Netherlands Chamber Choir, Raschèr Saxophone Quartet & Peter Dijkstra – Auerbach: 72 Angels (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:23:52 minutes | 756 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Alpha

‘72 Angels is a large-scale work for mixed choir and saxophone quartet. It is structured as seventytwo prelude-evocations and an epilogue. Each prelude sets to music one of the seventy- two names derived from an esoteric interpretation of Exodus 14:19-21. Angelic beings, spiritual guides, higher energies or messengers are a common theme throughout many belief systems in human history. My intention in 72 Angels was to focus on what the religious, spiritual, esoteric and mythological traditions of different cultures have in common. I would like to focus on what unites us through shared connections. These seventy-two evocations celebrate all angels in their multifaceted variations… My hope is that every listener or musician will adopt his or her own personal interpretation’ – Lera Auerbach The voices of the Netherlands Chamber Choir, directed by Peter Dijkstra, bring these angels to life here, accompanied by the Raschèr Saxophone Quartet.

Tracklist:
01. 72 Angels – In splendore lucis: Angels 1 to 6 (7:46)
02. 72 Angels – In splendore lucis: Angels 7 to 12 (5:57)
03. 72 Angels – In splendore lucis: Angels 13 to 18 (7:53)
04. 72 Angels – In splendore lucis: Angels 19 to 24 (4:57)
05. 72 Angels – In splendore lucis: Angels 25 to 30 (5:47)
06. 72 Angels – In splendore lucis: Angels 31 to 36 (5:15)
07. 72 Angels – In splendore lucis: Angels 37 to 42 (3:50)
08. 72 Angels – In splendore lucis: Angels 43 to 48 (5:52)
09. 72 Angels – In splendore lucis: Angels 49 to 54 (5:20)
10. 72 Angels – In splendore lucis: Angels 55 to 60 (7:44)
11. 72 Angels – In splendore lucis: Angels 61 to 66 (5:53)
12. 72 Angels – In splendore lucis: Angels 67 to 72 (13:06)
13. 72 Angels – In splendore lucis: Amen (4:37)

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NHK Symphony Orchestra & Paavo Järvi – Mahler: Symphony No. 6 “Tragic” (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:20:25 minutes | 1,44 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Sony Music Labels Inc.

It was Stravinsky who first brought international attention to Takemitsu’s music after he came across a recording of the Requiem on a visit to Japan in 1959. Its slow, yearning melodies lead into Mahler’s monumental ‘Tragic’ Symphony, known for the three sledgehammer blows in its final movement, which represent the blows of fate. The most traditional of Mahler’s symphonies, it draws listeners into its bleak yet irresistible momentum.

The Tokyo-based NHK Symphony Orchestra can trace its origins to 1926. With a change of name, it has been supported since 1951 by Nippon Hoso Kyokai (the Japan Broadcasting Corporation) and was out in full force for Maher 6 – of the 114 musicians listed all appear to be indigenous – and beforehand it was the strings that introduced Requiem (1957) by Tokyo-born Toru Takemitsu (1930-96). Short Requiem may be (just under ten minutes), but from the barest of sounds something solemn and emotionally agitated emerges, always exquisitely composed and somewhat Bartókian in expression. Whether refined or when becoming more angular, whatever was required, the NHK players, with chief conductor Paavo Järvi, had every expressive phrase and nuance mastered, not least concertmaster Fuminori Maro Shinozaki, whose solo contributions were ineffably divine (as they would also be in the Mahler).

Tracklist:
01. Symphony No. 6 in A minor “Tragic”: I. Allegro energico, ma non troppo. Heftig, aber markig (23:14)
02. Symphony No. 6 in A minor “Tragic”: II. Scherzo. Wuchtig (13:29)
03. Symphony No. 6 in A minor “Tragic”: III. Andante moderato (14:00)
04. Symphony No. 6 in A minor “Tragic”: IV. Finale. Sostenuto – Allegro moderato – Allegro energico (29:44)

Personnel:
NHK Symphony Orchestra Tokyo
Paavo Järvi, conductor

Recorded: February 22 & 23, 2017, Minato Mirai Hall, Yokohama (Live Recording at NHK Symphony Orchestra Special Concert in Yokohama)　

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Nicholas Phan & Myra Huang – Clairières: Songs by Lili & Nadia Boulanger (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 55:59 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Avie Records

On “Clairières”, Grammy Award-nominated tenor Nicholas Phan and pianist Myra Huang pay homage to Lili and Nadia Boulanger, two exceptional composers of the 20th century who have often been overlooked in favour of their male counterparts. At the heart of the album is Lili’s song cycle “Clairières dans le ciel”. Alongside are a selection of songs set to poetry by the sisters’ contemporaries Verlaine, Maeterlinck, Jammes and Samain.

Grammy Award-nominated tenor Nicholas Phan and pianist Myra Huang pay homage to two exceptional composers of the 20th century who have often been overlooked in favour of their male counterparts Lili and Nadia Boulanger. Nadia is the better known of the two, primarily for her tutelage of such great composers as Aaron Copland, Philip Glass and Astor Piazzolla, but was a highly respected composer during the years of the Belle époque. Her younger sister Lili was the first female Grand Prize winner of the Prix du Rome; her compositional legacy was cut short by her death at the age of 24. At the heart of this release is Lili’s innovative, 13-part song cycle “Clairières dans le ciel”. Alongside are a selection of literary songs set to poetry by the sisters’ contemporaries Paul Verlaine, Maurice Maeterlinck, Francis Jammes and Albert Samain.

