Studio Masters – HDMusic.me

Eine weitere digitale Neuerscheinung des Labels MPHIL: Die »Variationen über ein Rokoko-Thema« für Violoncello und Orchester von Peter Tschaikowsky mit Andrei Ioniţă und Valery Gergiev, aufgenommen im Mai 2017 in der Philharmonie im Gasteig.

Tracklist:
1. Introduction – Thema 02:32
2. Variation I – Tempo della Thema 00:51
3. Variation II – Tempo della Thema 01:15
4. Variation III – Andante sostenuto 03:51
5. Variation IV – Andante grazioso – Un poco animato 02:00
6. Variation V – Allegro moderato – Cadenza 03:54
7. Variation VI – Andante 02:35
8. Variation VII & Coda (Allegro vivo) 02:07

Personnel:
Andrei Ioniţă, Violoncello
Münchner Philharmoniker
Valery Gergiev, Dirigent

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Sasha Rozhdestvensky & Viktoria Postnikova – Myaskovsky, Shebalin & Nechaev: Violin Sonatas (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:16 minutes | 1,04 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © First Hand Records

The three violin sonatas on this disc are premiere recordings of rarely heard mid-Twentieth century Russian repertoire, performed by a mother and son partnership from a famous Russian musical family. The composers of these works had enjoyed a direct professional relationship during the period between the two world wars, mainly through their involvement on the teaching staff at the Moscow Conservatoire: Myaskovsky, Shebalin and Nechaev.

Despite being one of Nikolai Myaskovsky’s most appealing and approachable later works, his Violin Sonata, Op. 70 remains rarely performed in concert. The work begins with a wistful first movement, followed by the final movement containing a series of 12 Variations on a theme eloquent and restrained by turns.

The following work is by a student, colleague and friend of Myaskovsky, Vassarion Shebalin. Formed in the classically arrayed four-movement design, it shows the composer’s musical language at its clearest and most direct.

The final work on this album is by the composer Vasily Nechayev who is hardly known outside of Soviet music circles. His Sonata, Op. 12, shows Nechayev was aware of stylistic developments pursued by Bartok and Prokofiev in its richly whole-tone harmonies and its motoric rhythms.

Tracklist:
Myaskovsky – Violin Sonata in F Major, Op. 70
1. I. Allegro amabile (08:15)
2. II. Theme. Andante con moto e molto cantabile – 12 Variations – Coda (11:33)
Shebalin – Violin Sonata, Op. 51 No. 1
3. I. Allegro (08:09)
4. II. Scherzando. Non troppo vivo (03:55)
5. III. Andante (05:03)
6. IV. Allegro (04:32)
Nechaev – Violin Sonata, Op. 12
7. I. Vivace, appenato e leggieramente (06:53)
8. II. Lugubre (04:50)
9. III. Presto impetuoso (09:06)

Personnel:
Sasha Rozhdestvensky, violin
Viktoria Postnikova, piano

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The young American soprano Nadine Sierra, winner of top prizes like the Beverly Sills Artists Award, has won wide attention for her singing in bel canto roles. For her debut album, however, she has chosen not Italian repertory but accessible contemporary material, most of it in English. It might seem an odd fit with her stated goal: “Opera belongs to everybody, no matter what age, no matter what race, no matter what kind of money you make or don’t make. It will speak to you because it is a reflection of humanity.” Much of the material on the album is not opera at all, but musical theater or orchestral songs. However, it emerges that there’s a method behind Sierra’s selections: almost without exception (the exception is No Word from Tom, from Stravinsky’s The Rake’s Progress, which is placed at the end, seems to come out of nowhere, and just sounds bizarre), the music fits Sierra’s voice. She’s got a big, distinctive sound, with a muscular high end in which vibrato ripples powerfully and quickly. Once you hear it, you don’t forget it, and this is the source of the excitement surrounding this young singer. Sample one of the pieces by Villa-Lobos, which almost seem tailor-made for Sierra. Composer Ricky Ian Gordon’s straightforward poetry settings also favor Sierra’s voice. What she doesn’t have at the moment is a great deal of range: Bernstein’s calculatedly sentimental Take Care of This House and jocular Glitter and Be Gay come out sounding rather similar, and the farther she gets from her high sweet spot the less confident she sounds. It’s certainly enough to whet the appetite for the voice’s future development, however. Sierra is ably backed by the Royal Philharmonic Orchestra and conductor Robert Spano, who deserve more than the very small print they get in Deutsche Grammophon’s album graphics.

Tracklist:
1. West Side Story : Somewhere 02:53
2. Bachianas brasileiras No. 5, W. 389 : 1. Aria (Cantilena) 06:56
3. Gordon: Stars 05:57
4. Songfest : 3. A Julia de Burgos 03:45
5. Floresta do Amazonas, W551 : 3. Canção de Amor 04:21
6. Bernstein: Take Care of This House 02:54
7. Candide / Act I : Glitter and Be Gay 06:31
8. Gordon: Will There Really Be a Morning? 05:01
9. Floresta do Amazonas, W551 : 4. Melodia Sentimental 03:47
10. The Cows of Apollo : Maria’s Aria 06:16
11. Foster: Jeannie with the Light Brown Hair 03:21
12. Golijov: Lúa Descolorida 06:18
13. The Rake’s Progress / Act 1 / Scene 3 : No Word from Tom 08:38

Personnel:
Nadine Sierra, soprano
Royal Philharmonic Orchestra
Robert Spano, conductor

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Lemmy (Motörhead) personally blessed Nashville Pussy calling them “America’s last great Rock and Roll band”… and Lemmy should know. Formed in 1997, Nashville Pussy preached its sleazy gospel over the past couple of decades alongside Motörhead in every rock outpost from Asia to Europe and back again.

