Marla Glen – Unexpected (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 58:09 minutes | 707 MB | Genre: R&B
Studio Masters, Official Digital Download | Front Cover | © Mohr Publishing Ltd.

What Marla Glen, the singer with a voice of driest sand and rawest iron, that singer who rather likes to be called ‘Sir Glen’ or ‘The Glen’ offers us with his seventh full-length-release, truly bursts with variety and is beyond prediction like never before – what we could simply call ‘soul’ at first sight seems to come from every part of the body and every part of the world. Uncompromising and supported by exciting arrangements and sheer virtuosity, Marla Glen fires gem after gem at the audience on this new record.

Tracklist:
1. No Reasons (4:47)
2. I Pity the Fool (4:12)
3. Steppin’ Up (3:24)
4. Who’s the Blame (4:14)
5. Prove All Your Lovin’ (4:34)
6. Ordinary (4:52)
7. Groove That Thang (4:34)
8. Hey (4:11)
9. 1 0N 1 (4:02)
10. Smoking Joking Laughing (2:19)
11. Hoarderers (4:59)
12. I Don’t Care (3:22)
13. What Time Is It Till Love (4:18)
14. Forever and Ever (4:28)

Download:

https://subyshare.com/5hxikbbyi3j5/MarlaGlenUnexpected202024441.rar.html

Marshall Crenshaw – Miracle of Science (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 55:10 minutes | 1,17 GB | Genre: Alternative, Indie
Studio Masters, Official Digital Download | Front Cover | © MRI

Released in 1996, Miracle of Science was the seventh studio album from Marshall Crenshaw. He chose to solely produce the album and play many of the instruments himself.

“Crenshaw’s first studio effort for the indie Razor & Tie imprint also marks a return to his earlier, stripped-down approach of his debut album. Playing most of the instruments himself (including drums), there’s a far more organic feel to the tunes presented here than his last major-label efforts. In addition to solid Crenshaw pop originals like “What Do You Dream Of?,” “Laughter,” and “Starless Summer Sky,” his takes on Dobie Gray’s “The ‘In’ Crowd” and the countryish “Who Stole That Train” also show him as always to be a prime interpreter of other folks’ great songs as well.” – Cub Koda, AllMusic

Tracklist:
1. (Soundbite) (0:11)
2. What Do You Dream Of (3:28)
3. Who Stole That Train (3:48)
4. Only an Hour Ago (4:20)
5. Theme from Flaregun (4:51)
6. Laughter (4:42)
7. A Wondrous Place (2:44)
8. Twenty-Five Forty-One (3:24)
9. Starless Summer Sky (3:23)
10. The in Crowd (3:39)
11. There & Back Again (5:10)
12. Rouh Na Selim Neves (4:29)
13. Seven Miles an Hour (4:30)
14. What the Hell I Got (3:39)
15. Misty Dreamer (3:00)

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https://subyshare.com/igh3ogcdul2d/MarshallCrenshawMiracle0fScience20202496.part2.rar.html

Martina Filjak – Light & Darkness (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:17:07 minutes | 614 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Profil

Franz Liszt’s religious compositions for piano solo.

Martina Filjak, one of the most exciting artists of recent years, is internationally praised for her poetic passion and technical mastery of the keys. With the gold medal, the 1st prize of the Cleveland International Piano Competition 2009, she attracted international attention. She has performed with renowned orchestras such as the Cleveland Orchestra, the Deutsche Radio Philharmonie Saarbrücken Kaiserslautern, the Staatskapelle Weimar, the Orchestre Philharmonique de Strasbourg, the Orchestra Sinfonica di Milano Giuseppe Verdi, the Orquesta Sinfónica de Barcelona and the Japan Century Orchestra. Martina Filjak, who lives in Berlin, speaks seven languages. Artistically she is at home all over the world.

Tracklist:
01. Harmonies poétiques et religieuses III, S. 173 (Excerpts): No. 8, Miserere d’après Palestrina (3:47)
02. Ballade No. 2 in B Minor, S. 171 (16:25)
03. 2 Légendes, S. 175 (Version for Solo Piano): No. 1, St François d’Assise [La prédication aux oiseaux] (10:52)
04. 2 Légendes, S. 175 (Version for Solo Piano): No. 2, St François de Paule [Marchant sur les flots] (8:43)
05. Harmonies poétiques et religieuses III, S. 173 (Excerpts): No. 3, Bénédiction de Dieu dans la solitude (20:18)
06. Réminiscences de “Lucia di Lammermoor”, Op. 13, S. 397 (6:17)
07. Grande paraphrase de la marche de Donizetti pour le Sultan Abdul-Medjid Khan, S. 403 (7:26)
08. Für Alina (2:23)

Download:

https://subyshare.com/gjd7zsywk6oo/MartinaFiljakLightDarkness20202448.rar.html

Mary Bevan & Joseph Middleton – The Divine Muse (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:35 minutes | 0,99 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Signum Records

After the success of their debut disc, ‘Voyages’, Mary Bevan and Joseph Middleton present their second recital disc exploring Lieder in German and Italian by Schubert, Haydn and Wolf. The programme is woven around songs inspired by the ‘muses’ of the day, both mythological and divine.

It begins with Schubert’s dramatic and reverential settings of sacred German poetry, set alongside his lush emotional portrayals of female characters in the Italian settings.

The central section of the disc is then devoted to Haydn’s epic ‘scena’ depicting the famously cruel abandonment of Arianna by her lover Teseo, ‘Arianna a Naxos’. Haydn’s beautiful prayer ‘Geistliches Lied’ takes us back into the world of German poetry and the religious fervour that arose from the collective belief in Christianity which pervaded most art forms of the age.

The disc then moves into works by Hugo Wolf, whose stunning settings of devotional texts take the listener right to the heart of the characters; a few of these songs were in fact inspired by paintings. The early moments of Jesus Christ’s life are vividly portrayed here, particularly in songs such as ‘Die ihr Schwebet’, ‘Auf ein Altes Bild’ and ‘Schlafendes Jesuskind’, while the haunting ‘Gesang Weylas’ invites the listener into the world of the mysterious goddes Weyla who wistfully dreams of the shores of her distant homeland. From Ganymed to Christ, Dido to the Virgin Mary, Arianna to St Peter, this recital disc richly illustrates the lives and events surrounding the ‘divine muses’ who inspired these composers.

