove (Alternate Mix)
CD2 #02 – If It Keeps On Raining (Rough Mix)
CD2 #03 – Bonzo’s Montreux (Mix Construction In Progress)
CD2 #04 – Baby Come On Home
CD2 #05 – Sugar Mama (Mix)
CD2 #06 – Poor Tom (Instrumental Mix)
CD2 #07 – Travelling Riverside Blues (BBC Season)
CD2 #08 – Hey, Hey, What Can I Do

CD3 #01 – Four Hands (Four Sticks) (Bombay Orchestra)
CD3 #02 – Friends (Bombay Orchestra)
CD3 #03 – St. Tristan’s Sword (Rough Mix)
CD3 #04 – Desire (The Wanton Song) (Rough Mix)
CD3 #05 – Bring It On Home (Rough Mix)
CD3 #06 – Walter’s Walk (Rough Mix)
CD3 #07 – Everybody Makes It Through (In The Light) (Rough Mix)

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Led Zeppelin – Presence (1976) {Deluxe Edition 2015}
FLAC (tracks) 24-bit/96 kHz | Time – 1:16:17 minutes | 1,72 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: 7Digital | © Atlantic Records

Originally released in 1976, Presence was recorded during a whirlwind 18-day session at Musicland Studios in Munich, Germany. The album which peaked at #1 in both the U.S. and UK and was certified triple platinum crackles with energy on Zeppelin classics like Nobody s Fault But Mine and Achilles Last Stand and delivers powerful jolts of the group at its visceral best. Presence have been remastered for 2015 by guitarist and producer Jimmy Page and are accompanied by companion audio comprised of previously unreleased music related to the original release. The companion audio disc that accompanies Presence has five unreleased reference mixes from the sessions, which reveal works in progress. Along with alternate incarnations of For Your Life Achilles Last Stand and Royal Orleans, there is also the previously unheard instrumental curiously titled 10 Ribs & All/Carrot Pod Pod (Pod).

Created at a time of intense turmoil for Led Zeppelin — they scrapped a planned international tour in the wake of Robert Plant’s car accident in Greece in August 1975 — Presence is a strange, misshapen beast of a record that pulls upon its own tension. With Plant somewhat on the sidelines — he recorded many of the vocals while in a wheelchair — Jimmy Page reasserted himself as the primary creative force in the band, helping steer Presence toward a guitar-heavy complexity, perched halfway between a return to roots and unfettered prog. This dichotomy means it feels like Presence sprawls as wildly as Physical Graffiti even though it’s half its length: the four epics tend to overshadow the trio of lean rockers that really do hark back to the Chess boogie and rockabilly that informed Zeppelin’s earliest work. Each of these three — “Royal Orleans,” “Candy Store Rock,” “Hots on for Nowhere” — plays as snappily as the throwaways on the second half of Physical Graffiti, containing a sexy insouciance; the band almost seems to shrug off how catchy Page’s riffs and how thick the grooves of John Bonham and John Paul Jones actually are. No matter how much fun this triptych is, they’re lost underneath the shadow of “Achilles Last Stand,” a ten-minute exercise in self-styled moody majesty and the turgid blues crawl of closer “Tea for One.” In between, there are two unalloyed masterpieces that channel all of the pain of the period into cinematic drama: a molten blues called “Nobody’s Fault But Mine” and “For Your Life,” as sharp, cinematic, and pained as Zeppelin ever were. Added together, Presence winds up as something less than the sum of its parts but its imbalance also means that it’s a record worth revisiting; it seems different upon each revisit and is always compelling.

Tracklist:
CD1 #01 – Achilles Last Stand
CD1 #02 – For Your Life
CD1 #03 – Royal Orleans
CD1 #04 – Nobody’s Fault But Mine
CD1 #05 – Candy Store Rock
CD1 #06 – Hots On For Nowhere
CD1 #07 – Tea For One

CD2 #01 – Two Ones Are Won (Achilles Last Stand) (Reference Mix)
CD2 #02 – For Your Life (Reference Mix)
CD2 #03 – 10 Ribs & All/Carrot Pod Pod (Pod) (Reference Mix)
CD2 #04 – Royal Orleans (Reference Mix)
CD2 #05 – Hots On For Nowhere (Reference Mix)

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Chopin wasn’t one for endowing his compositions with poetic titles. Unlike his contemporary Robert Schumann, the composer kept the titles of his work fairly simple, with no literary references such as those found in the poetic evocations of Carnaval or Kinderszenen to assist the imagination. But when, in the mid-1830s, Chopin presented a new piece naming it “Ballade,” Schumann noted that Chopin was the first to apply this literary term to a musical work. What was the nature of this new genre for solo piano? What kind of story was it telling?