CRITICAL ACCLAIM FOR NICHOLAS PHAN

“one of the most beautiful young lyric voices around” Opera News

“Phan’s singing is both sultry and refined” WQXR-NYC (on Illuminations, AV2382)

“There are so many jewels here Phan’s sheer sensitivity is a delight. An absorbing disc and an ideal introduction to the joys of lieder.” TheArtsDesk.com (on Gods & Monsters, AV2368)

Tracklist:
1. Versailles (3:05)
2. Heures ternes (2:49)
3. Reflets (2:45)
4. Attente (1:53)
5. Cantique (2:04)
6. La mer est plus belle (2:43)
7. Soleils couchants (2:38)
8. Clairières dans le ciel: I. Elle était descendue (1:44)
9. Clairières dans le ciel: II. Elle est gravement gaie (1:38)
10. Clairières dans le ciel: III. Parfois, je suis triste (3:15)
11. Clairières dans le ciel: IV. Un poete disait (1:51)
12. Clairières dans le ciel: V. Au pied de mon lit (2:13)
13. Clairières dans le ciel: VI. Si tout ceci n’est qu’un pauvre rêve (2:07)
14. Clairières dans le ciel: VII. Nous nous aimerons tant (2:50)
15. Clairières dans le ciel: VIII. Vous m’avez regarde avec toute votre âme (1:42)
16. Clairières dans le ciel: IX. Les lilas qui avaient fleuri (2:42)
17. Clairières dans le ciel: X. Deux ancolies (1:30)
18. Clairières dans le ciel: XI. Par ce que j’ai souffert (2:23)
19. Clairières dans le ciel: XII. Je garde une médaille d’elle (1:34)
20. Clairières dans le ciel: XIII. Demain fera un an (6:28)
21. Soir d’hiver (3:23)
22. Lydia (2:53)

Personnel:
Nicholas Phan (tenor)
Myra Huang (piano)

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Nikolaus Harnoncourt – Handel, Mozart, Mosel: Timotheus Oder Die Gewalt Der Musik (Timothee Ou Le Pouvoir De La Musique) (2013)
FLAC (tracks) 24 bit/48 kHz | Time – 01:43:13 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Sony Classical

It is immediately evident from the Overture that the orchestral sound is going to be rich and ponderous, and, although Harnoncourt works wonders in varying the dynamics and getting the rhythms to dance…the effect is more suggestive of those gigantic mid-Victorian Handel events in the Crystal Palace than anything that Mozart, let alone Handel, could have imagined. – The Observer

This is a live recording of a concert which marked the bicentenary of the founding of the Gesellschaft der Musikfreunde in Vienna on 29th November 1812 and the defeat of Napoleon in Moscow, heralding the possibility of Austria’s liberation from their forced allegiance to the French. It was thus both a cultural and a political, patriotic statement, with Timotheus representing Austrian musical supremacy and Alexander the Emperor who is in thrall to the musician’s art.

It sought to recreate the performance of “Timotheus”, the German version of Handel’s “Alexander’s Feast”, whose score for a German translation had been prepared by Mozart for the Society of Nobleman in 1790 and which served as the basis of the 1812 celebration. It has so much going for it: Nikolaus Harnoncourt a few days before his 83rd birthday, in the mature plenitude of his powers evincing no sign of flagging and directing a very beefed up orchestra in a performance (I quote the excellent notes)”for which the Concentus Musicus fielded as many players as could be accommodated on the platform in the Grosser Musikvereinsaal, while the Singverein of the Gesellschaft der Musikfreunde was made up of hundred or so singers…to recreate the sort of massed sounds produced in 1812 in a large hall.”

The excitement of the occasion is enhanced by the raucous, atmospheric period horns and a truly impressive bass drum, added to Mozart’s orchestration by the first conductor, Franz von Mosel, who, to control these large forces, used a baton for the first time in the history of music. The choir is terrific and the playing both technically and aesthetically of the finest. The recorded sound is big and warm.

Add to this admixture the presence of the wonderful Gerald Finley and the whole enterprise looks so promising. Finley in fact has relatively little to do – only two arias and a snippet of recitative – though he does it with such authority and panache. The other two soloists, however, have a much larger contribution, and there’s the rub: they are both disappointing. Werner Güra brings a slight, strangulated tenor to his music and very little variety of tone. He struggles with the coloratura and is audibly short of breath, at times gasping before the runs. Italian period-specialist soprano Roberta Invernizzi is worse: it astonishes me that a singer can go through training, begin performing then be regularly engaged by prestigious institutions while carrying a vocal handicap that will inevitably preclude a major career. In this case it is an applied, wobbly vibrato that she has a habit of suddenly unleashing like a Taser after long, swelled notes without any pulse at all. She also has a tic of squeezing and primping phrases in a manner that is clearly meant to be winsomely expressive but increasingly becomes merely irritating; it seems she can sing absolutely nothing straight and rely on Handel’s music to do the job. Surely better could have been found for such a major musical event? As such, what could have been a landmark recording and a real testament to “The Power of Music” becomes a might-have-been.

The much smaller scale English original is by no means the same entity but for the best of what is some of Handel’s most winning music, I return to the old, 1978 Philip Ledger recording on EMI. Despite it also having a tenor less than ingratiating, it features Thomas Allen, who is no second-best if I cannot have Finley, and the sopranos Helen Donath and Sally Burgess are simply lovely. – Ralph Moore

Tracklist:

01. I. Ouvertüre
02. II. Am königlichen Fest (Rec.)
03. III. Selig, selig, selig Paar (Arie & Chor)
04. IV. Der Sänger ragt hervor (Rec.)
05. V. Das Lied beagnn vom Zeus (Acc.)
06. VI. Den stillen Trupp entzückt das hohe Lied (Chor)
07. VII. Der König horcht mit stolzem Ohr (Arie)
08. VIII. Des Bacchus Lob stimmt nun der süße Küntler an (Rec.)
09. IX. Bacchus, ewig jung und schön (Arie & Chor)
10. X. Siegprangend fühlt der Held das Lied (Rec.)
11. XI. Nun flößt sein Trauerton (Acc.)
12. XII. Er sang den Perser groß und gut (Arie)
13. XIII. Gesenkt das Haupt, sitzt traurig da der Held (Acc.)
14. XIV. Seht an den Perser, groß ung gut (Chor)
15. XV. Der Meister lächelt, weil er sieht (Rec.)
16. XVI. Töne sanft, du lydisch Brautlied (Arioso)
17. XVII. Krieg, o Held, ist Sorg’ und Arbeit (Arie)
18. XVIII. Die ganze Schar erhebt ein Lobgeschrei (Chor)
19. XIX. Der Fürst, der seine Glut umsonst verhelt (Arie)
20. XVIII. Die ganze Schar erhebt ein Lobgeschrei (Chor, da capo)
21. Ansprache Harnoncourt; Publikumschor
22. XX. Erschalle, goldnes Saitenspiel (Acc.) / Brich die Bande seines Schlummers (Chor) / Sie da! Der Donnerton hat ihn aufgeweckt (Acc.)
23. XXI. Gib Rach’! (Arie)
24. XXII. Rache, Rache gib deinem wackern Heer! (Acc.)
25. XXIII. Es jauchzen die Krieger (Arie)
26. XXIV. Thais führt ihn an (Arie) / Die Krieger, sie jauchzen (Chor)
27. XXV. So stimmte vor (Acc.) / Vom Himmel kam Caecilia (Chor)
28. XXVI. Timotheus, entsag dem Preis! (Rec)
29. XXVII. Timotheus, entsag dem Preis (Chor)

Composers
Handel, George Frideric (1685-1759)
Mozart, Wolfgang Amadeus (1756-91)
Works
Handel: Alexander’s Feast
Conductors
Harnoncourt, Nikolaus
Groups & Artists
Concentus musicus Wien
Finley, Gerald
Güra, Werner
Invernizzi, Roberta
Wiener Singverein
Label
Sony

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Nikolaus Harnoncourt – Johannes Brahms: Ein Deutsches Requiem (2010)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:01 minutes | 1,16 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © RCA Red Seal

Widely respected as a pioneer in the field of early music who employed original instruments in performances of Baroque and Classical music, Nikolaus Harnoncourt is also admired for his insightful interpretations of 19th century music. His 2007 recording with the Vienna Philharmonic of Johannes Brahms’ Ein deutsches Requiem is characteristic of his handling of the Romantic repertoire, insofar as he clearly knows the best scholarship on performance style, yet neither makes authenticity a fetish nor lets expression suffer through an obsession with period practice. The sound of the orchestra is quite modern and full, and there is no attempt to make the strings play with minimal vibrato or to make the ensemble seem reduced in size or altered in the seating arrangement, unlike some historically informed performances. Furthermore, Harnoncourt’s tempos are conventional, and the pacing is steady and even on the slow and reverent side, so his approach shows that he is far from doctrinaire in his choices and doesn’t always follow a revisionist approach. The singing by the Arnold Schoenberg Choir is quite rich and smoothly blended, and the solos by soprano Genia Kühmeier and baritone Thomas Hampson are warm and expressive. Overall, the sound of the recording is fine, though RCA’s microphone placement seems a little distant and soft-focused, so some of the details in the counterpoint seem hazy.

Tracklist:

01. I. Selig Sind, Die Da Leid Tragen (Ziemlich Langsam)
02. Ii. Denn Alles Fleisch, Es Ist Wie Gras (Langsam, Marschmäßig)
03. Iii. Herr, Lehre Doch Mich, Dass Ein Ende Mit Mir Haben Muss (Andante Moderato)
04. Iv. Wie Lieblich Sind Deine Wohnungen (Mäßig Bewegt)
05. V. Ihr Habt Nun Traurigkeit (Langsam)
06. Vi. Denn Wir Haben Hier Keine Bleibende Statt (Andante)
07. Vii. Selig Sind Die Toten, Die In Dem Herren Sterben (Feierlich)

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Nils Landgren & Jan Lundgren – Kristallen (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 56:14 minutes | 925 MB | Genre: Jazz
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © ACT Music

When two old friends are reminiscing, talking to each other, laughing or crying together, talking about the past as if it were yesterday, solidifying an already airtight relationship, a listener can sometimes feel awkward, as if they are interfering… yet this is far from the case on Kristallen. The Swedish Nils Landgren/Jan Lundgren duo even goes out of its way to share this intimacy with the listener. This relaxed ‘chamber’ jazz that the trombonist-singer and pianist carve out on this superb duo album does a lot to build bridges between various places and times. Swedish folklore (the traditional Hornlåtar and Värmlandsvisan) features alongside the Great American Songbook (The Nearest of You and Didn’t We) and even The Beatles (I Will and Norwegian Wood). A milestone volume in which Jan Lundgren pays homage to two of his essential pianists with covers of Country by Keith Jarrett and Abdullah Ibrahim’s The Wedding. A Scandinavian hour full of controlled but nonetheless emotional music illuminating with originality a certain tradition of American jazz. – Marc Zisman

Tracklist:
1. Blekinge (3:49)
2. Byssan Lull (3:50)
3. Country (4:16)
4. Didn’t We (5:21)
5. Hornlatar (3:05)
6. I Will (4:24)
7. Why Did You Let Me Go (4:18)
8. Lovers Parade (4:57)
9. Norwegian Wood (3:43)
10. Olu (4:36)
11. The Nearness of You (5:25)
12. Värmlandsvisan (3:46)
13. The Wedding (4:53)

Personnel:
Nils Landgren, trombone & vocals
Jan Lundgren, piano

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Norma Winstone – In Concert (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 58:38 minutes | 574 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Sunnyside

The incredible relationship between legendary British musicians Norma Winstone and John Taylor has been admired for nearly five decades. The vocalist and pianist have been inextricably linked from their early avant-garde work from the late 1960s through their gorgeous work with Kenny Wheeler and Azymuth.

The couple was also well documented in duo performance; their affinity for each other and their unique abilities are easily comprehended. Winstone and Taylor’s In Concert is a remastered reissue of Enodoc Records’ 1999 cassette tape release of a fascinating 1988 duo concert. Four years after the pianist’s passing, this recording will remind listeners of the wonderful interplay and feel between Taylor and Winstone.