Tracklist:
01. Vedi, quanto adoro ingrato, D. 510 (4:30)
02. Son fra l’onde, D.78 (1:48)
03. Die Götter Griechenlands, D.677 (4:07)
04. Goethe Lieder: No. 50. Ganymed (5:26)
05. Mörike Lieder: No. 27. Zum neuen Jahr (1:51)
06. Mörike Lieder: No. 22. Seufzer (2:35)
07. Mörike Lieder: No. 28. Gebet (2:38)
08. Mörike Lieder: No. 46: Gesang Weylas (1:44)
09. Ganymed, D.544 (4:07)
10. Arianna a Naxos: I. Largo e sostenuto (4:55)
11. Arianna a Naxos: II. Aria (Dove sei) (4:16)
12. Arianna a Naxos: III. Andante (Poco da me lontano) (3:20)
13. Arianna a Naxos: IV. Aria (Ah, che morir vorrei) (3:59)
14. Geistliches Lied (3:33)
15. Gott im Frühlinge, D.448 (1:58)
16. Marie, D.658 (1:31)
17. Alte Weisen: No. 6: Wie glänzt der helle Mond (3:42)
18. Mörike Lieder: No. 23. Auf ein altes Bild (2:27)
19. Spanisches Liederbuch: No. 4. Die ihr schwebet (2:43)
20. Mörike Lieder: No. 25 Schlafendes Jesuskind (3:37)

Personnel:
Mary Bevan (soprano)
oseph Middleton (piano)

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Matija Dedic – Influences (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 52:56 minutes | 601 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Alliance Records

For many professional musicians, often a moment in time or an influential person that sets the path for one to take a leap into the long desire and urge to take their craft as serious as need to be to become that musician they so desire. For Croatian pianist Matija Dedic, that moment, that person was his father, Arsen Dedic. It was Arsen’s influence and encouragement that made Matija take that step and it was his gift of a recording of Keith Jarrett’s Koln Concert that put Matija on the path to creative and jazz music. And so it makes perfect sense that after the passing of Arsen, Matija would set out to dedicate a very special set of tunes to the memory of his father. This album, Dedicated, is just that; a dedication to Matija’s father who had recently passed and in turn, inspired this collection of music to remember his father and the importance he played in his life, career, and motivation to be here now-in the now as displayed by his mastery of the piano and the music created in his body and soul.​

Though, not necessarily a common jazz-household name in the United States, Matija Dedic has been a dominating figure in the jazz and popular music scene in Croatia and throughout Europe for over 20 years. He has shared the stage and/or recorded with an array of current trendsetters in the world of jazz and creative music including folks like John Hollenbeck, Buster Williams, Alvin Queen, and Martin Drew to name a few. On his last three trio records, he was supported by powerhouse rhythm sections of Larry Grenadier and Jeff Ballard, Kendrick Scott and Vicente Archer, and Scott Colley and Antonio Sanchez. A short list of engagements had him in Turkey, Spain, Austria, Sweden, England, Brasil, USA, and more. As a leader, he has released records on Blue Bamboo, Origin, Dallas and Workin’ labels. Most recently he was featured at the Buenos Aires International Jazz Festival where ears&eyes Records director Matthew Golombisky and Matija grabbed a couple cups of coffee and rapped the jazz scenes in Eastern Europe, Buenos Aires and various cities in the US while also getting really excited about this current release.

Tracklist:
1. Intro #11 (3:39)
2. Written Long Time Ago (6:23)
3. Breathe (4:14)
4. One Two Five (1:35)
5. Looking For An Answer (6:23)
6. Avivo (2:44)
7. Influence (5:09)
8. Just Drive (3:06)
9. Gimme That Luv (4:04)
10. Find The Modus (4:46)
11. Final Destination (6:12)
12. Coda (4:46)

Personnel:
Matija Dedic, piano
Manu Katche, drums
Thomas Bramerie, double bass

Download:

https://subyshare.com/mcp78k1zf79g/MatijaDedicInfluences20192448.rar.html

Matt Haimovitz, Devon Guthrie, Nancy Anderson, Elise Quagliata – Luna Pearl Woolf: Fire and Flood (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:15:22 minutes | 1,41 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PentaTone

From a deeply stirring Mass to hauntingly re-imagined Leonard Cohen masterpieces, “Luna Pearl Woolf: Fire and Flood” encompasses 25 years of vocal works by composer Luna Pearl Woolf, as performed by the Choir of Trinity Wall Street, cellist Matt Haimovitz, and more, conducted by Julian Wachner. In her penetrating album notes, New York Times contributing writer Corinna Da Fonseca-Wollheim comments, “Luna Pearl Woolf trains a zoom lens on the collective experience, sometimes plunging us right into the midst of destruction and anarchy only to pull back, in one swoop, to a clear-eyed plane of compassion”.

These arresting works include her frequently-performed cello-choir concerto, Après moi, le deluge, which emerges from the tragic aftermath of Hurricane Katrina; and the dramatic, low-voiced To the Fire, with its prophetic, Old Testament text. In One to One to One, “three female singers reflect and refract the male gaze in an uproar of vocal virtuosity” (Da Fonseca-Wollheim); while Missa in Fines Orbis Terrae journeys to the ends of the earth in search of revelation, mercy, peace. Finally, two inventive arrangements for three voices and cello create a kaleidoscopic expansion of colors and timbres in Cohen’s ironic Everybody Knows and foreboding Who By Fire. Noted among a new generation of politically conscious and artistically progressive composers, Woolf has been heard widely across North America and in Europe. Her music is praised by The New York Times for its “psychological nuances and emotional depth”.

Tracklist:

01. To the Fire
02. Après moi, le déluge: I. Noah. The Lord Has Raised a Mighty Wind
03. Après moi, le déluge: II. Deep in the Water, Too Deep for Tears
04. Après moi, le déluge: III. Gone Away and Left Us, Lord
05. Après moi, le déluge: IV. Lord, I’m Goin’ Down in Louisiana
06. Everybody Knows (Arr. L.P. Woolf)
07. Missa in Fines Orbis Terrae: I. Kyrie
08. Missa in Fines Orbis Terrae: II. Sanctus and Benedictus
09. Missa in Fines Orbis Terrae: III. Agnus Dei
10. One to One to One: I. —
11. One to One to One: II. —
12. One to One to One: III. —
13. One to One to One: IV. —
14. One to One to One: V. —
15. One to One to One: VI. —
16. Who by Fire (Arr. L.P. Woolf)

Download:

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Maurizio Pollini – Beethoven: The Last Three Sonatas, Opp. 109-111 (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 56:00 minutes | 826 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)