Pleased To Eat You is their seventh studio album.

“Bourbon, BBQ, horse farms, good people, and a great f—ing record.”

Tracklist:
1. She Keeps Me Coming and I Keep Going Back (02:13)
2. We Want a War (03:22)
3. Just Another White Boy (03:52)
4. Go Home and Die (04:02)
5. Low Down Dirty Pig (02:01)
6. Testify (03:24)
7. One Bad Mother (04:04)
8. Woke up This Morning (03:38)
9. Drinking My Life Away (02:54)
10. Endless Ride (04:21)
11. Hang Tight (03:17)
12. Cckmp (03:48)
13. Tired of Pretending That I Give a S**t (04:16)

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Lightsleeper bursts with melody and the trademark euphoric flips that are the Finn family trademarks. When Neil’s iconic pop sensibility meets Liam’s lo-fi atmospherics, it’s produces a feeling of intimacy and awe that makes it easy to wonder why the dynamic father and son duo haven’t written together sooner. The simple Finn family ethos of making music with friends and family continues right through to the personnel recruited for the album. Lightsleeper features the touring band, Sharon Finn (Neil’s wife, and Liam Finn’s mother) plays bass on two of the songs, Elroy Finn (Liam’s brother) plays drums on seven, good friend Connan Mockasin returns for four and legendary Mick Fleetwood turns up to play on “Anger Plays A Part”, “Any Other Way” and “We Know What It Means”. The unmistakable spirit of musicians at their peak, bound together by a still-hot desire to make music that is brewed within the bones, love, quiet revelation and the perfectly-evoked euphoria of being alive is what makes Lightsleeper such a gorgeous progression in the Finn family musical history.

Tracklist:
1. Prelude – Island of Peace (02:43)
2. Meet Me in the Air (04:42)
3. Where’s My Room (07:01)
4. Anger Plays a Part (03:01)
5. Listen (03:26)
6. Any Other Way (03:49)
7. Back To Life (04:08)
8. Hiding Place (05:52)
9. Ghosts (03:32)
10. We Know What It Means (06:25)
11. Hold Her Close (04:11)

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NES can’t be tied down to a specific location. Their music is between traditional Arabic and world music, jazz and pop. These three superb musicians originally met in Valencia in Spain. Percussionist David Gadea is from the region, and was already touring with Flamenco greats such as Ximo Tébar and Josemi Carmona; Matthieu Saglio is a French cellist “with a thousand tone colours” who has performed in more than 30 countries; the singer/cellist Nesrine Belmokh had worked with legendary conductors such as Lorin Maazel and Daniel Barenboim, and performed with Cirque du Soleil on international tours. Placido Domingo has called Nesrine “an exceptional artist, a wonderful voice.”

Russafa, the area around the station in Valencia, Spain, is famous for its market, which offers every imaginable Mediterranean delicacy. This was once a working-class district, but is now full of eccentric cafés and hip restaurants. “Russafa is a place full of light and colours,” explains Nesrine Belmokh. “It’s the perfect meeting place for everything Mediterranean!” It also proved to be a meeting place that would shape the singer/cellist’s future as a musician, because it was there that she met the percussionist David Gadea in 2015. “David and I went to a solo concert by a cellist, Matthieu Saglio. When we talked afterwards, we found out that for seven years we had both lived in Russafa without knowing each other – only 200 metres apart!”

The three became friends, created a trio, built a repertoire and chose a name: NES, Nesrine’s nickname. The acoustic music on her debut album “Ahlam”, mainly recorded live, draws strong inspiration from pop and flamenco, as well as from the sounds Nesrine heard in her parents’ house, which was frequented by Arabic musicians from the Mediterranean region.

“Arab-Andalusian music is more or less the classical music of North Africa, and it left its mark on me,” explains Nesrine. “It was also the starting point for my artistic career – that all got going when I sang and played mandolin in an Arab-Andalusian band. Later on I embarked on classical cello studies, but I always knew I wanted to be a singer.”

“Ahlam” means “dream” in Arabic. The long-held wish of the three NES musicians was to make an internationally released album – a dream which has now quite literally come true. The title song also expresses a personal dream of love fulfilled, and of the desire for peace in the world: “There is no beauty without a concept of goodness.” (That sentence is a free translation of the title song’s refrain.) All the Arabic lyrics on the album “Ahlam” were written by Nesrine’s mother, a poet whose main occupation is as a doctor. “We’re in touch all the time,” explains the singer. “An intergenerational connection like this needs constant feeding and watering!”

Nesrine sings in English, French and Arabic. She can be soft and hypnotic – as in “Bye Bye”, chanson-esque – in “Le Temps” or sing pop songs such as “The World is Blue” in a duet with herself. “Music is my exorcism” is the motto of “Bye Bye” – music to drive out the demons. And the lyric: “Spending days and years looking for my identity/ I guess I have to find it within a community” – suggests that this trio itself might well represent the community she is referring to. The astonishingly varied sounds of the classically trained cellist Matthieu Saglio – who also works with loop pedals, and the sometimes fiery, sometimes very delicate percussion by David Gadea constitute the virtuoso flamenco/jazz basis of this band.

People with a liking for the genre-busting music of artists such as Anouar Brahem, Dhafer Youssef or Ibrahim Maalouf are going to love NES. NES are not hemmed in by categories or language barriers. Their songs are full of grace and emotion, born and nurtured by the sun in the cultural melting pot of Valencia.

