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Hantaï - Bach Suites Anglaises Nos. 2 6 Concerto Italien (2014) [Mirare] {24-88}

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FLAC (tracks) 24 bit/88.2 kHz | Digital Booklet, Covers | 1.56 GB | 01:14:00
Classical | Official Digital Download - Source: Mirare
Johann Sebastian Bach
Pierre Hantaï (piano)

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Cohen - Liszt Piano Concertos (2007) [BIS] {24-44}

View attachment 193686

FLAC (tracks) 24 bit/44.1kHz | 57:08 minutes | 490 MB | Genre: Classical
Official Digital Download – Source: eclassical.com | © BIS Records AB
Franz Liszt
Arnaldo Cohen – piano
São Paulo Symphony Orchestra (OSESP); John Neschling – conductor

Spoiler

Review by: David Hurwitz Classcis Today US and Classics Today France 10/10
It’s often thought that critics work in isolation, and that a published opinion is merely the subjective impression of one individual. Maybe some do work that way, but I consider myself extremely fortunate to be in communication with colleagues or partners at CT.com and elsewhere–some of the most dedicated and knowledgeable people in the field. We enjoy discussing the merits of various recordings, and particularly before we give a disc a 10/10 rating we often consult to see if we agree. This is reflected, for example, in the “International Consensus” Disc of the Month selections, but that is only the tip of the critical iceberg. When it comes to repertoire very frequently recorded, such as the Liszt piano concertos, we often try to be extra careful, to be particularly clear about our reasons for awarding a new release our highest accolade.


In this particular case, I had an extensive discussion with my colleague Christophe Huss, who operates CTFrance.com. We both agreed that these performances were unusually excellent, with Christophe a bit more enthusiastic about them than I was. Clearly, Arnaldo Cohen is an exceptional Liszt pianist; he tackles all three works with consummate virtuosity and intelligence. Rapid passagework, such as the scherzo section of Piano Concerto No. 1, truly sparkles. The cadenzas in Totentanz are brilliant without turning noisy or vulgar. The Second Concerto possesses a rare cogency arising primarily from Cohen’s ability to inflect a phrase without slowing down for effect or sacrificing the long arc of melody.

I thought, however, that the end of Totentanz didn’t quite match the manic sense of fun characteristic of Brendel’s astonishing performance with Haitink on Philips (one of the very best recordings he ever made). Christophe felt that this minor deficit was more than outweighed by one other critical factor. Many of the most highly acclaimed recordings of these concertos, he pointed out, feature big-name soloists accompanied by big-name conductors and orchestras who play with, at best, a certain casual indifference. This is, after all, pianists’ music. In this case, we have a lesser-known conductor and orchestra, but they play with as much conviction and intensity as the soloist, and bring an equal amount of character and personality to their contributions. The result is a true partnership of equals, a rarity in Liszt’s piano music, yet surely what he intended in these colorfully and very precisely scored pieces (how many piano concertos do you know that give specific cautionary advice in a footnote to the triangle player?).

Listening to these performances yet again, and making some spot comparisons with a few other favorite versions, it’s clear that Christophe was right. And this fact, together with BIS’s typically state-of-the-art SACD multichannel engineering, led us both to agree to give this disc our highest recommendation. I decided to tell the story in this way because I think it says something useful about what a 10/10 means: a performance that is first of all generally excellent, but that also contains something extra, a positive quality not to be found in competing versions (at least not quite to the same degree). It doesn’t mean that everything about it is “the best” in direct comparative listening (a silly notion to begin with), and of course everyone will have their own personal preference in this music–but if you try this disc you will surely hear the qualities described above, just as we did, and hopefully will be similarly impressed. [8/1/2007]

Tracklist:
Totentanz – Paraphrase on ‘Dies iræ’ for piano and orchestra (1849/59) 15:14
01 Andante – Allegro – Allegro moderato 02:02
02 Variation I 00:50
03 Variation II 00:40
04 Variation III 00:27
05 Variation IV 03:16
06 Variation V 02:48
07 Cadenza 01:10
08 Variation VI 02:39
09 Cadenza 00:41
10 Allegro animato 00:41
Piano Concerto No.1 in E flat major (1839/1849 – 56) 18:49
11 I. Allegro maestoso. Tempo giusto 05:34
12 II. Quasi adagio 04:54
13 III. Allegretto vivace 04:11
14 IV. Allegro marziale animato 04:10
Piano Concerto No.2 in A major (1839/1849 – 61) 21:43
15 Adagio sostenuto assai – Allegro agitato assai 06:53
16 Tempo del andante – Allegro moderato 05:55
17 Allegro deciso 02:53
18 Marziale un poco meno allegro 01:07
19 Un poco meno mosso 03:08
20 Allegro animato 01:47