Maurizio Pollini revisits Beethoven’s final three sonatas (Op. 109 to 111), forty years after recording the very same score for the first time, a score which sees the composer elevate the genre to dizzying levels of expertise. The Italian pianist explains that ever since January 1977 (the first time he recorded No. 32, Nos. 30 and 31 dating even further back to June 1975), he has continuously discovered an infinite number of details within the material and the structure over the course of the multiple times he has performed the three sonatas. Beethoven strays away from the conventions of the traditional sonata with these, something he had been doing since his Opus 27 (Quasi una fantasia, Moonlight), inserting various astonishing shapes. Thus, variation (Op. 109, Arietta of the Op. 111) and fugue (Op. 110, after that of the Opus 101) assume an innovative importance here, much like other unrestricted episodes where Beethoven appears to be expressing very personal emotions, initiating the Romantic era, where subjectivity reigns over structure. Recorded in concert, Maurizio Pollini brings a surprising amount of urgency (Op. 109) and lyricism (Op. 110) to this release that ensures its place as one of the best Pollini recitals in recent years (Beethoven, Debussy, Chopin). A must-listen. – Pierre-Yves Lascar

Tracklist:
1. Piano Sonata No. 30 in E Major, Op. 109 : 1. Vivace, ma non troppo – Adagio espressivo (3:20)
2. Piano Sonata No. 30 in E Major, Op. 109 : 2. Prestissimo (2:15)
3. Piano Sonata No. 30 in E Major, Op. 109 : 3a. Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo) (1:50)
4. Piano Sonata No. 30 in E Major, Op. 109 : 3b. Variation I: Molto espressivo (1:35)
5. Piano Sonata No. 30 in E Major, Op. 109 : 3c. Variation II: Leggiermente (1:27)
6. Piano Sonata No. 30 in E Major, Op. 109 : 3d. Variation III: Allegro vivace (0:25)
7. Piano Sonata No. 30 in E Major, Op. 109 : 3e. Variation IV: Etwas langsamer als das Thema (2:08)
8. Piano Sonata No. 30 in E Major, Op. 109 : 3f. Variation V: Allegro, ma non troppo (0:50)
9. Piano Sonata No. 30 in E Major, Op. 109 : 3g. Variation VI: Tempo I del tema (2:55)
10. Piano Sonata No. 31 in A-Flat Major, Op. 110 : 1. Moderato cantabile molto espressivo (5:28)
11. Piano Sonata No. 31 in A-Flat Major, Op. 110 : 2. Allegro molto (1:53)
12. Piano Sonata No. 31 in A-Flat Major, Op. 110 : 3a. Adagio ma non troppo (3:11)
13. Piano Sonata No. 31 in A-Flat Major, Op. 110 : 3b. Fuga (Allegro ma non troppo) (6:05)
14. Piano Sonata No. 32 in C Minor, Op. 111 : 1. Maestoso – Allegro con brio ed appassionato (7:40)
15. Piano Sonata No. 32 in C Minor, Op. 111 : 2a. Arietta. Adagio molto semplice e cantabile (2:14)
16. Piano Sonata No. 32 in C Minor, Op. 111 : 2b. Variation I (1:49)
17. Piano Sonata No. 32 in C Minor, Op. 111 : 2c. Variation II (1:48)
18. Piano Sonata No. 32 in C Minor, Op. 111 : 2d. Variation III (1:50)
19. Piano Sonata No. 32 in C Minor, Op. 111 : 2e. Variation IV (4:17)
20. Piano Sonata No. 32 in C Minor, Op. 111 : 2f. Variation V (3:10)

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Maya Fridman – REIÐ (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 50:01 minutes | 848 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © TRPTK

“In the middle of the journey of our life, I found myself within a dark woods where the straight way was lost” – Dante Alighieri, Inferno

As much as I try to find the right words to describe the intention behind this album, I repeatedly come to a dead end.

It is as if I go for a walk in a deep forest: one part of me wants to get lost in the unknown territory, while the other lingers on the familiar. By trying to make meaning of the world around me, I search for compositions that reflect something eternal, irresistible to change and corruption. Reið means this journey, and the feeling that one world dies somewhere, and a new one emerges with every blink of my eyes.

Tracklist:
01. Light Is Calling (7:12)
02. Reið – Hagall – Bjarkan (7:12)
03. Hell I (5:05)
04. Wake Up … And Die (17:00)
05. Heroin (10:42)

Download:

https://subyshare.com/q0t1619xhdwp/MayaFridmanREI20192496.rar.html

Melba Moore – The Day I Turned To You: Remastered (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 46:18 minutes | 559 MB | Genre: Soul
Studio Masters, Official Digital Download | Front Cover | © Hitman Records

Originally recorded and released in March 2002, this is a collection of 10 digitally remastered songs from the Grammy-nominated singer Melba Moore.

Officially sanctioned by Melba, who will be promoting the album during her 2020 tour.

Includes the track Call Me which features a duet with Shirley Murdock.

Melba Moore is an American prolific five-octave, four Grammy-nominated Singer and Tony Award-winning actress, most famous for her hits Lean On Me,This Is It,You Stepped Into My Life,Love’s Comin’ At Ya, Livin’ For Your Love,Falling and A Little Bit More.

Moore entered show business when she replaced Diane Keaton in the original Broadway production of Hair (1968), the first time an African American took over for a white entertainer on Broadway. By the age of 25, she had won a Tony Award for her work in the musical Purlie (1970). In 1975, alongside her then-husband Charles Huggins, Moore formed Hush Productions and signed R&B artist Freddie Jackson. That same year, she released her Grammy-nominated, debut album entitled Peach Melba. She has appeared on Broadway in Les Miserables (1996), and released the album Happy Together (1996).

Tracklist:
1. I’m Still Here (4:05)
2. Praise Yah! (4:15)
3. Champions (4:12)
4. Call Me (4:55)
5. The Other Side of the Rainbow (5:40)
6. Rise My Sister (4:54)
7. The Day I Turned To You (5:12)
8. Lamb of God (3:32)
9. Master and Friend (5:39)
10. Lift Every Voice (4:00)

Download:

https://subyshare.com/htg84l5tknac/MelbaM00reTheDayITurnedT0Y0uRemastered201924441.rar.html

Michael Malarkey – Graveracer (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 47:16 minutes | 516 MB | Genre: Country
Studio Masters, Official Digital Download | Front Cover | © Cap On Cat

Michael Malarkey returns with his ‘Indie-laden Americana’ (Alt Press) second album ‘Graveracer’ since ‘Mongrels’ (2017). Graveracer tells stories that give us hell and gives us hope. First single ‘Graveracer’ is ‘reflective without nostalgia, forward-thinking without urgency, deeply rooted in the present: a raw vignette, a portrait of one human as a work in progress, as we all are.’

Malarkey has simultaneously cultivated a body of music that is establishing him as a distinctive and captivating crossover talent, winning over audiences in both the music and acting arenas. With most the past 4 years spent on the road, in front of a camera or holed up in the studio recording, 2020 will see the full unveiling of the Musician but will certainly not be the supressing of the actor, that beast is still to be tamed.