Tracklist:
1. Ahlam
2. You Made It Hard For Me
3. Houzni
4. Bye Bye
5. Allouane
6. Laisse-Moi Entrer
7. The World Is Blue
8. Le Temps
9. Happe NES
10. Prière

Personnel:
Nesrine Belmokh, voice, cello
Matthieu Saglio, cello, voice
David Gaea, percussion

Download:

https://subyshare.com/67k3spi1b9i2/NESAhlam20182488.2.rar.html

Columbia, apparently attempting to cash in on Pink Floyd’s explosion in popularity, released this album in 1981 under Nick Mason’s name when in reality he’s simply the drummer in this incarnation of Carla Bley’s ensemble; Ms. Bley composed all the music and lyrics for this project. It’s possibly her most overtly pop-oriented album, with all eight songs featuring vocals by Soft Machine alumnus Robert Wyatt. The music, by Bley’s standards, is fairly pedestrian if occasionally catchy, though the lyrics are often wryly amusing. So we have songs about failed car motors and a skeptic’s encounter with a flying saucer, and one dedicated to unappreciative audiences titled “Boo to You Too.” Though the band is staffed with several fine jazz musicians, the music has more of a rock or jazz-rock feel, largely due to the spotlight on guitarist Chris Spedding, who evidences slick, if relatively uninteresting, chops. To the extent the songs succeed, Wyatt can take much of the credit. His engagingly hoarse voice is capable of both wrenching sincerity and mordant humor; pieces like “Do Ya?,” where he is asked to tortuously squawk the line “God knows I try!,” would collapse entirely with a less convincing vocalist. The closing cut, “I’m a Mineralist,” is the one that leaves a lasting impression. Conflating geology and minimalism, it includes lines like “Erik Satie gets my rocks off/Cage is a dream/Philip Glass is mineralist to the extreme,” before launching into a note-perfect rendition of some pointedly bland Glassian measures. For Pink Floyd completists, this album might provide a glimpse into an alternate universe of which they were otherwise unaware, but fans of Bley’s earlier masterpieces like Escalator Over the Hill are likely to emerge somewhat disappointed.

Tracklist:
1. Can’t Get My Motor to Start 03:39
2. I Was Wrong 04:13
3. Siam 04:48
4. Hot River 05:16
5. Boo to You Too 03:26
6. Do Ya? 04:37
7. Wervin’ 03:59
8. I’m a Mineralist 06:18

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Profiles is an album by Pink Floyd’s drummer Nick Mason and 10cc’s guitarist Rick Fenn, released in 1985. It is almost entirely instrumental, save for two songs: “Lie for a Lie,” featuring Pink Floyd singer and guitarist David Gilmour and Mike Oldfield’s early 80s singer Maggie Reilly; and “Israel,” sung by UFO keyboardist Danny Peyronel.

Tracklist:
1. Malta 05:58
2. Lie for a Lie 03:14
3. Rhoda 03:23
4. Profiles, Pts.1 & 2 10:02
5. Israel 03:32
6. And the Address 02:49
7. Mumbo Jumbo 03:53
8. Zip Code 03:04
9. Black Ice 03:40
10. At the End of the Day 02:40
11. Profiles, Pt.3 02:01

Personnel:
Nick Mason – drums, keyboards, percussion, composing
Rick Fenn – guitars, keyboards, composing
Mel Collins — saxophone on “And The Address”, “Mumbo Jumbo”, and “Black Ice”
David Gilmour — vocals on “Lie for a Lie”
Maggie Reilly — vocals on “Lie for a Lie”
Danny Peyronel — vocals on “Israel”
Craig Pruess — emulator bass on “Malta”

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This release grew out of the fascination of Robert von Bahr, founder and managing director of BIS Records, for the television series House of Cards. It wasn’t only – or even primarily – the script or the acting that grabbed him, however, but just as much the music. Said and done – Jeff Beal, the composer of the House of Cards soundtrack, was contacted and it was soon decided that he should compose a Flute Concerto for the virtuosic Sharon Bezaly. To complement the concerto a selection of music from the series was agreed upon, but with five seasons worth of installments to choose from, this quickly grew into a large-scale House of Cards Symphony which at 83 minutes takes up an album all on its own. So now the decision was made to record and present a lavish release, with three further works: Six Sixteen for guitar and orchestra (performed by Grammy winner Jason Vieaux), Canticle for strings and a brand new House of Cards Fantasy for flute and orchestra. The Norrköping Symphony Orchestra has received international acclaim for its recordings of the hyper-intense music of modernist Allan Pettersson, but here, under the direction of the composer himself, it has taken to the new idiom and welcomes the additional instruments necessary to bring out that House of Cards feeling: electric guitar and bass guitar, drum kit, piano and flugelhorn.

Tracklist:
CD 1
1. House of Cards Symphony : I. Forward March 04:50
2. House of Cards Symphony : II. Betrayal 13:29
3. House of Cards Symphony : III. New Deal 05:42
4. House of Cards Symphony : IV. Claire Underwood 05:37
5. House of Cards Symphony : V. Russia 07:34
6. House of Cards Symphony : VI. Portrait of a Marriage 08:03
7. House of Cards Symphony : VII. Power 08:44
8. House of Cards Symphony : VIII. Dignity 10:26
9. House of Cards Symphony : IX. Puppet Master 08:05
10. House of Cards Symphony : X. Making History 11:11
CD 2
1. House of Cards Fantasy 03:29
2. Six Sixteen (Version for Guitar & Chamber Orchestra) : I. Freely – quarter note = 90 05:43
3. Six Sixteen (Version for Guitar & Chamber Orchestra) : II. Gently 03:50
4. Six Sixteen (Version for Guitar & Chamber Orchestra) : III. quarter note = 167 05:01
5. Canticle : Canticle 06:35
6. Flute Concerto : I. — 08:16
7. Flute Concerto : II. — 07:48
8. Flute Concerto : III. — 07:52