Traditionally, a ballad was a type of narrative poem harking back to the Middle Ages, when travelling minstrels made the form popular in Europe. In the Nineteenth Century, Romantic poets returned to the ballad as a literary genre, infusing it – to quote William Wordsworth’s Preface to the Lyrical Ballads – with the “real language of men in a state of vivid sensation.” Schumann suggests that Chopin “was inspired to write his Ballades by some poems of Adam Mickiewicz” – the great poet of Polish Romanticism and someone who, like Chopin, had left his native Poland for Paris. Mickiewicz had his own definition of the form: “The ballad is a tale spun from the incidents of everyday (that is, real) life or from chivalrous stories, animated by the strangeness of the Romantic world, sung in a melancholy tone, in a serious style, simple and natural in its expressions.”

“The ballades have everything you want from Chopin, diversity of emotion, an epic story and beautiful melodies. I don’t know another composer who has that way of getting to me.” (Leif Ove Andsnes)

Tracklist:
1. Ballade in G Minor, Op. 23, No.1 09:00
2. Nocturne in F Major, Op. 15 No.1 04:46
3. Ballade in F Major, Op. 38, No.2 07:07
4. Nocturne in C Minor, Op. 48, No.1 05:54
5. Ballade in A-Flat Major, Op.47, No.3 07:40
6. Nocturne in B Major, Op. 62, No.1 06:37
7. Ballade in F Minor, Op. 52, No.4 10:19

Personnel:
Leif Ove Andsnes, piano

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The violin sonatas of Johannes Brahms were the product of much self-critical reflection, and the three surviving works are from a composer mature in years. Composed around the same time as the Violin Concerto (No. 1), the Piano Trio in C Minor and the Cello Sonata No. 2 (Nos. 2 and 3), they also echo some of his songs, such as those written to poems by Klaus Groth. Into this Romantic atmosphere come new performances of the three works on Glossa, played by violinist Leila Schayegh (particularly awarded for her recordings of Bach, Caldara and Benda), teaming up here with pianist Jan Schultsz. Schayegh plays a copy of a period violin, whilst Schultsz uses an original 1879 Streicher instrument. The two players aim to recapture the performing tradition as the composer would have known it, and within which he would have intended his pieces to have been played. Schayegh and Schultsz worked with Clive Brown and Neal Peres Da Costa in their efforts to aim for “the spirit rather than the dead letter of the score” and they pay admirable notice of important interpretative questions for music of this time – and they provide an intuitive musical and emotional response to the lyricism of the first two sonatas and the darker-hued tones of the third, investing these late-nineteenth-century works.

Tracklist:
01. Violin Sonata No. 1 in G Major, Op. 78 “Regen”: I. Vivace ma non troppo
02. Violin Sonata No. 1 in G Major, Op. 78 “Regen”: II. Adagio
03. Violin Sonata No. 1 in G Major, Op. 78 “Regen”: III. Allegro molto moderato
04. Violin Sonata No. 2 in A Major, Op. 100: I. Allegro amabile
05. Violin Sonata No. 2 in A Major, Op. 100: II. Andante tranquillo-Vivace
06. Violin Sonata No. 2 in A Major, Op. 100: III. Allegro grazioso, quasi andante
07. Violin Sonata No. 3 in D Minor, Op. 108: I. Allegro
08. Violin Sonata No. 3 in D Minor, Op. 108: II. Adagio
09. Violin Sonata No. 3 in D Minor, Op. 108: III. Un poco presto e con sentimento
10. Violin Sonata No. 3 in D Minor, Op. 108: IV. Presto agitato
11. Violin Sonata in A Minor “F-A-E”: I. Dietrich. Allegro in A Minor

Personnel:
Leila Schayegh, violin
Jan Schultsz, piano

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American conductor and composer who straddled the divide between serious classical music and ‘show bizz’.

A huge energy kept him not only to the fore as the first American-born conductor of stature and international acclaim but as a composer both for Broadway and the concert hall. West Side Story and Candide are his most successful and best-known musicals.

Alongside three symphonies are The Chichester Psalms, a cantata for chorus and orchestra.