‘A portrait of what it means to be human’ (Billboard)

Tracklist:
1. Graveracer (4:52)
2. Shake The Shiver (4:11)
3. Sea Of Red (2:45)
4. Damage Me Deeply (4:58)
5. Tripped Out Of Heaven (4:17)
6. Pale Blue Heart (4:23)
7. Love Is Not A Thing To Burn (4:35)
8. No Good To No-one Now (5:27)
9. In Love And Death (6:47)
10. Bad’s Been Good To Me (5:06)

Download:

https://subyshare.com/7eh21nek9hc4/MichaelMalarkeyGraveracer202024441.rar.html

Michael Wolff – Bounce (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 50:07 minutes | 948 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Sunnyside

Acclaimed jazz pianist Michael Wolff has confirmed a February 7th, 2020 release date for his joyful new album, ‘Bounce’. Exuberant, beautiful and able to convey a range of emotions, ‘Bounce’ reflects Wolff’s upbeat state of mind following his ‘miraculous’ recovery from aggressive cancer. He comments, “Isn’t it great to be alive? I’m celebrating life every day. This album is dedicated to that celebration. Come Bounce with us!!!!!! I have the good fortune to play with these fantastic musicians: Ben Allison on bass and Allan Mednard on drums. Their playing, ideas and vibes imbue this music with creativity and soul. It’s really a listenable album. I thought about what I’d like to listen to at home, and tried to make that album.”

‘Bounce’ will be released by Sunnyside Records, and features an engaging range of songs, including the aptly named ‘Cool Kids’, written by Wolff’s son Nat (and featuring Nat on lead vocals as well). Other tracks evoke ‘West Side Story’ or nods to the Great American Songbook. Album highlights include the memorable title track, the lovely ballad ‘Long Lost’, the strong ‘Caribbean Rain Dance’ and ‘Omar Sharif’ by David Yazbek, from THE BAND’S VISIT musical. In all, the album is mostly original compositions by Wolff, a tune by Ben Allison, and two covers: ‘Omar Sharif’ and the standard, ‘You and The Night and The Music’.

Wolff notes, “‘Bounce’ is filled with music like the music I grew up listening to and playing. It transcends jazz and it feels like the best album I’ve ever made. It also comes at such a perfect time for me. It expresses my inner soul and the joy of living and making music. It’s the most important release of my life.”

The upcoming album and new tour dates mark a fresh start for Wolff, following his recent recovery from cancer. He comments, “I’m so happy to be back playing and recording and feeling well again. It’s been a monstrous journey, which I wouldn’t wish on my worst enemy. But the outcome is miraculous.”

Tracklist:
1. Bounce (4:07)
2. Chill (3:56)
3. Caribbean Rain Dance (6:10)
4. Long Lost (5:08)
5. Resuscitate (6:06)
6. Cool Kids (4:33)
7. You and The Night and The Music (3:58)
8. Milton (5:29)
9. Picasso (5:06)
10. Omar Sharif (5:39)

Personnel:
Michael Wolff – piano
Ben Allison – bass
Allan Mednard – drums

Download:

https://subyshare.com/b7bb6s7hl3ai/MichaelW0lffB0unce20202496.rar.html

Miklós Spányi – C.P.E. Bach: The Solo Keyboard Music, Vol. 39 (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:20:10 minutes | 1,58 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BIS

On this amply filled album, Carl Philipp Emanuel Bach’s Clavierstücke verschiedener Art (“Keyboard Pieces of various Kinds”) is presented in its entirety, with the exception of three songs for voice and keyboard. This collection is the most diverse of Bach’s publications and includes multi-movement genres, a free fantasia, a learned fugue, and various short pieces of varying degrees of difficulty. The variety suggests that Bach did not want for his keyboard music to be strictly divided into ‘light’ and ‘serious’ pieces. But he also wished to demonstrate a wide range of techniques of keyboard composition and performance: orchestral writing in the symphony and the concerto, two-part textures in the sonata, polyphony in the fugue, and free and virtuosic composition in the fantasias and solfeggios.

In order to bring a similar variety to his recording of the collection, Miklós Spányi has chosen to perform the pieces on a harpsichord built after the Antwerp maker Joannes Daniel Dulcken. To this double-manual harpsichord offering a wide range of possible registrations, Spányi has added a so-called swell device which facilitates quick dynamic changes. This makes it possible to bring out the contrasts between orchestral and soloistic textures in the Concerto in C major, but also to highlight the different characters in the contrasting pairs of Minuets.

Tracklist:
01. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 1a, Concerto in C Major. I. Allegro (9:13)
02. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 1b, Concerto in C Major. II. Largo (7:28)
03. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 1c, Concerto in C Major. III. Allegro (6:37)
04. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 2, Fantasia in D Major (0:40)
05. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 3, Minuets I & II in D Major (2:42)
06. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 4, Solfeggio in G Major (0:52)
07. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 5, Alla polacca in A Minor (1:40)
08. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 7a, Sonata in D Minor. I. Allegretto (7:03)
09. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 7b, Sonata in D Minor. II. Poco adagio e mesto (2:47)
10. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 7c, Sonata in D Minor. III. Allegro assai (4:31)
11. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 8, Fantasia in B-Flat Major (1:06)
12. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 9, Minuets I & II in D Major (2:49)
13. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 10, Solfeggio in C Major (1:09)
14. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 11, Alla polacca in G Minor (1:50)
15. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 13a, Symphony in G Major. I. Allegro di molto (5:00)
16. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 13b, Symphony in G Major. II. Largo (4:45)
17. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 13c, Symphony in G Major. III. Allegro assai (4:45)
18. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 15, Fantasia in F Major (3:09)
19. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 16, Minuets I & II in A Major (2:54)
20. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 17, Alla polacca in D Major (1:42)
21. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 18, Solfeggio in G Major (2:20)
22. Clavierstücke verschiedener Art, Wq. 112 (Keyboard Excerpts): No. 19, Fugue in G Minor (5:20)

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Miles Davis – Music From and Inspired by The Film Birth Of The Cool (Remastered) (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:19:31 minutes | 880 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy

The definitive audio companion to the critically-acclaimed new documentary directed and produced by Stanley Nelson, the soundtrack is an essential Miles Davis playlist for seasoned fans and new listeners alike, lovingly curated by the director and paired with short audio excerpts from the film for a unique listening experience. It brings together recordings and performances spanning labels and the artist’s musical evolution–from “Donna Lee” (a 1947 Savoy master take with legendary alto saxophonist Charlie Parker) to “Moon Dreams” from the groundbreaking 1949 Capitol sessions that were ultimately collected on the album Birth Of The Cool, through the seminal 1950s pieces for Columbia that revolutionized the worlds of jazz and popular music (including “Generique,” Miles’ improvised soundtrack to Louis Malle’s “Elevator to the Gallows” as well as tracks from Miles Ahead and, of course the most popular jazz album of all time, Kind of Blue). The album also highlights Miles’s evolution in the 1960s with tracks from Sketches of Spain and Someday My Prince Will Come to his iconoclastic invention of electric jazz/fusion (exemplified in a 45rpm single edit of “Miles Runs the Voodoo Down” from Bitches Brew). Finally it documents his triumphant mid 1980s comeback (1986 s “Tutu”), while premiering a brand-new track, “Hail To The Real Chief.” The new track features unreleased Miles Davis studio trumpet performances combined with music written by Lenny White, produced by White and Vince Wilburn, Jr and featuring an all-star collection of Miles band alumni and acolytes including White, Wilburn, Marcus Miller, Emilio Modeste, Jeremy Pelt, Antoine Roney, John Scofield, Bernard Wright, and Quinton Zoto.