Personnel:
Sharon Bezaly, flute
Henrik Jon Petersen, violin
Jason Vieaux, guitar
Norrköping Symphony Orchestra
Jeff Beal, conductor

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It’s about feeling like your fire for something might be slowly fading out, and that it might be your fault. It could be a passion, a relationship, or a specific chapter in your life. It’s that self doubt that can come in waves, and the whole thought process that goes along with that. When you begin to doubt your own direction, it’s easy to assume others around you are doubting you too. Firecracker is about feeling that pressure, anxiety, and paranoia. It’s sort of a strange feeling thinking “the whole world is against me…including me.”

The “Firecracker” video was released in celebration of the announcement that Northern Faces’ highly-anticipated sophomore Equal Vision Records full-length, Fingers Crossed, will be released on August 24th. Fingers Crossed is the rare record that manages to be diverse while still feeling incredibly cohesive. It still holds the massive pop hooks that has drawn so many fans to the band in the past, but a new more personal writing approach has allowed for the poppier elements of the band’s sound to come across as more organically. As Shortell points out “this record captures who the band is at this point in our lives. It’s like a tattoo, whenever we go back and listen to it in the future, it’ll evoke a vivid memory of who we were when we were writing it”. You can pre-order Fingers Crossed now and look for the band to be back on the road later this year.

Northern Faces fuse impossibly catchy hooks and melodies, unparalleled harmonies, blues-influenced instrumentation and a modern pop sensibility into a sound that feels both familiar and inherently unique. With over 6 million spins on Spotify and a performance history that includes shows and tours with a wide array of acts including The 1975, Royal Blood, Cage The Elephant, Awolnation, The Dear Hunter and X Ambassadors, Northern Faces are poised to take a well-deserved step forward into the mainstream with the release of the new record later this year. (Bryan Shortell)

Tracklist:
1. Settle Down (03:33)
2. Messin’ with Me (03:37)
3. When I’m with You (03:59)
4. All I Know (03:50)
5. Coming Back Around (03:09)
6. Renegade (03:25)
7. Firecracker (04:00)
8. Wildest Thing (03:41)
9. Find Your Mind (03:31)
10. Yesterday (04:53)

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Ólafur Arnalds has released his fourth solo LP, ‘re:member,’ through Mercury KX. Arnalds collaborated with Halldor Eldjarn on their very own piece of software; paired with instruments like the piano, it’s helped Arnalds create sounds that would have been otherwise impossible to make. But there’s also no shortage of rich, shimmering live strings and percussion to complement the existing electronics.

“This is my breaking out-of-a-shell album. It’s me taking the raw influences that I have from all these different musical genres and not filtering them. It explores the creative process and how one can manipulate that to get out of the circle of expectations and habit.”

Tracklist:
1. Ólafur Arnalds – re:member (06:04)
2. Ólafur Arnalds – unfold (03:58)
3. Ólafur Arnalds – saman (02:11)
4. Ólafur Arnalds – brot (02:54)
5. Ólafur Arnalds – inconsist (04:31)
6. Ólafur Arnalds – they sink (02:35)
7. Ólafur Arnalds – ypsilon (03:55)
8. Ólafur Arnalds – partial (03:16)
9. Ólafur Arnalds – momentary (02:05)
10. Ólafur Arnalds – undir (06:30)
11. Ólafur Arnalds – ekki hugsa (04:41)
12. Ólafur Arnalds – nyepi (04:14)

Personnel:
Olafur Arnalds, piano

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“The harpsichord is perfect as to it compass, and brilliant in itself, but as it is impossible to swell out or diminish the volume of its sound, I shall always feel grateful to any who, by the exercise of infinite art supported by fine taste, contrive to render this instrument capable of expression”, writes Couperin himself in the foreword to his 1713 Premier livre de pièces de clavecin. If we discount the ornamentations which litter the world, Couperin’s music is not a “virtuoso” music, as Scarlatti’s can be, for example. Sometimes taking on a descriptive style, or going in for imitation or portrait, it requires a singular sense of expression: that very “expression” that the composer talks about here. In Art de toucher le clavecin, Couperin offers us precious information on how to interpret and play his music in particular, and French music of the period in general; an artist who aims to respect Couperin’s intentions will find indispensable lessons here. That being said, a fear of stepping outside the bounds set by the author, and a too-minute attention to every detail could rob the works of their vitality and fluency. “As there is a great distance from grammar to declamation, so there is an infinitely greater one between the tablature and good playing style.” Or, in other words, freedom within limits! That is the attitude that Olivier Fortin brings to this fine range of works from the great Couperin, drawn from various of his Livres de clavecin and L’Art de toucher le clavecin. As for the instrument being played, it is a “real fake”, made in 1984 by the manufacturer Martin Skowroneck based on a Hemsch (that is, 18th century French), but signed with the name of the Rouen artistan Nicholas Lefebvre, none of whose instruments survive to the present day, and which was built in 1755. Skowroneck’s aim was to prove to Gustav Leonhardt that it was still possible to build a harpsichord that was perfectly identical to one of the old style, and it seems that Leonhardt was taken with his attempt. Even the material’s ageing was completely artificial! But it is no less of a splendid instrument for all that, and moreover, splendidly recorded, which is not all that common in the harpsichord repertoire.