Tracklist:
1. Symphony No. 4 in A Major, Op. 90 “Italian”: I. Allegro vivace 10:21
2. Piano Concerto No. 17 in G Major, K. 453: III. Allegretto – Presto 08:00
3. Symphony No. 5 in C-Sharp Minor: IV. Adagietto. Sehr langsam 11:02
4. Symphony No. 3 in E-Flat Major, Op. 55 “Eroica”: IV. Finale. Allegro molto 11:23
5. Symphony No. 4 in E Minor, Op. 98: III. Allegro giocoso – Poco meno presto 05:55
6. Concerto for Piano and Orchestra No. 2 in B-Flat Major, Op. 19: III. Rondo – Molto allegro (Remastered) 05:31
7. Appalachian Spring: Doppio movimento 03:05
8. Symphony No. 5 in D Minor, Op. 47: IV. Allegro non troppo 08:59
9. Rhapsody in Blue (Remastered) 16:29
10. Candide Overture (Remastered) 04:11
11. Three Dance Episodes (From “On the Town”): III. Times Square: 1944 04:39
12. West Side Story (Original Broadway Cast) : Act I: Maria 02:39
13. West Side Story (Original Broadway Cast) : Act I: Tonight 03:53
14. West Side Story (Original Broadway Cast) : Act I: America 04:34
15. Make Our Garden Grow (From “Candide”) 03:46
16. Serenade after Plato’s “Symposium” for Solo Violin, Strings, Harp and Percussion: IV. Agathon (Adagio) 06:57
17. Mass A Theatre Piece for Singers, Players and Dancers I : I. Devotions before Mass: 2. Hymn and Psalm: “A Simple Song” 04:45
18. Mass A Theatre Piece for Singers, Players and Dancers I : V. Meditation No. 1 05:11
19. The Age of Anxiety, Symphony No. 2 for Piano and Orchestra (after W. H. Auden): c. The Seven Stages: Variations 8-14 06:16
20. Trouble in Tahiti – An Opera in Seven Scenes: Prelude 03:14
21. Fancy Free Ballet : VI. Three Dance Variations: Variation I (Galop) 01:21
22. Fancy Free Ballet : Variation II (Waltz) 02:24
23. Fancy Free Ballet : Variation III (Danzon) 02:38
24. Prelude, Fugue & Riffs: III. Riffs 04:12
25. Symphonic Dances (From “West Side Story”) : I. Prologue – Allegro moderato 04:07
26. Symphonic Dances (From “West Side Story”) : II. Somewhere – Adagio 03:51
27. Symphonic Dances (From “West Side Story”) : III. Scherzo – Vivace leggiero 01:17
28. Symphonic Dances (From “West Side Story”) : IV. Mambo – Meno presto 02:17
29. Lonely Town (From “On the Town”) [Arr. for Violin & Orchestra] 04:08
30. Take Care of This House (From “1600 Pennsylvania Avenue”) 03:07

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A most unusual cabinet of curiosities ‘Finding pleasure even in meditating on what causes one’s pain’: that neatly defines the theme of this album of music from the cusp of the sixteenth and seventeenth centuries. Here Italian and English madrigals rub shoulders with motets and Tenebrae responsories. A melancholic poetry that provided endless nourishment for musical creativity in the late Renaissance, and which Geoffroy Jourdain presents in his first recording for harmonia mundi.

Tracklist:
1. Draw on, Sweet Night 04:38
2. Tristitia et anxietas (prima pars) 05:55
3. Altro che lagrimar 02:15
4. O vos omnes, I 03:25
5. La mia doglia s’avanza 02:29
6. O wretched man 02:41
7. Come to me grief forever (marking the death of Sir Philip Sidney) 01:11
8. What is our Life? 04:12
9. Crudele acerba inesorabil’ morte 02:38
10. Lullaby, my sweet little baby, I 01:03
11. Quivi sospiri 02:15
12. Mercè grido piangendo 03:18
13. Lullaby, my sweet little baby, II 01:03
14. O vos omnes, II 02:50
15. Solo e pensoso 04:55
16. Tristis est anima mea 04:58
17. Lullaby, my sweet little baby, III 01:48
18. O Care, thou wilt despatch me 03:41
19. Lullaby, my sweet little baby, IV 01:26
20. Too much I once lamented 05:39
21. Come to me grief forever 04:39

Personnel:
Les Cris de Paris
Geoffroy Jourdain, direction

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Unexpected? The pairing of viola da gamba and accordion is certainly that! But perhaps even more surprising is how well the singing strings of the veteran instrument harmonize with the subtly vibrating reeds of the centuries-younger newcomer. Also unexpected is this cross-generational meeting of two musicians (what are the odds?), who found each other exploring the ‘poetical humours’ of early seventeenth-century England. Recently reunited in the recording studio after several seasons of rapturously received recitals, with this well-timed album the duo Les inAttendus makes its first entry into the harmonia mundi catalogue.