For hardcore Miles Davis fans, the interest of this album Miles Davis: Birth of the Cool will primarily lie in the 28th track, a previously unreleased song Hail To The Real Chief. For everybody else, this is the soundtrack to the documentary that filmmaker Stanley Nelson dedicated to the most famous jazz legend, a sort of ‘best of’ compilation interspersed with work from other musicians that have worked with him in the past… It’s difficult to encapsulate the art of his genius in a single opus, but novices to Davis’ work (if there are any left) can start their homework with this selection which goes from Donna Lee with Charlie Parker (1947) to Tutu with Marcus Miller (1986), via staples like ’Round Midnight (1957), Ascenseur pour l’échafaud (1958), So What (1959), Someday My Prince Will Come (1961) and Footprints (1967). Produced by Lenny White and Vince Wilburn Jr., this funky original work blends parts written by Miles with music written by White and interpreted by Bernard Wright (keyboard), Marcus Miller (bass), John Schofield (guitar), Lenny White (synth), Jeremy Pelt (trumpet), Vince Wilburn Jr. (drums), Quintin Zoto (guitar), Emilio Modeste (saxophone) and Antoine Roney (saxophone). – Clotilde Maréchal

Tracklist:
01. Commentary: Herbie Hancock, Jimmy Heath (0:23)
02. Milestones (5:42)
03. Commentary: Greg Tate (0:20)
04. Donna Lee (2:32)
05. Commentary: Ashley Kahn, Symphony Sid Introduction (0:37)
06. Moon Dreams (3:17)
07. Commentary: George Wein (0:29)
08. Round Midnight (5:55)
09. Commentary: Carlos Santana (0:20)
10. It Never Entered My Mind (5:22)
11. Commentary: Vincent Bessieres (0:45)
12. Générique (Mono Version) (2:48)
13. Commentary: Jimmy Cobb (0:21)
14. So What (9:05)
15. Commentary: Gil Evans (0:12)
16. New Rhumba (4:35)
17. Commentary: Frances Taylor Davis (0:38)
18. The Pan Piper (3:55)
19. Commentary: Jack Chambers (0:22)
20. Someday My Prince Will Come (9:03)
21. Commentary: Wayne Shorter (0:35)
22. Footprints (9:46)
23. Commentary: Carlos Santana, Quincy Troupe (0:28)
24. Miles Runs the Voodoo Down (45-rpm Single Edit) (2:50)
25. Commentary: Marcus Miller (0:18)
26. Tutu (5:14)
27. Commentary: Erin Davis (0:14)
28. Hail To The Real Chief (3:40)

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Miró Quartet – Beethoven: Complete Works for String Quartet (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 08:32:57 minutes | 8,75 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © PentaTone

The Miró Quartet, generally considered as one of the most established US classical ensembles, makes its PentaTone debut with a complete recording of the Beethoven StringQquartets. Beethoven’s quartets truly stand at the centre of the repertoire, and present the summit for any quartet. Listening to Beethoven’s entire string quartet oeuvre – from the early Op. 18 volume and Rasumovsky-Quartets to the otherworldly and modern-sounding pieces written during his final years – is a life-changing experience, and so is performing them integrally. This collection offers the results of fifteen years of playing and recording Beethoven, and not only anticipates the 2020 commemoration of the composer’s 250th birthday, but also the 25th anniversary of the Miró Quartet itself.

Tracklist:

CD1
01. String Quartet No. 1 in F Major, Op. 18 No. 1: I. Allegro con brio
02. String Quartet No. 1 in F Major, Op. 18 No. 1: II. Adagio affettuoso ed appasionato
03. String Quartet No. 1 in F Major, Op. 18 No. 1: III. Scherzo. Allegro molto
04. String Quartet No. 1 in F Major, Op. 18 No. 1: IV. Allegro
05. String Quartet No. 2 in G Major, Op. 18 No. 2: I. Allegro
06. String Quartet No. 2 in G Major, Op. 18 No. 2: II. Adagio cantabile-Allegro
07. String Quartet No. 2 in G Major, Op. 18 No. 2: III. Scherzo. Allegro
08. String Quartet No. 2 in G Major, Op. 18 No. 2: IV. Allegro molto, quasi presto
09. String Quartet No. 3 in D Major, Op. 18 No. 3: I. Allegro
10. String Quartet No. 3 in D Major, Op. 18 No. 3: II. Andante con moto
11. String Quartet No. 3 in D Major, Op. 18 No. 3: III. Allegro
12. String Quartet No. 3 in D Major, Op. 18 No. 3: IV. Presto

CD2
01. String Quartet No. 4 in C Minor, Op. 18 No. 4: I. Allegro ma non tanto
02. String Quartet No. 4 in C Minor, Op. 18 No. 4: II. Scherzo. Andante scherzoso quasi allegretto
03. String Quartet No. 4 in C Minor, Op. 18 No. 4: III. Minuet. Allegretto
04. String Quartet No. 4 in C Minor, Op. 18 No. 4: IV. Allegro
05. String Quartet No. 5 in A Major, Op. 18 No. 5: I. Allegro
06. String Quartet No. 5 in A Major, Op. 18 No. 5: II. Menuetto
07. String Quartet No. 5 in A Major, Op. 18 No. 5: III. Andante cantabile
08. String Quartet No. 5 in A Major, Op. 18 No. 5: IV. Allegro
09. String Quartet No. 6 in B-Flat Major, Op. 18 No. 6: I. Allegro con brio
10. String Quartet No. 6 in B-Flat Major, Op. 18 No. 6: II. Adagio ma non troppo
11. String Quartet No. 6 in B-Flat Major, Op. 18 No. 6: III. Scherzo. Allegro
12. String Quartet No. 6 in B-Flat Major, Op. 18 No. 6: IV. La malinconia. Adagio-V. Allegretto quasi allegro