Tracklist:
1. L’art de toucher le clavecin: Premier prélude en Do Majeur 01:07
2. Premier livre de pièces de clavevin, 3e ordre: La Lugubre, Sarabande 03:11
3. Quatrième livre de pièces de clavecin, 25e ordre: Les Ombres errantes 03:34
4. Premier livre de pièces de clavevin, 3e ordre: La lutine 02:12
5. L’art de toucher le clavecin: Second prélude en Ré Majeur 01:34
6. Quatrième livre de pièces de clavecin, 22e ordre: Les Tours de passe-passe 02:51
7. Premier livre de pièces de clavevin, 2e ordre: La garnier 04:20
8. Quatrième livre de pièces de clavecin, 22e ordre: Menuets croisés 02:09
9. L’art de toucher le clavecin: Huitième prélude en Mi Mineur 01:17
10. Troisième livre de pièces de clavecin, 17e ordre: Les timbres 03:27
11. Quatrième livre de pièces de clavecin, 11e ordre: La couperin 03:30
12. L’art de toucher le clavecin: Quatrième prélude en Fa majeur 01:39
13. Troisième livre de pièces de clavecin, 18e ordre: Le Tic-toc-choc ou les maillotins 02:44
14. Quatrième livre de pièces de clavecin, 23e ordre: L’arlequine 01:46
15. L’art de toucher le clavecin: Troisième prélude en sol mineur 01:00
16. Premier livre de pièces de clavevin, 1er ordre: L’enchanteresse 02:29
17. Quatrième livre de pièces de clavecin, 20e ordre: Les chérubins ou l’aimable lazure 03:13
18. L’art de toucher le clavecin: Cinquième prélude en La majeur 02:42
19. Second livre de pièces de clavecin, 9e ordre: La séduisante 03:13
20. Quatrième livre de pièces de clavecin, 26e ordre: La pantomime 04:21
21. L’art de toucher le clavecin: Septième prélude en si bémol majeur 02:34
22. Second livre de pièces de clavecin, 6e ordre: La bersan 03:02
23. L’art de toucher le clavecin: Sixième prélude en Si Mineur 02:08
24. Second livre de pièces de clavecin, 8e ordre: Allemande l’ausoniène 02:32
25. Second livre de pièces de clavecin, 8e ordre: Passacaille 07:09

Personnel:
Olivier Fortin, harpsichord

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Passenger is Mike Rosenberg, the Brighton-born singer/songwriter known for busking his way to the global hit “Let Her Go” which topped the charts in 19 countries. Produced by Rosenberg, along with longtime collaborator Chris Vallejo, the new album is largely inspired by the North American landscape and geography, both musically and lyrically, and taps into Rosenberg’s family roots in New Jersey. This brings a fresh new approach and sound, and speaks to the road going traveller in all of us.

Tracklist:
1. Hell Or High Water (03:41)
2. Why Can’t I Change (03:11)
3. Heart To Love (03:17)
4. Let’s Go (03:14)
5. He Leaves You Cold (03:21)
6. Ghost Town (05:13)
7. Runaway (03:10)
8. Eagle Bear Buffalo (03:24)
9. To Be Free (04:47)
10. Survivors (04:57)
11. Survivors (Live from Jedediah Smith Redwood State Park, CA) (04:42)
12. To Be Free (Live from Dauphin Rd, Vineland, NJ) (04:41)
13. Eagle Bear Buffalo (Live from Canaan Mountain Wilderness Area, UT) (03:27)
14. Runaway (Live from Joshua Tree National Park, CA) (03:22)
15. Ghost Town (Live from Michigan Theatre, Detroit, MI) (04:23)
16. He Leaves You Cold (Live from Unityville, PA) (03:23)
17. Let’s Go (Live from Trough Rd, State Bridge, CO) (02:49)
18. Heart To Love (Live from a Rooftop in Manhattan, NY) (03:16)
19. Why Can’t I Change (Live from Tahkenitch Landing Campground, Gardiner, OR) (03:15)
20. Hell Or High Water (Live from Santa Monica Beach, CA) (03:07)

Download:

https://subyshare.com/angkba9fv61z/PassengerRunawayDeluxe2018WEBFLAC2444.1.rar.html

Mike Rosenberg, aka Passenger, has announced that his new album, Whispers. Whispers is the follow up to 2012’s All The Little Lights, which featured the international hit single and 3x Platinum “Let Her Go.”

Recorded in Sydney and co-produced by Chris Vallejo, Whispers is comprised of 11 tracks that tell tales – some real, some imagined – of love, death, growing up and getting old. A master of story telling, Passenger yet again strikes the perfect balance between the heartbreaking and the humorous, all wrapped in beautiful instrumentation, creating a sumptuous, symphonic sound.

“This is easily the most ‘up’ album I’ve ever made,” explains Passenger. “It’s quite cinematic. There are lots of big stories and big ideas. There are also some somber moments about loneliness and death but, hey, it wouldn’t be a Passenger album without those. Mostly though, it’s a really positive album.”

Lead single “Scare Away The Dark,” which is already a fan favorite at live shows, presents listeners with a different side of Passenger than the one they’ve come to know from international smash single “Let Her Go.” It’s a riotous rant about technology taking over our lives, calling on listeners to seize the moment and embrace life. Though he didn’t realize it at the time, title track “Whispers” captures the chaos in Passenger’s head as “Let Her Go” began to snowball. “Heart’s On Fire” is the album’s grandest love song, starting sparse on finger picked guitar and building into a dramatic, passionate, strings-soaked plea to the person you can’t get out of your head.

The Deluxe 2-CD version includes a bonus disc featuring acoustic versions.

Recorded in Sydney, Australia.