Tracklist:
1. What greater grief 02:15
2. Shall I sue, shall I seek for grace? 04:20
3. Galliard a 3 01:21
4. And I as well as Thou 02:04
5. Flow, my tears, fall from your springs 04:35
6. Can she excuse my wrongs 01:15
7. Into something rich and strange 09:36
8. Goodnighte 03:41
9. Myself 02:54
10. Sweete Musicke 05:12
11. Touch me sweetely 02:00
12. Fantasia 05:18
13. Captain Humes Pavan 05:15
14. Lully Lullay 08:12
15. In darkness let me dwell 04:19

Personnel:
Vincent Lhermet, accordion
Les inAttendus
Marianne Muller, direction

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The Doors – Strange Days (1967) {50th Anniversary Deluxe Edition 2017}
FLAC (tracks) 24-bit/96 kHz | Time – 01:10:24 minutes | 1,15 GB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © Rhino/Elektra

STRANGE DAYS (50TH ANNIVERSARY DELUXE EDITION) was produced by the album’s original engineer Bruce Botnick. It includes the original stereo mix of the album, with sound that’s been remastered for the first time in 30 years. The second half features the album’s original mono mix, which has been remastered for this set. Accompanying the set are liner notes by music journalist David Fricke, as well as a selection of rare and previously unseen photographs.

The Doors had one of the most extraordinary debut years in music history in 1967, releasing a string of hit singles and two platinum albums, beginning in January with the band’s self-titled debut, followed by Strange Days in September. The latter peaked at #3 on the Billboard album chart and featured classics like “Love Me Two Times,” “When The Music’s Over,” and the title track “Strange Days.”
STRANGE DAYS (50TH ANNIVERSARY DELUXE EDITION) was produced by the album’s original engineer Bruce Botnick. It includes the original stereo mix of the album on CD for the first time in a decade, with sound that’s been remastered for the first time in 30 years. The second disc features the album’s original mono mix, which has been remastered for this set and is making its CD debut. Accompanying the set are liner notes by music journalist David Fricke, as well as a selection of rare and previously unseen photographs.
The success of The Doors’ debut album – including the #1 smash “Light My Fire” – kept the band in-demand and on the road in early 1967. When Jim Morrison, John Densmore, Robby Krieger, and Ray Manzarek weren’t playing live, they recorded songs for Strange Days at Sunset Sound in Hollywood, the same studio they used to record their debut.
Having a larger budget for Strange Days allowed the band to spend more time experimenting in the studio. They used an eight-track recorder for the first time, which resulted in some memorable overdubs like Krieger’s double-tracked guitar on “When The Music’s Over.” Surprisingly, the trippy keyboard sound heard on the album’s title track is actually one of the earliest appearances of a Moog synthesizer in a rock song.
Strange Days mixed new songs written on the road with some written before the band’s 1967 debut. In fact, the band performed “Strange Days” during its 1966 residency at the London Fog in L.A., while “My Eyes Have Seen You” dates back to 1965. Another early track is “Moonlight Drive,” which was one of the very first songs that the band practiced together, and where the band heard Krieger’s haunting bottleneck guitar playing for the first time. It’s also the song Morrison sang to Manzarek at Venice Beach in 1965 when the two former UCLA film students reconnected and decided to start the Doors.

Tracklist:
Stereo
1. Strange Days 03:09
2. You’re Lost Little Girl 03:05
3. Love Me Two Times 03:15
4. Unhappy Girl 01:57
5. Horse Latitude 01:34
6. Moonlight Drive 03:05
7. People Are Strange 02:11
8. My Eyes Have Seen You 02:31
9. I Can’t See Your Face In My Mind 03:24
10. When The Music’s Over 11:02
Mono
1. Strange Days 03:09
2. You’re Lost Little Girl 03:05
3. Love Me Two Times 03:15
4. Unhappy Girl 01:57
5. Horse Latitude 01:34
6. Moonlight Drive 03:05
7. People Are Strange 02:11
8. My Eyes Have Seen You 02:31
9. I Can’t See Your Face In My Mind 03:24
10. When The Music’s Over 11:02