CD3
01. String Quartet No. 7 in F Major, Op. 59 No. 1 “Rasumovsky Quartet No. 1”: I. Allegro
02. String Quartet No. 7 in F Major, Op. 59 No. 1 “Rasumovsky Quartet No. 1”: II. Alegretto vivace e sempre scherzando
03. String Quartet No. 7 in F Major, Op. 59 No. 1 “Rasumovsky Quartet No. 1”: III. Adagio molto e mesto
04. String Quartet No. 7 in F Major, Op. 59 No. 1 “Rasumovsky Quartet No. 1”: IV. Thème russe. Allegro

CD4
01. String Quartet No. 8 in E Minor, Op. 59 No. 2 “Rasumovsky Quartet No. 2”: I. Allegro
02. String Quartet No. 8 in E Minor, Op. 59 No. 2 “Rasumovsky Quartet No. 2”: II. Molto adagio. Si tratta questo pezzo con molto di sentimento
03. String Quartet No. 8 in E Minor, Op. 59 No. 2 “Rasumovsky Quartet No. 2”: III. Allegretto-Maggiore. Thème russe
04. String Quartet No. 8 in E Minor, Op. 59 No. 2 “Rasumovsky Quartet No. 2”: IV. Finale. Presto
05. String Quartet No. 9 in C Major, Op. 59 No. 3 “Rasumovsky Quartet No. 3”: I. Introduzione. Andante con moto-Allegro vivace
06. String Quartet No. 9 in C Major, Op. 59 No. 3 “Rasumovsky Quartet No. 3”: II. Andante con moto quasi allegretto
07. String Quartet No. 9 in C Major, Op. 59 No. 3 “Rasumovsky Quartet No. 3”: III. Menuetto grazioso
08. String Quartet No. 9 in C Major, Op. 59 No. 3 “Rasumovsky Quartet No. 3”: IV. Allegro molto

CD5
01. String Quartet No. 10 in E-Flat Major, Op. 74 “Harp”: I. Poco adagio-Allegro
02. String Quartet No. 10 in E-Flat Major, Op. 74 “Harp”: II. Adagio ma non troppo
03. String Quartet No. 10 in E-Flat Major, Op. 74 “Harp”: III. Presto
04. String Quartet No. 10 in E-Flat Major, Op. 74 “Harp”: IV. Allegretto con variazioni
05. String Quartet No. 11 in F Minor, Op. 95 “Serioso”: I. Allegro con brio
06. String Quartet No. 11 in F Minor, Op. 95 “Serioso”: II. Allegretto ma non troppo
07. String Quartet No. 11 in F Minor, Op. 95 “Serioso”: III. Allegro assai vivace ma serioso
08. String Quartet No. 11 in F Minor, Op. 95 “Serioso”: IV. Larghetto espressivo-Allegretto agitato

CD6
01. String Quartet No. 12 in E-Flat Major, Op. 127: I. Maestoso-Allegro
02. String Quartet No. 12 in E-Flat Major, Op. 127: II. Adagio, ma non troppo e molto cantabile
03. String Quartet No. 12 in E-Flat Major, Op. 127: III. Scherzo. Vivace
04. String Quartet No. 12 in E-Flat Major, Op. 127: IV. Finale. Allegro
05. String Quartet No. 14 in C-Sharp Minor, Op. 131: I. Adagio ma non troppo e molto espressivo
06. String Quartet No. 14 in C-Sharp Minor, Op. 131: II. Allegro molto vivace
07. String Quartet No. 14 in C-Sharp Minor, Op. 131: III. Allegro moderato
08. String Quartet No. 14 in C-Sharp Minor, Op. 131: IV. Andante ma non troppo e molto cantabile
09. String Quartet No. 14 in C-Sharp Minor, Op. 131: V. Presto
10. String Quartet No. 14 in C-Sharp Minor, Op. 131: VI. Adagio quasi un poco andante
11. String Quartet No. 14 in C-Sharp Minor, Op. 131: VII. Allegro

CD7
01. String Quartet No. 13 in B-Flat Major, Op. 130: I. Adagio, ma non troppo-Allegro
02. String Quartet No. 13 in B-Flat Major, Op. 130: II. Presto
03. String Quartet No. 13 in B-Flat Major, Op. 130: III. Poco scherzoso. Andante con moto ma non troppo
04. String Quartet No. 13 in B-Flat Major, Op. 130: IV. Alla danza tedesca. Allegro assai
05. String Quartet No. 13 in B-Flat Major, Op. 130: V. Cavatina. Adagio molto espressivo
06. Grosse Fuge, Op. 133
07. String Quartet No. 13 in B-Flat Major, Op. 130: VI. Finale. Allegro

CD8
01. String Quartet No. 15 in A Minor, Op. 132 “Heiliger Dankgesang”: I. Assai sostenuto-Allegro
02. String Quartet No. 15 in A Minor, Op. 132 “Heiliger Dankgesang”: II. Allegro ma non tanto
03. String Quartet No. 15 in A Minor, Op. 132 “Heiliger Dankgesang”: III. Molto adagio
04. String Quartet No. 15 in A Minor, Op. 132 “Heiliger Dankgesang”: IV. Alla marcia, assai vivace
05. String Quartet No. 15 in A Minor, Op. 132 “Heiliger Dankgesang”: V. Allegro appassionato-Presto
06. String Quartet No. 16 in F Major, Op. 135: I. Allegretto
07. String Quartet No. 16 in F Major, Op. 135: II. Vivace
08. String Quartet No. 16 in F Major, Op. 135: III. Assai lento, cantante e tranquillo
09. String Quartet No. 16 in F Major, Op. 135: IV. Grave, ma non troppo tratto-Allegro

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Münchner Philharmoniker & Valery Gergiev – Mahler: Symphony No. 8 (Live) (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:12:26 minutes | 722 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © MUNCHNER PHILHARMONIKER GBR

Hardly any other concert marks the city of Munich’s musical history as strikingly as the premiere of Gustav Mahler’s 8th symphony, the Symphony of a Thousand, which struck real waves of enthusiasm within the city’s cultural scene, and beyond. It marked a memorable triumph for the composer, whose works had regularly been performed in Munich since 1896. Mahler felt his art form was understood by the people of Munich.

Moreover, Gustav Mahler and the Münchner Philharmoniker share a very special connection. As a composer he sustainably linked the 19th century Austro-German tradition and the modernism of the early 20th century. The just discussed monumental world premiere of his Symphony No. 8 took place under his baton on 12 September 1910 in Munich with the present day Münchner Philharmoniker. His works have been a substantial part of the Münchner Philharmoniker’s core repertoire ever since and the orchestra has excelled on many occasions.

It therefore comes as no surprise that the Münchner Philharmoniker brought this very repertoire to performance on numerous occasions during their 2018/2019 125 years anniversary season, one of which marks this recording: a concert at the Philharmonie de Paris in February 2019.