Tracklist:
01 – Coins In A Fountain
02 – 27
03 – Heart’s On Fire
04 – Bullets
05 – Golden Leaves
06 – Thunder
07 – Rolling Stone
08 – Start A Fire
09 – Whispers
10 – Riding To New York
11 – Scare Away The Dark
12 – Heart’s On Fire (Acoustic)
13 – Coins In A Fountain (Acoustic)
14 – Riding To New York (Acoustic)
15 – Start A Fire (Acoustic)
16 – Golden Leaves (Acoustic)
17 – Rolling Stone (Acoustic)
18 – Whispers (Acoustic)

Download:

https://subyshare.com/ha7877yseu2r/PassengerWhispersDeluxeEditi0n2014HDTracks24441.rar.html

After sharing the stage with with artists including Smokey Robinson, Gino Vanelli, Bobby Caldwell, Gino Vannelli, Jeff Lorber, two time Grammy Winner Diane Schuur , Jack Black, Don Felder, Orianthi, Richie Sambora, and most recently Marc Broussard, saxophonist to the stars Patrick Lamb now releases a solo album “Soul Ties” his own release on his own label.

The last three singles have made top five on US Billboard so the new release is anticipated.

Tracklist:
01. Tailgate
02. Beauty and the Beast
03. Street Cred
04. Skypager
05. Moonchild
06. Darkroom
07. Lines Cross
08. Fearsome
09. Homebrew
10. Operator
11. Light It Up
12. Whatever Happens

Personnel:
Patrick Lamb, tenor saxophone, vocals
Tony Maiden, guitar
Lil John Roberts, drums
Alex Al (MJ), bass
Jeff Lorber, keyboards
Frank McComb, vocals

Download:

https://subyshare.com/r7f228yv27iv/PatrickLambS0ulTies20182444.1.rar.html

“Paul Carrack returns with a brand new studio album and is ready to reach new heights with ‘These Days.’

It’s Paul’s 17th album , a run that began way back in 1980, but which has been building real, independent momentum since he formed his own Carrack-UK label in 2000 with the landmark ‘Satisfy My Soul’ release.

Since the turn of the century, Paul has quietly built a huge, loyal fan base, the audience that not only devours his albums, but turns out to see his frequent, extensive tours in their thousands. He’s done that the only way he knows, by making high-quality, accessible pop-soul with unmissable hooks and lyrics that say something about all of our lives.

That’s more true than ever on ‘These Days.’ The album’s stunning line-up features Paul on keyboards and guitar and regular bandmate Jeremy Meek on bass, joined by Robbie McIntosh (Paul McCartney, Pretenders, Norah Jones, John Mayer) on lead guitar and drummer Steve Gadd, Paul’s Eric Clapton bandmate who has graced the work of everyone from Steely Dan to James Taylor.

As if their exemplary playing wasn’t enough, the album’s horn section is hand-picked and overseen by the mighty Pee Wee Ellis, the American saxophone ace who was an integral part of James Brown’s shows and records of the vintage ‘Cold Sweat’ era. Five tracks on ‘These Days’ have lyrics by Paul’s friend, former Squeeze bandmate and consummate wordsmith Chris Difford.”

Tracklist:
1. Amazing (04:01)
2. Life in a Bubble (04:37)
3. In the Cold Light of Day (02:55)
4. Dig Deep (04:16)
5. These Days (03:47)
6. You Make Me Feel Good (03:42)
7. Tell Somebody Who Cares (04:18)
8. Where Does the Time Go? (04:00)
9. Talk to Me (04:26)
10. Perfect Storm (04:04)
11. The Best I Could (03:55)

Personnel:
Paul Carrack, vocals, guitar, keyboards
Robbie McIntosh, guitar
Pee Wee Ellis, saxophone
Jeremy Meek, bass
Steve Gadd, drums

Download:

https://subyshare.com/x4zhyl84yuol/PaulCarrackTheseDays2018WEBFLAC2444.1.rar.html

As the saying goes, if you want something done right, you’d better do it yourself. This is why Paul Simon entrusted the cover of his own songs to… Paul Simon! Except that Art Garfunkel’s former accomplice completely reshapes his past tracks. Ten songs in total, forgotten for the most part, handpicked from his albums There Goes Rhymin’ Simon (1973), Still Crazy After All These Years (1975), One-Trick Pony (1980), Hearts and Bones (1983), The Rhythm of the Saints (1990), You’re the One (2000) andSo Beautiful or So What (2011). By re-orchestrating them as jazz − sometimes even classical − pieces (gone with his folk and world temptations!), he folds his art flat and demonstrates how timeless his compositions are. For such a refined stylistic exercise, Simon surrounded himself with musicians as legendary as himself. Wynton Marsalis’ trumpet, Bill Frisell’s guitar, Bryce Dessner’s (from The National) arrangements, Jack DeJohnette and Steve Gadd’s drums, Joe Lovano’s saxophone, young Sullivan Fortner’s piano as well as John Patitucci’s bass further reinforce the project. But beyond this star-loaded panel, In The Blue Light truly fascinates for its unusual melancholy. At 76 years old, Paul Simon hasn’t authored a legacy piece, but rather the work of a wise man who glances in the rear-view mirror with great originality. – Max Dembo

Tracklist:
1. One Man’s Ceiling Is Another Man’s Floor (04:00)
2. Love (04:10)
3. Can’t Run But (03:29)
4. How the Heart Approaches What It Yearns (04:30)
5. Pigs, Sheep and Wolves (04:00)
6. René and Georgette Magritte with Their Dog After the War (04:43)
7. The Teacher (03:44)
8. Darling Lorraine (07:13)
9. Some Folks’ Lives Roll Easy (03:59)
10. Questions for the Angels (04:01)