Personnel:
Jim Morrison – vocals, percussion, Moog synthesizer on track 1
Ray Manzarek – Vox Continental organ, Fender Rhodes piano bass on tracks 4 and 10, harpsichord on track 3, backwards piano on track 4, marimba on track 9
Robby Krieger – guitar
John Densmore – drums
Additional:
Douglas Lubahn – bass guitar on tracks 1–3, 6–9

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The Singles is a 2017 compilation album featuring all 20 U.S. single releases (along with corresponding B-side tracks) from iconic American rock outfit the Doors. Made up of the band’s instantly recognizable psychedelic, blues-infused rock with resonant keys and frontman Jim Morrison’s howling vocals, the release includes rare original versions of the singles among the 44 tracks, as well as four original mono radio versions for the very first time. ~ Rob Wacey

Tracklist:
#1
1 Break On Through (To The Other Side) 02:29
2 End Of The Night 02:54
3 Light My Fire 02:56
4 The Crystal Ship 02:35
5 People Are Strange 02:12
6 Unhappy Girl 01:58
7 Love Me Two Times 02:40
8 Moonlight Drive 02:54
9 The Unknown Soldier 03:23
10 We Could Be So Good Together 02:25
11 Hello, I Love You 02:17
12 Love Street 02:53
13 Touch Me 03:14
14 Wild Child 02:39
15 Wishful Sinful 02:57
16 Who Scared You 03:55
17 Tell All The People 03:33
18 Easy Ride 02:44
19 Runnin’ Blue 02:30
20 Do It 03:06
21 You Make Me Real 02:55
22 Roadhouse Blues 03:48
23 Love Her Madly 02:51
24 (You Need Meat) Don’t Go No Further 03:41
25 Riders On The Storm 04:54
26 Changeling 03:27
#2
1 Tightrope Ride 03:39
2 Variety Is The Spice Of Life 02:52
3 Ships W/ Sails 04:12
4 In The Eye Of The Sun 04:49
5 Get Up And Dance 02:38
6 Treetrunk 03:01
7 The Mosquito 02:50
8 It Slipped My Mind 03:12
9 The Piano Bird 04:11
10 Good Rockin’ 03:22
11 Roadhouse Blues (Live) 04:15
12 Albinoni: Adagio 02:13
13 Gloria (Live) 03:13
14 Moonlight Drive (Live) 05:37
15 Hello, I Love You (Mono Radio Version) 02:21
16 Touch Me (Mono Radio Version) 03:14
17 Wishful Sinful (Mono Radio Version) 02:56
18 Tell All The People (Mono Radio Version) 03:08

Personnel:
Jim Morrison – lead vocals, lyrics, harmonica, tambourine, synthesizer, maracas
Ray Manzarek – keyboards, vocals
John Densmore – drums, percussion
Robby Krieger – lead guitar, vocals

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The debut release from The London Oratory Schola Cantorum Boys Choir, one of three choirs of the world-renowned London Oratory choral program. Featuring Motets from William Byrd, Thomas Tallis and the ‘Missa Euge bone’ by Christopher Tye feature and the album comprises of 14 glorious tracks.

The Schola Cantorum, who have been featured in a number of major motion pictures, including The Lord of The Rings, present music from the English Tudor era on Sacred Treasures of England. Comprised of 14 tracks, the new album includes motets by composers such as William Byrd and Thomas Tallis, as well as the magnificent Missa Euge bone by Christopher Tye.

“From the very first note we heard from The London Oratory Schola Cantorum Boys Choir–we were impressed by their captivating musical talent and direction,” said AimHigher Recordings CEO Kevin Fitzgibbons. “Mirroring the majestic beauty of The Oratory itself, the repertoire from this debut recording is gorgeous and timeless. We are grateful to all at the Oratory who made this great artistic moment possible and are excited for the new global collaboration with Sony Classical.”

“This wonderful partnership with AimHigher Recordings/Sony Classical represents a unique opportunity for the Schola to bring sacred music from the Renaissance to a much wider audience,” says Charles Cole, Director of the Schola. “The stunning beauty of this music, which we specialize in, deserves to reach many more people who we hope will be moved by the sound of the boys’ voices.”