In the symphony’s two highly contrasting parts in text as well as composition, Mahler brings the setting of the Latin 9th century Christian hymn for Pentecost “Veni, creator spiritus” in conjunction with the closing scene of Goethe’s “Faust II”: creating a syncretism of two different understandings of the world as it is, with the common theme of redemption through love.

Tracklist:
01. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 1 I. Veni, Creator Spiritus (Live)
02. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 1 II. Imple superna gratia (Live)
03. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 1 III. Infirma nostri corporis (Live)
04. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 1 IV. Tempo I. (Allegro, etwas hastig) [Live]
05. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 1 V. Infirma nostri corporis (Live)
06. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 1 VI. Accende lumen sensibus (Live)
07. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 1 VII. Veni, Creator (Live)
08. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 1 VIII. Gloria sit Patri Domino (Live)
09. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 I. Poco Adagio (Live)
10. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 II. Piu mosso (Allegro moderato) [Live]
11. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 III. Waldung, sie schwankt heran (Live)
12. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 IV. Ewiger Wonnebrand (Live)
13. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 V. Wie Felsengrund mir zu Fu?en (Live)
14. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 VI. Gerettet ist das edle Glied (Live)
15. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 VII. Jene Rosen (Live)
16. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 VIII. Uns bleibt ein Erdenrest (Live)
17. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 IX. Ich spur soeben (Live)
18. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 X. Hochste Herrscherin der Welt (Live)
19. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 XI. Dir, der Unberuhrbaren (Live)
20. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 XII. Bei der Liebe (Live)
21. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 XIII. Neige, neige, du Ohnegleiche (Live)
22. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 XIV. Er uberwachst uns schon (Live)
23. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 XV. Komm! Hebe Dich (Live)
24. Symphony No. 8 in E-Flat Major, Symphony of a Thousand, Pt. 2 XVI. Alles Vergangliche (Live)

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Munich Radio Orchestra & Henry Raudales – Mendelssohn: String Symphonies (2019)
FLAC (tracks) 24 bit/48 kHz | Time – 43:01 minutes | 445 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © BR-Klassik

It was thanks to his father’s penchant for organizing musical concerts in his family’s Berlin apartment on Sunday mornings that the 11-year-old Felix Mendelssohn began to compose quite a long series of string symphonies, and also that the works were initially performed. The study of music and composition spurred the young composer on greatly; his diligence as well as his youthful creativity developed early, and he made astonishing progress. In 1821, he wrote the first half of his string symphonies, which together took less than two years to complete. During performances that formed part of the concerts at home, he always took over the direction of the chamber orchestra, which consisted of amateur and professional musicians from the Berlin court orchestra.

“They are astonishingly assured pieces, bursting with youthful energy and full of ingenious counterpoint…the strings of the Munich Radio Orchestra under their long-time leader, Henry Raudales, give lively and alert accounts of these precocious pieces, full of imaginative touches.” (BBC Music Magazine)

“These works do demand an extra sprinkle of musicianly fairy dust to lift them into the realm of music worthy of our ears beyond their interest as historical documents. So it’s hats off to the Münchner Rundfunkorchester and their concertmaster Henry Raudales for giving us some of that here with their programme-opening D minor Violin Concerto.” (Gramophone Magazine)

Tracklist:
1. String Symphony No. 13 in C Minor, MWV N 14 (6:08)
2. I. Adagio e grave – Allegro (6:56)
3. II. Adagio (4:11)
4. III. Menuetto – Trio (4:04)
5. IV. Allegro molto – Più presto (7:12)
6. I. Fuga – Allegro (4:17)
7. II. Andante (3:08)
8. III. Allegro molto – Più allegro (7:06)

Personnel:
Münchner Rundfunkorchester
Henry Raudales, violin, conductor

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Musica Antiqua Latina – Sacred Handel – Music for the Carmelite Vespers (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:33 minutes | 1,42 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © deutsche harmonia mundi

Recorded in Rome – the very place for which this work was composed – this album aims to produce a plausible reconstruction of the office of Vespers celebrated by the Carmelite Order at the Santa Maria di Monte Santo church, when a young Handel was working there around the year 1707.

Leading the Musica Antiqua Latina ensemble and the Coro da Camera Italiano, Giordano Antonelli unveils an office punctuated with psalms by various Italian composers surrounding Handel’s Dixit Dominus, as well as numerous Gregorian sequences alternating with contemporary music by Giovanni Paolo Colonna, Antonio Maria Bononcini, Alessandro Scarlatti and instrumental pieces by Corelli and Frescobaldi.

This rendering reveals a devoutness which is theatrical and virtuosic in equal parts, recreating as accurately as possible the music that would have been heard in the papal city at the beginning of the eighteenth century, with voluptuous vocal and instrumental pieces mirroring the tormented forms of Baroque art and the omnipresence of angels and demons flying around all the Roman churches. – François Hudry

Tracklist:
01. Modulatio Organica: Praeambulum ad Organi (0:46)
02. Invocatio: Deus in Adjutorium Meum Intende (0:09)
03. Psalmi ad Vesperas, Op. 12, Domine, ad Adjuvandum: I. Allegro (2:05)
04. Psalmi ad Vesperas, Op. 12, Domine, ad Adjuvandum: II. Largo (1:19)
05. Psalmi ad Vesperas, Op. 12, Domine, ad Adjuvandum: III. Allegro (1:17)
06. Sessanta versetti e una pastorale, Sec.XVII: Praeambulum ad Organi, Pt. I (0:46)
07. Antiphon 1: Pulchra es et decora; Pt. I (0:25)
08. 11 Versi per organo: Praeambulum ad Organi (0:25)
09. Dixit Dominus, HWV 232: I. Dixit Dominus (5:26)
10. Virgam Virtutis (Graduale Triplex) (0:29)
11. Tecum Principium (Graduale Triplex) (1:43)
12. Dixit Dominus, HWV 232: IV. Juravit Dominus (2:20)
13. Dixit Dominus, HWV 232: V. Tu es sacerdos (1:35)
14. Dixit Dominus, HWV 232: VI. Dominus a dextris tuis (2:42)
15. Dixit Dominus, HWV 232: VIIa. Judicabit (2:12)
16. Dixit Dominus, HWV 232: VIIb. Conquassabit (0:51)
17. Dixit Dominus, HWV 232: VIII. De torrente (3:25)
18. Dixit Dominus, HWV 232: IX. Gloria (6:12)
19. Sessanta versetti e una pastorale, Sec.XVII: Praeambulum ad Organi, Pt. II (0:22)
20. Antiphon 1: Pulchra es et decora; Pt. II (0:26)
21. Antiphon 2: Sicut myrrah electa, Pt. I (0:26)
22. Laudate pueri a canto solo col violoncello obligato (Psalm 112) (4:10)
23. Laudate Pueri (Psalm 112) (2:06)
24. Antiphon 2: Sicut myrrah electa, Pt. II (0:20)
25. Praembulum ad Organi (0:48)
26. Antiphon 3: In odorem, Pt. I (0:19)
27. Laetatus Sum (Psalm 121) (1:48)
28. Antiphon 3: In odorem, Pt. II (0:19)
29. Antiphon 4: Benedicta es (0:25)
30. Nisi Dominus (Psalm 126) (3:04)
31. Sessanta versetti e una pastorale, Sec.XVII: Praeambulum ad Organi, Pt. III (0:21)
32. Haec est Regina Virginum, HWV 235 (3:57)
33. Antiphon: Speciosa Facta es, Pt. I (0:20)
34. Psalmi ad Vesperas, Op.12: Lauda Jerusalem Dominum (Psalm 147) (1:37)
35. Lauda Jerusalem (Psalm 147) (1:35)
36. Antiphon: Speciosa Facta es, Pt. II (0:23)
37. Te Decus Virgineum, HWV 243 (3:44)
38. Ave Maris Stella (2:30)
39. Magnificat secundi toni, F 3.24 (3:14)
40. Alma Redemptoris Mater (0:55)
41. Concerto grosso in F Major, Op. 6, No. 6: I. Adagio (1:45)
42. Concerto grosso in F Major, Op. 6, No. 6: II. Allegro (2:50)