Personnel:
Paul Simon, vocal, guitars, harmonium, percussion
Joel Wenhardt, piano
Sullivan Fortner, piano
Jim Oblon, guitar
Bill Frisell, electric guitar
Wynton Marsalis, trumpet
CJ Camerieri, trumpet
Andy Snitzer, saxophone
Joe Lovano, saxophone
Marcus Printup, trumpet
Dan Block, clarinet
Walter Blanding, saxophone
Wycliffe Gordon, tuba
Chris Crenshaw, trombone
John Patitucci, bass
Renaud Garcia-Fons, bass
Steve Gadd, drums
Nate Smith, drums
Marion Felder, drums
Jack DeJohnette, drums
Herlin Riley, tambourine
Skip LaPlante, percussion

Produced by Paul Simon, Roy Halee

Download:

https://subyshare.com/h1m9jfcj6k4s/PaulSim0nIntheBlueLight20182496.rar.html

The pianist Wilhelm Kempff (1895-1991)belonged to that tradition of German musicians –notably including conductors such as Furtwangler, Klemperer and Walter – for whom composition hardly less essential a component of their musical personalities than performing, even if it was an activity they largely undertook privately. Working day to day with imperishable masterworks by Bach, Beethoven and Brahms, they did not expect to meet such standards, yet their own creative voices required an outlet through more than recreation of others. Left cold by the musical innovations and developments of their own time in the work of Schoenberg and Stravinsky, they wrote in a heightened Romantic idiom, and in genres –especially song and chamber music – which lay separately from their own professional activity as performers.

Both chamber works presented here date from Kempff’s youth. The Piano Trio was composed in 1911, when Kempff was 16, and bears a clear Brahmsian influence in thematic conduct and emotional landscape, through the guidance of Kempff’s teacher Robert Kahn, who had himself been a student of Brahms. The Quartet is scored for the more unusual combination of flute, violin, cello and piano. It dates from 1920, and was composed on the island of Capri during a period of recuperation from a serious illness which had laid him low during a concert tour of Sweden. Thus the second movement is based on a Swedish folk theme and the finale ends with a whirlin Tarantella di Taormina, in the tradition exemplified by Mendelssohn’s ‘Italian’Symphony of German musicians letting Italian sunshine into their work.

The Quartet is led by the flautist Ginevra Petrucci, who also contributes a booklet essay on Kempff’s career as a composer to the album. Now based in the US, Petrucci has made several well-received recordings for Brilliant Classics, among them Romantic-era concertos by Briccialdi (95767BR) and a ‘winning’ (MusicWeb International) album of chamber music by the Polish-US immigrant Robert Muczynski (95433BR).

Tracklist:
1. Quartet in G Major, Op. 15: I. Andante. Allegro 06:42
2. Quartet in G Major, Op. 15: II. Adagio con melancolia, semplice 10:41
3. Quartet in G Major, Op. 15: III. Menuet 04:36
4. Quartet in G Major, Op. 15: IV. Introduzione e finale 10:21
5. Trio in G Minor: I. Andante 06:32
6. Trio in G Minor: II. Presto 06:32
7. Trio in G Minor: III. Moderato 06:26
8. Trio in G Minor: IV. Vivace 07:20

Personnel:
Quartetto Raro:
Ginevra Petrucci, flute
Giovanni Auletta, piano
Lorenzo Fabiani, violin
Francesco Sorrentino, cello

Download:

https://subyshare.com/hmylzun520a2/Quartett0Rar0KempffChamberMusic20182444.1.rar.html

‘When we approach a composer, we like to immerse ourselves in his or her early works, in order to understand the evolution of the person behind the score.

‘It was quite naturally that the idea emerged of coupling a youthful quartet, no.10, composed at the age of sixteen, with a masterpiece by the mature Schubert, the “Death and the Maiden” Quartet no.14. As in the case of Mozart on our first recording, we wanted to present two different atmospheres with two quartets by the same composer.

‘This journey through time sheds a new light on the later works, because the process of getting to know the young Franz Schubert naturally means deepening our knowledge of his language, but also allows us to refine our appropriation of the style, sound and articulation specific to him. ‘In Quartet no.10, we tried to achieve purity in our playing, a crystalline sound that allows the music to unfold in the most fluid and natural way, keeping in mind the intimacy of the family living room for which these pages were written.

‘In no.14, more tormented, brusquer, more intense, we attempt to pay homage to the work’s symphonic dimension, and to its most sombre, most violent asperities. ‘Two sides to one man: the bright and dark faces of Schubert.’

Quatuor Van Kuijk

Tracklist:
1. String Quartet No. 10 in E-Flat Major, D. 87: I. Allegro moderato 06:30
2. String Quartet No. 10 in E-Flat Major, D.87: II. Scherzo. Prestissimo 02:00
3. String Quartet No. 10 in E-Flat Major, D.87: III. Adagio 05:47
4. String Quartet No. 10 in E-Flat Major, D.87: IV. Allegro 07:30
5. String Quartet No. 14 in D Minor, D.810 “Death and the Maiden”: I. Allegro 11:15
6. String Quartet No. 14 in D Minor, D.810 “Death and the Maiden”: II. Andante con moto 13:01
7. String Quartet No. 14 in D Minor, D.810 “Death and the Maiden”: III. Scherzo (Allegro – Trio) 04:09
8. String Quartet No. 14 in D Minor, D.810 “Death and the Maiden”: IV. Presto – Prestissimo 08:56