Tracklist

1 Haec dies (1) 02:12
2 Missa Euge bone: Gloria 05:47
3 Missa Euge bone: Credo 05:17
4 Missa Euge bone: Sanctus 03:43
5 Missa Euge bone: Benedictus 02:28
6 Missa Euge bone: Agnus Dei 06:32
7 Salvator mundi I 03:45
8 O nata lux 02:14
9 Ave Maria 05:27
10 Ave verum corpus 05:05
11 Haec dies (2) 02:41
12 Civitas sancti tui 05:29
13 Ave verum corpus 04:41
14 Ascendit Deus 02:42

Personnel
The London Oratory Schola Cantorum Boys Choir
Charles Cole, direction

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An acclaimed conductor and pianist as well as a composer, Thomas Adès has outgrown his status as the wunderkind of the British scene and become one of the most imposing figures in contemporary music. For his LSO Live debut, he conducts all of his seminal “Trilogy” works – Asyla, Tevot and Polaris – pieces that not only occupy a special place in his output, but in modern classical music as a whole. Recorded in 2016 during his first LSO “composer Focus”, this is the first time all three works have been presented together on one album, offering a unique chance to hear th emusical development of one of the world’s foremost composers. Composed in 1997 and winner of the 1999 Grawemeyer award, Asyla is the earliest of the pieces, and one of the works that announced Adès as a major new voice. Sir Simon Rattle, a long-time champion of the composer, conducted the work’s premiere with the CBSO as well as programming it in his inaugural concert as Artistic Director of the Berlin Philharmonic. The title is the plural form of the word asylum, and plays on teh dual meaning of both madhouse and sanctuary. Typical of his orchestral works, it utilizes a large orchestra to achieve an array of colors, textures and timbres. It also showcases Adès’s wide-ranging influences, with a “four-on-the-floor” techno drumbeat as the impetus behind the famous Ecstasia movement. Tevot is a one movement symphony that builds upon the ideas of Asyla and pushes the players to the limits of their technical ability, with long passages written in stratospheric registers. Again, there is a dual meaning at play in the title, as Trevot is the Hebrew word for bars as well as closely related to the word used in the Bible when referring to Noah’s ark. Adès himself explains: “I liked the idea that the bars of the music were carrying the notes as a sort of family through th epiece. And they do, because without bars, you’d have musical chaos. But I was thinking about the ark, the vessel, in the piece as the earth. The earth would be a spaceship, a ship that carries us – and several other species! – through the chaos of space in safety. It sounds a bit colossal, but it’s the idea of the ship of the world.” The final Trilogy work, Polaris, was composed in 2010 and is subtitled “A Voyage for Orchestra”. Taking the North Star as its inspiration, despite a relatively short running time it conjures up a definite sense of vastness, with musicians placed offstage to enhance the sense of space. The piece is built up from a simple, looping pattern of notes in the piano, that evolves to suggest a massive spiral with musical magnetic fields expanding, exploding and beautifully rearranging themselves.

“What strikes one most about these performances is how brilliantly Adès, as composer and also as conductor, marshals what often seem like collisions of contradictory ideas into cogent and compelling structures. My favourite has to be the majestic Polaris.”
–Richard Morrison, The Times

“The music is carried aloft by great, heaving cosmic waves through a universe glistening with heavenly sounds…These are technically challenging scores that take an orchestra to its limits. With Adès conducting, the London Symphony Orchestra reaches for the stars.”
–Richard Fairman, Financial Times

“The combination of effervescence and deep-water surge is often irresistible. Adès is also a strikingly fine conductor, and these authoritative recordings come as a two-disc set.”
–Michael Dervan, Irish Times

“deliciously humorous in this new recording from baritone Samuel Dale Johnson with the London Symphony Orchestra conducted by the composer … excellent performances of his major orchestral scores … if you wanted just one disc of Ades’ orchestral music I’d suggest it might be this one, especially as you get a CD and a Blu-Ray audio disc in the package.”
-BBC Radio 3 Record Review

“a stunning disc, and should be eagerly snapped up by anyone with an interest in British contemporary music!” –James Longstaffe, Presto Classical

Tracklist

Thomas Adès (1971- )
1 Asyla, Op. 17: I. — 05:50
2 Asyla, Op. 17: II. — 06:34
3 Asyla, Op. 17: III. Ecstasio 06:34
4 Asyla, Op. 17: IV. — 05:01
5 Tevot, Op. 242 0:19
6 Polaris, Op. 29 13:29
7 Brahms, Op. 21 05:04

Personnel
London Symphony Orchestra
Thomas Adès, conductor

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