The performance presented on In Concert documents a quickly assembled concert that coincided with the culmination of Winstone and Taylor’s teaching residency at the Guildhall Music School in London in August 1988. Though they didn’t have time to put together an ensemble or theme, the two were able to provide the listeners, including many of their students, with a wonderfully diverse and masterful performance.

The program that the two selected contained some wonderful standards and a handful of pieces composed by their contemporaries, all recorded by engineer Dave Foister.

The set begins with Leonard Bernstein’s “Lucky To Be Me” from the 1944 musical, On The Town, in a subtle interpretation with Winstone really invigorating Comden and Green’s uplifting lyrics. Steve Swallow’s mysterious “Ladies In Mercedes” follows with its shifting keys and winding melody, with lyrics provided by Winstone. The vocalist also provides lyrics for Egberto Gismonti’s wistful “Cafe,” which is gorgeously interpreted by Taylor. The duo then plays Ralph Towner’s quietly upbeat “The Glide,” which is followed by Dave Brubeck’s chestnut, “In Your Own Sweet Way,” featuring the duo’s most dynamic improvisational moments.

Thelonious Monk and Cootie Williams’s “Round About Midnight” is dramatically yet coolly rendered until Hampton, Burke and Mercer’s “Midnight Sun” breaks out in a mellow burst. Taylor’s energetic “Coffee Time” uses a samba beat, Winstone’s wordless vocals and audience participation to reach a peak in the performance. The program ends with Ralph Towner’s “Celeste,” a gorgeously quiet ballad with lyrics written by Winstone.

Norma Winstone and John Taylor’s impromptu performance on In Concert demonstrates the marvelous connection between these astounding star-crossed musicians.

Tracklist:
01. Lucky To Be Me (Live) (4:02)
02. Ladies in Mercedes (Live) (6:10)
03. Cafe (Live) (9:13)
04. The Glide (Live) (5:01)
05. In Your Own Sweet Way (Live) (8:46)
06. Round Midnight.wav (Live) (11:12)
07. Coffee Time (Live) (8:40)
08. Celeste (Live) (5:41)

Personnel:
Norma Winstone – vocals
John Taylor – piano

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Norsk Tromboneensemble – Nibbles (2020)
FLAC (tracks) 24 bit/192 kHz | Time – 47:36 minutes | 1,72 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Lawo Classics

The Norwegian Trombone Ensemble was formed in 2014 and consists of Audun Breen, Principal Trombone of the Oslo Philharmonic Orchestra and Sverre Riise, Petter Winroth, and Clare Farr, the trombone section of the Norwegian Radio Orchestra. The four performers have extensive experience as soloists and chamber musicians. They are some of Norway’s most outstanding trombonists and master most genres, from renaissance and baroque to contemporary, jazz and pop. “In our concerts we attempt to move effortlessly through many different musical styles, performing chamber music for trombones with excellence and a twinkle in the eye. We are aiming to convey the same lighthearted character with this recording and have put together a handful of pieces that we believe display all the fine and varied qualities of the trombone. The pieces cater for all tastes and span over 400 years, from Gabrieli and Beethoven to Bacharach and ABBA. Sit down with your favourite nibbles, relax and enjoy the concert!”

Tracklist:
01. Sonata a 4 I. Adagio
02. Sonata a 4 II. Allegro
03. Sonata a 4 III. Grave
04. Sonata a 4 IV. Allegro
05. Alfie (Arr. Petter Winroth)
06. Trois Chansons I. Dieu! qu’il la fait bon regarder! (Arr. Michael Levin)
07. Trois Chansons II. Quand j’ay ouy le tabourin (Arr. Michael Levin)
08. Trois Chansons III. Yver, vous n’estes qu’un vilain (Arr. Michael Levin)
09. Drei Equali I. Andante
10. Drei Equali II. Poco adagio
11. Drei Equali III. Poco sostenuto
12. Fascinatin’ Rhythm (Arr. Oivind Westby)
13. Sonata
14. No More Blues (Arr. Kim Scharnberg)
15. Canzon
16. Emigrantvisa (Arr. Petter Winroth)
17. Locus iste
18. Money, Money, Money (Arr. Petter Winroth)
19. The Nibbler

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Nuremberg Symphony Orchestra & Paul Mann – Flury: The Magic Mirror & Little Ballet Music (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:05 minutes | 1,15 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Toccata Classics

Der magische Spiegel (‘The Magic Mirror’), a 1954 ballet by the Swiss composer Richard Flury (1896–1967), tells a pantomime tale of flirtation, cuckoldery, magical spells and perdition – but this is no puritanical morality play: using the limited resources of a chamber orchestra to surprisingly full-bodied effect, Flury conjures up a delightful sequence of dances – a generous number of waltzes, with a czardas, a bolero and more – that skip past in good-humoured succession. And behind its innocent title, the Little Ballet Music of thirty years earlier hides a buoyant dance-suite, scored with a feeling for colour that would have gone down well in Hollywood. This recording was made by the team – Paul Mann and the Nuremberg Symphony Orchestra – responsible for a ‘pulsating’ recording of Richard Flury’s one-act opera Eine florentinische Tragödie.