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Nasheet Waits Equality – Between Nothingness and Infinity (2016)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:00:39 minutes | 652 MB | Genre: Jazz
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Laborie Jazz

One of the most influent drummers of today’s jazz, Nasheet Waits is part of the evolution of a full, subtle and fiery drum playing, well beyond the traditional codes of accompaniment. He feeds the ow of music with a playing based on a complex use of polyrhythm, a quite peculiar approach of the instrument that paves the way for a freer and more genuine expression, a contagious music revealing a deep attachment to the roots of jazz, to its creators and composers. Nasheet Waits Equality had its auspicious origin with a tour in Italy the spring of 2007. The quartet featured Logan Richardson on alto and soprano saxophones, and Jason Moran and Tarus Mateen, Waits’ colleagues in Moran’s Bandwagon. Equality went on to record its first offering, “Alive At MPI” in 2009 for Fresh Sound Records. Equality also has featured virtuoso pianists Stanley Cowell, and James Hurt during several tours of Europe from 2007-2013. Waits has recorded and toured extensively in Africa, Europe, Japan, Canada, South America and the United States. Amidst his performing, recording and touring activity, Nasheet teaches private lessons, stressing his personal approach to the drums and music. True to his personal philosophy of the necessity to balance Tradition and Modernism, Waits collaborates and performs regularly with musical cohorts, contemporaries, and masters. Nasheet is dedicated to exploring his role and creative path in music.

Tracklist:
1. Korean Bounce (10:20)
2. Story Line (08:05)
3. Between Nothingness and Infinity (04:54)
4. Snake Hip Waltz (05:43)
5. Unity (07:16)
6. Kush (06:14)
7. Koko (07:32)
8. Hesitation (08:14)
9. Unity (Bonus Track) (02:17)

Personnel:
Nasheet Waits, drums
Mark Helias, double bass
Darius Jones, saxophone
Aruan Ortiz, piano

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Nathanaël Gouin, Yan Levionnois, Guillaume Chilemme – Beethoven & Korngold (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:21:23 minutes | 1,35 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Mirare

From shadow to light: cut off from society but willing to communicate, seeking to embrace the whole world, Beethoven’s case epitomizes a human and sensitive quest.

The apex of the chamber music genre, the ‘Ghost’ and the ‘Archduke’ Trios portray these romantic figures between intimacy and magnificence, mystery and greatness, inner conflicts and peace with humanity.

Tracklist:
01. Piano Trio in E-Flat Major, Op. 1 No. 1: I. Allegro (7:51)
02. Piano Trio in E-Flat Major, Op. 1 No. 1: II. Adagio cantabile (7:41)
03. Piano Trio in E-Flat Major, Op. 1 No. 1: III. Scherzo. Allegro Assai (4:45)
04. Piano Trio in E-Flat Major, Op. 1 No. 1: IV. Finale. Presto (6:10)
05. Piano Trio, Op. 1: I. Allegro non troppo, con espressione (8:21)
06. Piano Trio, Op. 1: II. Scherzo. Allegro (7:02)
07. Piano Trio, Op. 1: III. Larghetto (6:31)
08. Piano Trio, Op. 1: IV. Finale. Allegro molto e energico (7:44)
09. Piano Trio in C Minor, Op. 1 No. 3: I. Allegro con brio (7:17)
10. Piano Trio in C Minor, Op. 1 No. 3: II. Andante cantabile con 5 variazioni (7:59)
11. Piano Trio in C Minor, Op. 1 No. 3: III. Menuetto. Quasi Allegro (4:02)
12. Piano Trio in C Minor, Op. 1 No. 3: IV. Finale. Prestissimo (6:05)

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NDR Radiophilharmonie & Andrew Manze – Beethoven: Symphonies Nos. 5 & 7 (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:14:06 minutes | 733 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © PentaTone

After their prize-winning Mendelssohn symphonies cycle and acclaimed Mozart symphonies album, the NDR Radiophilharmonie and its chief conductor Andrew Manze now present Beethoven’s Fifth and Seventh symphonies. While Beethoven’s Fifth is arguably the most famous symphony in the history of music, the Seventh counts as one of the most rhythmically-advanced pieces of nineteenth-century music; an “apotheosis of dance”, to quote Richard Wagner. Both works display Beethoven’s mastery of and audacious approach to musical form as well as the richness of his melodic invention, and are generally praised as paragons of symphonic composition. Andrew Manze brings his experience in the field of historically informed performance to the polished symphonic sound of the NDR Radiophilharmonie, providing an ambience that fits these early nineteenth-century works like a glove.

Tracklist:
1. Symphony No. 5 in C Minor, Op. 67: I. Allegro con brio (7:34)
2. Symphony No. 5 in C Minor, Op. 67: II. Andante con moto (9:54)
3. Symphony No. 5 in C Minor, Op. 67: III. Scherzo. Allegro (5:07)
4. Symphony No. 5 in C Minor, Op. 67: IV. Allegro (11:26)
5. Symphony No. 7 in A Major, Op. 92: I. Poco sostenuto – Vivace (14:04)
6. Symphony No. 7 in A Major, Op. 92: II. Allegretto (8:42)
7. Symphony No. 7 in A Major, Op. 92: III. Presto – Assai meno presto (9:01)
8. Symphony No. 7 in A Major, Op. 92: IV. Allegro con brio (8:21)

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