Download:

https://subyshare.com/q7s0n9vzxr8v/Quatu0rVanKuijkSchubertQuartetsN0s.1014DeathandtheMaiden201824192.part1.rar.html
https://subyshare.com/vic3mauzqovb/Quatu0rVanKuijkSchubertQuartetsN0s.1014DeathandtheMaiden201824192.part2.rar.html
https://subyshare.com/402e6t1joygt/Quatu0rVanKuijkSchubertQuartetsN0s.1014DeathandtheMaiden201824192.part3.rar.html

Netherlands Philharmonic Orchestra, Marc Albrecht – R. Strauss: Ein Heldenleben & Burleske (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:44 minutes | 1,1 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © PentaTone

While starting his career adhering to Brahms’ “absolute” or “formalist” compositional approach, Richard Strauss rapidly turned into a staunch supporter of Wagner’s Zukunftsmusik, writing a series of iconoclast symphonic poems full of metaphysical allusions. This album features both sides of Strauss’s musical persona with the Burleske in D minor as well as Ein Heldenleben. While the former is a playful, miniature quasi concerto for piano and orchestra, the latter epitomises Strauss’s symphonic style: majestic, virtuosically orchestrated, full of grand ideas, but never without irony. In that respect, Ein Heldenleben has more in common with Burleske than one would expect. Strauss’ arguably satirical self-identification with the hero of his symphonic poem is underlined by recurrent self-quotations from previous compositions. The central role of the solo violin makes it another solo concerto in disguise, albeit less overtly than Burleske.

These two remarkable pieces are performed by the Netherlands Philharmonic Orchestra and their chief conductor Marc Albrecht, with Denis Kozhukhin delivering the solo piano part in Burleske. All have an impressive track record at PENTATONE. Albrecht and the Netherlands Philharmonic Orchestra have released acclaimed albums such as Mahler Song Cycles with Alice Coote (2017) and Mahler’s Symphony No. 4 with Elizabeth Watts (2015). Kozhukhin has recorded piano concertos by Ravel and Gershwin (2018) as well as Tchaikovsky and Grieg (2016), and has been extensively praised for his Brahms Ballads & Fantasies solo album (2017).

Tracklist:
1. Denis Kozhukhin, Burleske in D Minor, TrV 145 (20:02)
2. Ein Heldenleben, Op. 40, TrV 190: No. 1, Der Held (04:07)
3. Ein Heldenleben, Op. 40, TrV 190: No. 2, Des Helden Widersacher (03:14)
4. Ein Heldenleben, Op. 40, TrV 190: No. 3, Des Helden Gefährtin (12:35)
5. Ein Heldenleben, Op. 40, TrV 190: No. 4, Des Helden Walstatt (06:49)
6. Ein Heldenleben, Op. 40, TrV 190: No. 5, Des Helden Friedenswerke (06:08)
7. Ein Heldenleben, Op. 40, TrV 190: No. 6, Des Helden Weltflucht und Vollendung (11:49)

Personnel:
Denis Kozhukhin, piano
Netherlands Philharmonic Orchestra
Marc Albrecht, conductor

Download:

https://subyshare.com/yly6poa8oopc/R.StraussEinHeldenlebenBurleske2018WEBFLAC2496.part1.rar.html
https://subyshare.com/pr18y3zb36j9/R.StraussEinHeldenlebenBurleske2018WEBFLAC2496.part2.rar.html

Munchner Philharmoniker – Tchaikovsky: Rococo Variations (2018) [Official Digital Download 24bit/96kHz]

Sasha Rozhdestvensky & Viktoria Postnikova – Myaskovsky, Shebalin & Nechaev: Violin Sonatas (2018) [Official Digital Download 24bit/96kHz]

Nadine Sierra – There’s a Place for Us (2018) [Official Digital Download 24bit/96kHz]

Nashville Pussy – Pleased to Eat You (2018) [Official Digital Download 24bit/96kHz]

Neil & Liam Finn – Lightsleeper (2018) [Official Digital Download 24bit/44,1kHz]

NES – Ahlam (2018) [Official Digital Download 24bit/88,2kHz]

Nick Mason – Nick Mason’s Fictitious Sports (1981/2018) [Official Digital Download 24bit/192kHz]

Nick Mason & Rick Fenn – Profiles (1985/2018) [Official Digital Download 24bit/44,1kHz]

Norrkoping Symphony Orchestra & Jeff Beal – Jeff Beal: House of Cards Symphony (2018) [Official Digital Download 24bit/96kHz]

Northern Faces – Fingers Crossed (2018) [Official Digital Download 24bit/96kHz]

Olafur Arnalds – re:member (2018) [Official Digital Download 24bit/96kHz]

Olivier Fortin – Couperin: L’art de toucher le clavecin (2018) [Official Digital Download 24bit/96kHz]

Passenger – Runaway (Deluxe) (2018) Official Digital Download 24bit/44,1kHz]

Passenger – Whispers {Deluxe Edition} (2014) [Official Digital Download 24bit/44,1kHz]

Patrick Lamb – Soul Ties (2018) [Official Digital Download 24bit/44,1kHz]

Paul Carrack – These Days (2018) [Official Digital Download 24bit/44,1kHz]

Paul Simon – In the Blue Light (2018) [Official Digital Download 24bit/96kHz]

Quartetto Raro – Kempff: Chamber Music (2018) [Official Digital Download 24bit/44,1kHz]

Quatuor Van Kuijk – Schubert: Quartets Nos. 10 & 14 "Death and the Maiden" (2018) [Official Digital Download 24bit/192kHz]

Netherlands Philharmonic Orchestra, Marc Albrecht – R. Strauss: Ein Heldenleben & Burleske (2018) [Official Digital Download 24bit/96kHz]