Tracklist:
01. The Magic Mirror, Pt. 1 “In the Woman’s Chamber”: No. 1, Introduction (0:56)
02. The Magic Mirror, Pt. 1 “In the Woman’s Chamber”: No. 2, Waltz I (1:41)
03. The Magic Mirror, Pt. 1 “In the Woman’s Chamber”: No. 3, The Student’s Serenade (3:11)
04. The Magic Mirror, Pt. 1 “In the Woman’s Chamber”: No. 4, The Student Enters (1:51)
05. The Magic Mirror, Pt. 1 “In the Woman’s Chamber”: No. 5, The Husband Enters (3:03)
06. The Magic Mirror, Pt. 1 “In the Woman’s Chamber”: No. 6, Waltz II (2:30)
07. The Magic Mirror, Pt. 1 “In the Woman’s Chamber”: No. 7, The Husband’s Farewell (2:54)
08. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 8, Scene of the Magician (2:18)
09. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 9, The Husband Is Healed (1:41)
10. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 10, The Husband Is Given a Magic Mirror (1:14)
11. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 11, Waltz III (1:23)
12. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 12, Interlude I (0:36)
13. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 13, The Student Draws the Husband (0:51)
14. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 14, Waltz IV (4:24)
15. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 15, The Student’s Presentiment of Death (0:56)
16. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 16, Bolero (4:02)
17. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 17, Interlude II (1:01)
18. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 18, Czardas (3:29)
19. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 19, Interlude III (0:19)
20. The Magic Mirror, Pt. 2 “In the Laboratory of a Medieval Alchemist and Magician”: No. 20, Death of the Student (1:42)
21. The Magic Mirror, Pt. 3 “Still in the Woman’s Chamber”: No. 21, Return of the Husband (2:11)
22. The Magic Mirror, Pt. 3 “Still in the Woman’s Chamber”: No. 22, Interlude IV (1:29)
23. The Magic Mirror, Pt. 3 “Still in the Woman’s Chamber”: No. 23, Reunion with His Wife (0:45)
24. The Magic Mirror, Pt. 3 “Still in the Woman’s Chamber”: No. 24, The Husband Accuses His Wife (1:21)
25. The Magic Mirror, Pt. 3 “Still in the Woman’s Chamber”: No. 25, Interlude V (0:31)
26. The Magic Mirror, Pt. 3 “Still in the Woman’s Chamber”: No. 26, Her Girlfriends Try to Appease Him (2:27)
27. The Magic Mirror, Pt. 3 “Still in the Woman’s Chamber”: No. 27, Opening the Trunk (0:30)
28. The Magic Mirror, Pt. 3 “Still in the Woman’s Chamber”: No. 28, Devils Push the Sinner into the Fire (3:15)
29. Little Ballet Music: I. Arabesque (3:10)
30. Little Ballet Music: II. Melodie (2:09)
31. Little Ballet Music: III. Alla polacca (1:29)
32. Little Ballet Music: IV. Valse pastorale (1:55)
33. Little Ballet Music: V. Tambourin (2:13)
34. Little Ballet Music: VI. Marche de Kermesse (1:55)

Download:

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https://subyshare.com/jul41gq0f0ch/NurembergSymph0ny0rchestraPaulMannFluryTheMagicMirr0rLittleBalletMusic20202496.part2.rar.html

Katy Perry – Witness (2017)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 57:28 minutes | 669 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © CAPITOL

“Witness” is the fifth full-length release for the pop artist. The album features guest appearances from Skip Marley, Migos, and Nicki Minaj. It received mixed reviews from music critics. It topped the charts in Canada, Spain, and the United States while reaching the top five in 13 other nations.

Katy Perry achieved maturation with Prism, the 2013 album anchored on the self-empowerment anthem “Roar” and the club smash “Dark Horse.” Considering how “Roar” scored the closing stages of Hillary Clinton’s 2016 campaign, it would’ve seemed like a logical move for Perry to build upon its adult alternative affirmation but she’s instead chosen to use “Dark Horse” as a blueprint for Witness, the long-awaited 2017 successor to Prism. Perhaps Perry shifted her approach after “Rise,” the “Roar”-alike written for the 2016 Olympics that she also performed at that year’s Democratic National Convention, failed to crack the Top Ten, perhaps she always planned to construct this album with electronic beats and synths, but Witness is so slick with synths it seems slippery. It also feels relentless and a shade desperate. Some of this is due to timing. Arriving on the heels of Prism, a record littered with AAA crossover ballads, the dance-heavy Witness feels like a slide backwards into adolescence, even if the album is filled with songs where Perry attempts to address big cultural issues while walking a musical cutting edge. These conflicting desires surface on a tune as effervescent as “Chained to the Rhythm” – the only track here that could be called that, although “Pendulum” comes close – and a song as somnolent as “Bigger Than Me,” the second of two ballads on the record and the one that addresses the fallout of the 2016 presidential election. Despite some sociological broad strokes, Perry generally keeps her focus personal – and usually romantic, although “Swish Swish” plays like a swipe at another superstar – a decision that, when married to aggressive EDM-pop, erodes whatever adult contemporary progress Perry made with Prism. So, Witness is a conceptual muddle but that incoherence could’ve been excused if there were hooks in either its grooves or melodies. Instead, Witness is populated with busy, tuneless tracks that seemed designed to pulsate in the background of a regrettable night. Perry’s insistence on delving deep into electronic dance doesn’t play like a pop visionary charting new directions forward; it seems anxious, as if she can sense her youth – and perhaps more importantly, her stardom among youth – slipping away.

Tracklist:
01 – Witness
02 – Hey Hey Hey
03 – Roulette
04 – Swish Swish
05 – Déjà Vu
06 – Power
07 – Mind Maze
08 – Miss You More
09 – Chained To The Rhythm
10 – Tsunami
11 – Bon Appétit
12 – Bigger Than Me
13 – Save As Draft
14 – Pendulum
15 – Into Me You See

Download:

https://subyshare.com/mvam67ze3nud/KatyPerryWitness2017Q0buz24441.rar.html

Washed Out – Paracosm (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 00:41:01 minutes | 848 MB | Genre: Rock
Official Digital Download – Source: WEB  |  ©  Weird World

If Washed Out’s first album Within and Without lived up to the band’s name, and as the band’s Ernest Greene has said, sounded monochromatic, the follow-up, 2013’s Paracosm, sounds like a 21-gun salute fired from cannons filled with brightly colored confetti in comparison. Greene made a couple of big adjustments to the way he recorded this album — first he moved out to the countryside to get his head cleared out, then he decided to add a raft of vintage synths like Optigans and Mellotrons to his arsenal. The former helped him focus his attention and allowed him to pay microscopic attention to the sonic details; the latter added a major amount of variety and warmth to the album, bathing it in echoing tones of color and light. Bringing on board influences from the heady peak days of the shoegaze sound and writing songs that have big, sunny hooks also helps to make the album a wide-screen Technicolor experience. This time out, he also integrates live drums and bass into the mix of instruments, which gives the sound a human core and a little punch when the tempos move past languid and closer to loping. These changes don’t mean that Greene is any less chilled out and laid-back; most of the record sounds like the most blissful soft rock album ever made (or the album Chapterhouse might have made if they were big Bread fans) and it’s perfect music for doing nothing much on a gloriously warm and sunny summer day. Tracks like “It All Feels Right” or “Great Escape” have a sticky sweet center and sound the way sunscreen smells, “Falling Back” rolls past on cresting waves of hazy sound, and the rest of the album lives up to the title of the most relaxed and dreamlike song here, “Weightless.” This album is where Greene puts it all together and lives up to the promise of his early, sound-defining hit “Feel It All Around” by taking his chillwave somewhere sunny and life affirming. (Warmwave, anyone?) Within and Without sounded like music made to be played in a dentist office, cold and lifeless. Paracosm is the music you’d play while lying happily in the grass, or hanging out with your besties, or living life with no cares or cavities. It sounds fully colored in and unless you’re a big fan of cold and lifeless, it’s a huge step forward for Washed Out. ~ Tim Sendra

Tracklist
01. Entrance (1:21)
02. It All Feels Right (4:06)
03. Don’t Give Up (3:55)
04. Weightless (4:56)
05. All I Know (5:27)
06. Great Escape (5:07)
07. Paracosm (6:32)
08. Falling Back (5:47)
09. All Over Now (3:55)

Download:

https://subyshare.com/fs6vrwriqewy/Washed0ut2013Parac0smWEBFLAC2496.rar.html

Wayne Shorter – Super Nova (1969/2014)
FLAC (tracks) 24 bit/192 kHz  | Time – 37:58 minutes | 1,34 GB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Blue Note Records

“Super Nova” is the twelfth album by Wayne Shorter, recorded in 1969 and released on the Blue Note label. The album features five originals by Shorter and an arrangement of “Dindi” by Antônio Carlos Jobim. “Water Babies”, “Capricorn” and “Sweet Pea” were originally recorded in a more traditional jazz setting in 1967 during the sessions with the Second Miles Davis Quintet that would be released in 1976 on the album “Water Babies”. Chick Corea appears on drums rather than his typical role as a keyboardist.

Super Nova is an important transitional album for tenor saxophonist Wayne Shorter. Doubling on soprano (which he had recently begun playing), Shorter interprets five of his originals (including “Water Babies,” which had been recorded previously by Miles Davis) and Antonio Carlos Jobim’s “Dindi.” He definitely used a forward-looking group of sidemen, because his “backup band” includes guitarists John McLaughlin and Sonny Sharrock, Walter Booker (normally a bassist) on classical guitar for “Dindi,” bassist Miroslav Vitous, both Jack DeJohnette and Chick Corea (!) on drums, and percussionist Airto; Maria Booker takes a vocal on the touching version of “Dindi.” The influence of Miles Davis’ early fusion period is felt throughout the music, but there is nothing derivative about the often-surprising results. As with Wayne Shorter’s best albums, this set rewards repeated listenings.

Tracklist:
01 – Super Nova
02 – Sweet Pea
03 – Dindi
04 – Water Babies
05 – Capricorn
06 – More Than Human

Produced by Alfred Lion.
Recorded on August 29 (“1,2,4,5”) and September 2 (“3 & 6”), 1969 at A&R Studios, NYC.

Musicians:
Wayne Shorter – soprano saxophone
John McLaughlin – acoustic and electric guitar on “1,2,4,5”
Sonny Sharrock – electric guitar
Miroslav Vitouš – bass
Chick Corea – drums, vibes
Jack DeJohnette – drums, kalimba
Airto Moreira – percussion
Walter Booker – acoustic guitar on “3”
Maria Booker – vocals on “3”
Niels Jakobsen – claves

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https://subyshare.com/d4npqxbchjro/WayneSh0rterSuperN0va19692014Q0buz24192.part1.rar.html
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101 Strings Orchestra – Songs of England (Remastered from the Original Alshire Tapes) (1970/2020)
FLAC (tracks) 24 bit/96 kHz | Time – 29:29 minutes | 599 MB | Genre: Instrumental, Easy Listening
Studio Masters, Official Digital Download | Front Cover | © Alshire

The legendary 101 Strings Orchestra journey through the history of England with this collection of folk standards. 101 Strings Orchestra was a brand for a highly successful easy listening symphonic music organization, with a discography exceeding 150 albums and a creative lifetime of around 30 years beginning in 1957. 101 Strings had a trademark sound, focusing on melody with a laid-back ambiance most often featuring strings. Their LPs were individualized by the slogan “The Sound of Magnificence.” The 101 Strings orchestra included 124 string instruments, and was conducted by Wilhelm Stephan.

Tracklist:

01. The British Grenadiers
02. Sweet and Low
03. London Bridge Is Falling Down
04. Strawberry Fayre
05. John Peel
06. The Helston Floral Dance
07. What Shall We Do with a Drunken Sailor
08. Golden Slumbers
09. O Dear What Can the Matter Be
10. On the Banks of Allen Water
11. Sweet Lass of Richmond Hill
12. Medley: Sally in Our Alley / Pretty Little Polly Perkins / Sweet Polly Oliver / Barbara Allen

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https://subyshare.com/ip1h5dgygd84/101Strings0rchestraS0ngs0fEnglandRemasteredfr0mthe0riginalAlshireTapes197020202496.rar.html

A Girl Called Eddy – Been Around (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 48:44 minutes | 550 MB | Genre: Pop
Studio Masters, Official Digital Download | Front Cover | © Elefant Records

A little more than a year ago Elefant released a very special album from a new project called THE LAST DETAIL, a super group, formed by FUGU and A GIRL CALLED EDDY. Or in other words, Mehdi Zannad and Erin Moran. Just over a year later, here they are releasing an album that many people didn’t ever think would ever come, the second A GIRL CALLED EDDY album. While her debut came out in 2004 to much critical acclaim and was produced by Richard Hawley, it has been a while to say the least. But here is “Been Around” and yes, it was definitely worth the wait. Very much worth it. Throughout her career she has collaborated and provided vocals on projects as varied as Ron Sexsmith (“Exit Strategy Of The Soul”), SUPER FURRY ANIMALS, to French superstar Phillip Katerine’s indie classic “Parlez Vous Anglais, Mr. Katerine?”. Her debut album saw her out on tour supporting acts as diverse as Josh Ritter, Rufus Wainwright, THE BEAUTIFUL SOUTH and THE CURE. And with that first record Moran has gathered a rather impressive list of fans: from Jane Birkin, Gilbert O’Sullivan, Tracey Thorn to Robert Smith, Don Henley, Jarvis Cocker and Burt Bacharach to name just a few. “Been Around” has arrived looking like a classic. Referencing her hero’s from Laura Nyro, and Van Morrison, to Steely Dan and PREFAB SPROUT, she has put together a collection of songs that still sound completely her own. They bring an essence of the past and real heart to the present. To a 21st century desperately in need of this kind of elegance, soul and inspiration, it is welcome indeed. The arrangements on this album work on a different level to Morans debut. Where that album was steeped in dark melancholy, this record seems to bathe in the warm yellow Kodachrome-glow of the best of the 1970’s. A looking back, but not pastiche. A sense of genuineness and heart permeates every track. This is an album so full of detail and wonder that we could go on and on. “Been Around” is an enormous record. Made with love. Made the old-fashioned way. Perhaps thats where its timelessness comes from. Is reaching this exceptional and rich level of composition and emotion justification for such a long silence from A GIRL CALLED EDDY? Is that a question even worth asking? You haven’t heard an album like this in fifteen years. She’s back. Dig in and enjoy.

Tracklist:

01. Been Around
02. Big Mouth
03. Jody
04. Charity Shop Window
05. Someone’s Gonna Break Your Heart
06. Not That Sentimental Anymore
07. Two Hearts
08. Lucky Jack (20-1)
09. Come To The Palisades!
10. Finest Actor
11. NY Man
12. Pale Blue Moon (Bonus Track)

Download:

https://subyshare.com/nka8ubxm90nn/AGirlCalledEddyBeenAr0und202024441.rar.html

A Life Divided – Echoes (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 55:52 minutes | 669 MB | Genre: Alternative, Indie
Studio Masters, Official Digital Download | Front Cover | © AFM Records

Imagine you could send your current favorite rock record on a journey through time and into the past – what would it sound like? That’s exactly what A Life Divided had in mind when creating their new album “Echoes” – 13 songs that combine the band’s dark alternative rock with the zeitgeist of the 80s. After German radio hits like “Feel”, “Space” or “Heart on Fire”, an award for the best newcomer, provided by one of the biggest radio stations in Germany, tours with Apocalyptica, Eisbrecher, Unheilig and Oomph as well as sold out headliner club tours, it is without a doubt that A Life Divided and their blend of rock music with electronic elements are known across all scenes. The band currently consists of vocalist and songwriter Jürgen Plangger (also guitarist for Eisbrecher), guitarist Tony Berger (ex-Lacrimas Profundere) and bass player Tobias Egger as well as songwriter Erik Damköhler.

Tracklist:

01. Hello Emptiness
02. Dry Your Eyes
03. Addicted
04. Confronted
05. Enemy
06. Rock ‘n’ Roll Star
07. Far
08. Anybody out There
09. Push
10. Servant
11. The Ordinary
12. Circles
13. Forevermore

Download:

https://subyshare.com/hzat73d4xiai/ALifeDividedEch0es202024441.rar.html

Abdullah Ibrahim – The Balance (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 40:54 minutes | 804 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Gearbox Records

There are few musicians in jazz who can make you feel that essentially all is right in the world. Getting the balance just right has always been Ibrahim’s great strength, drawing from a source but keeping it fresh. A modern master… his graceful playing leans on equal measures of force and restraint, of dense clusters and open space. Mr. Ibrahim’s music is dotted by satisfying, sometimes stunning, passages of repose.

At the age of 84, Abdullah Ibrahim (AKA Dollar Brand) is set to release his first new album in four years. Entitled ‘The Balance’, this project features his long-time septet Ekaya, a line-up that he’s been recording with since 1983. In this case, the album was recorded over the course of one day at London’s RAK Studios last November. The lush horn lines, lilting melodies, and uplifting chord progressions are characteristic of Abdullah’s own particular brand of Township Jazz. This is contrasted with various solo piano improvisations, which epitomise the nostalgic yet hopeful nature of Abdullah’s musical spirit. Hence, The Balance.

In his own words, “We push ourselves out of our comfort zones. So that we can present to the listener our striving for excellence. So that we can engage with our listeners without any barriers of our ego. It’s not jazz. For us, it’s a process of transcending barriers.”

Tracklist:

01. Dreamtime (4:06)
02. Nisa (6:37)
03. Jabula (3:43)
04. Tuang Guru (5:11)
05. Tonegawa (3:33)
06. Song for Sathima (4:11)
07. ZB2 (2:04)
08. Skippy (5:35)
09. Devotion (2:56)
10. The Balance (3:04)

Download:

https://subyshare.com/yp52o99724t6/AbdullahIbrahimTheBalance20192496.rar.html

Aiming for Enrike – Music for Working Out (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 39:15 minutes | 473 MB | Genre: Alternative, Indie
Studio Masters, Official Digital Download | Front Cover | © Pekula Records

Aiming For Enrike releases their new album late 2019/early 2020. From March 2019 they will release a new single each month. This time they’ve made songs that are a lot to listen to, and even though their music is still experimental, it is a lot more dance- and club-friendly. Main territories are Nordics, US, UK and Japan. They also tour a lot through Europe. There will be tours in both the US and Japan in 2019.

Tracklist:

1. Christmas Eve (3:21)
2. Don’t Hassle The Hoff (3:49)
3. Infinity Rider (3:29)
4. Hard Dance Brainia (4:40)
5. Diving Within (3:42)
6. Flat Beats (7:03)
7. Undead Horse of Thunder and Metal (3:43)
8. Ponzu Saiko (3:29)
9. Spice Girls (6:05)

Download:

https://subyshare.com/z8d1ok8v6xnj/Aimingf0rEnrikeMusicf0rW0rking0ut20202448.rar.html

Akashic Record – Big Bang (2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 41:28 minutes | 432 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Ropeadope

Holding it down in Boston for over ten years, Akashic Record returns with their second Ropeadope release – Big Bang – set to hit Friday May 5th. Big Bang continues the organ driven funk and soul sound that the band delivers with perfection. Brian Thomas on the trombone, Jared Sims on Baritone Sax, Steve Fell on Guitar, Peter MaClean on Drums, Darby Wolf on Piano, and of course Sam Gilman on the Organ. This is classic groove, tight and funky, just polished a little with plenty of grit. Dig it.

Tracklist:

01. Gettin’ Up (6:26)
02. Keen Ambition (7:14)
03. Big Bang (6:04)
04. Hard Shelled Manner (5:40)
05. Damned If You Do (5:44)
06. Back Around (10:20)

Download:

https://subyshare.com/mst96b3h7qy9/AkashicRec0rdBigBang201924441.rar.html

Alex Baranowski – The Windermere Children (Original Film Soundtrack) (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 33:20 minutes | 358 MB | Genre: Soundtrack
Studio Masters, Official Digital Download | Front Cover | © Sony Classical

“The Windermere Children” soundtrack released on Sony Classics by Alex Baranowski 15TH JANUARY 2020 Very excited to announce that my score for The Windermere Children is being released by the incredible Sony Classics label next week (24th January). The film will be broadcast on simultaneously on BBC Two in the UK and ZDF in Germany on Monday 27th at 9pm (UK time). It is a Wall to Wall / Warner Bros production.

To say I’m proud of this project is a huge understatement… by far one of the most emotional journeys I’ve ever been on. Telling the true story of three hundred Polish orphans brought to the Lake District in 1945 after surviving the horrors of the Nazi concentration camps.

The story resonated very strongly with the experiences of my own Polish Grandparents after the war. I used my Grandfathers instruments on the score (one of which was an accordion he purchased in Italy in 1943 after being liberated from forced labour camps in Siberia). My Grandmothers oil paintings were also a huge inspiration; I hung some of her most harrowing early paintings in my studio as I wrote.

The album features the wonderful London Metropolitan Orchestra conducted by Andy Brown recorded at Air Studios by Fiona Cruickshank. Soloists include David Juritz (solo violin), Bob Smissesn (solo viola) and Dave Daniels (solo cello). The score also features the song Rozhinkes mit Mandlen which is sung in Yiddish by Polina Shepherd.

Tracklist:

01. A New Beginning (3:10)
02. Salek’s Theme (1:05)
03. Inseparable (2:23)
04. Escape to the Woods (1:17)
05. Stolen Bikes (1:00)
06. A Family Lost (0:52)
07. Bad Dreams (2:27)
08. Painting Pictures (1:14)
09. Haunted By the Past (1:44)
10. Letters from the Red Cross (2:23)
11. Prayer for the Dead (1:17)
12. Thoughts of Home (1:12)
13. Sala Paints (1:11)
14. Rozhinkes mit Mandlen (2:03)
15. Arriving for the Game (1:04)
16. England Is Very Green (1:11)
17. A Brother Returns (1:27)
18. The Windermere Children (5:04)
19. A Life Lived (1:27)

Download:

https://subyshare.com/d4jk1yx5r7wl/AlexBaran0wskiTheWindermereChildren0riginalFilmS0undtrack20202448.rar.html

Alex Chilton – My Rival (2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 13:59 minutes | 285 MB | Genre: Power Pop, Pop Rock, Singer-Songwriter
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Omnivore Recordings

It’s mid- to late-1975, what remained of Big Star is no longer, Third/Sister Lovers was sitting on a shelf and Alex Chilton was in Memphis at a very low point. Chris Bell spent a large part of the year in London trying to get a solo record deal, but turned up empty and flew home to visit family in late summer. While at home, Bell was cutting more solo tracks at Ardent, one of which, “You And Your Sister” needed a harmony vocal, so he called in Alex.

Fans have long thought that was the last recording of Bell and Chilton collaborating in the studio, but within what was probably a few days of that session, they were in the studio together again, with Bell engineering a set of demos for Alex.

Chilton laid down early takes of “My Rival” (later re-cut for the Like Flies On Sherbert album) and “All Of The Time” (later re-cut for the Singer Not The Song EP and Bach’s Bottom album) as well as the then unissued tracks, “She Might Look My Way” (which first appeared on co-writer Tommy Hoehn’s 1978 album, Losing You To Sleep) and “Windows Hotel” (which finally saw release in 2015 on the live album, Ocean Club ’77). Unfortunately, working together was not in the cards, nor was a Big Star reunion of any sort.

All that’s left is the music, and that’s surely something to celebrate. In some alternate universe, this could’ve been the next chapter for Big Star, and it sounds beautiful.

Tracklist:

01. My Rival
02. All Of The Time
03. Windows Hotel
04. She Might Look My Way (Take 1)
05. She Might Look My Way (Take 2)

Download:

https://subyshare.com/hmktwnv5k0f5/AlexChilt0nMyRival201924441.rar.html