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Ticciati - Schumann The Symphonies (2014) [Linn] {96-24}

View attachment 193687

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 2.25 GB
Genre: Classical | Official Digital Download - Source: Linn Records
Composer: Robert Schumann
Conductor: Robin Ticciati
Orchestra/Ensemble: Scottish Chamber Orchestra

Spoiler

This is music that is very close to Robin Ticciati's heart; he describes Schumann as one of his favourite composers and has often spoken about how important poetry, colour and story are to Schumann's music. Symphony No. 1 'Spring', blazes and sparkles with joy, Symphony No. 2 finds its way carefully through to the safe haven of its final movement, the much-loved Symphony No. 3 ‘Rhenish' moves with huge ease and assurance to a resonant and joyful conclusion. Symphony No. 4 is radical in the way each movement attacks the start of the next movement with barely a pause, and in its minute-and-a-half-long, shimmering and horn-call-filled transition to the finale. Under Ticciati and the SCO it is magnificent, the radical, soaring, disturbing and exhilarating symphony Schumann intended.

The SCO's smaller forces bring a lightness of touch and a clarity to the counterpoint; under Ticciati they achieve a sense of movement that no previous recording has.

Reviews: Robin Ticciati’s Schumann cycle is the third complete set to appear in the last six months, following Yannick Nézet-Séguin’s version with the Chamber Orchestra of Europe for Deutsche Grammophon and Simon Rattle’s with the Berlin Philharmoniker on the orchestra’s own label. It’s also by a considerable margin the best of them, in fact the finest set on disc since David Zinman’s on Arte Nova a decade ago, and perhaps the most impressive thing that Ticciati has done on disc so far.

Every bar in these urgent performances with the Scottish Chamber Orchestra seems alive and full of interest. Ticciati uses an orchestra with 32 strings, almost exactly the same size as those used for the first performances, and while none of the climaxes is ever lacking in weight or grandeur – the opening of the Third Symphony, the Rhenish, has a terrific sweep to it – the textures are joyously buoyant. The conductor and his orchestra toured all four works in concert before recording them in the Perth Concert Hall, and in each symphony there is the sense of careful consideration and total absorption in the music so that not a detail of Schumann’s scoring goes missing. Everything flows with total naturalness, yet tiny contrapuntal phrases that are often hardly noticeable are allowed to make their points here without a trace of mannered emphasis.

Ticciati opts for the usual 1851 score of the D Minor Symphony rather than the original version of 10 years earlier that Rattle made a point of performing, and demonstrates conclusively that Schumann’s supposedly heavy-handed revisions to the score need seem nothing of the sort. Though one might question a few of his tempi – the trio of the Fourth’s scherzo is dangerously slow, for instance – such moments are rare; hearing these symphonies in such superbly played, convincingly Schumannesque performances is irresistible. It is clear from this set, and also from his Berlioz recordings with the SCO, that Ticciati has a real affinity with early romantic composers; some more Schumann and perhaps Mendelssohn too ought to follow.

Tracklisting:
Symphony No 1 in B flat major 'Spring' Op 38
1 Andante un poco maestoso – Allegro molto vivace 11'37
2 Larghetto – 6'28
3 Scherzo: Molto vivace 5'33
4 Finale: Allegro animato e grazioso 8'58
Symphony No 2 in C major Op 61
5 Sostenuto assai – Allegro ma non troppo 12'11
6 Scherzo: Allegro vivace 7'21
7 Adagio espressivo 10'13
8 Allegro molto vivace 8'37
Symphony No 3 in E flat major 'Rhenish' Op 97
9 Lebhaft 9'37
10 Scherzo: Sehr mäßig 6'02
11 Nicht schnell 5'39
12 Feierlich 5'27
13 Lebhaft 6'06
Symphony No 4 in D minor Op 120
14 Ziemlich langsam – Lebhaft – 10'31
15 Romanze: Ziemlich langsam – 4'06
16 Scherzo: Lebhaft – 5'29
17 Langsam – Lebhaft 9'29

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Mena - Weber Symphonies 1 2 (2012) [Chandos] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.3 GB | 69:19
Genre: Classical | Official Digital Download - Source: Qobuz | Chandos
Composer: Carl Maria von Weber
Performer: Karen Geoghegan
Conductor: Juanjo Mena
Orchestra/Ensemble: BBC Philharmonic Orchestra

Spoiler

This is the fourth release by the BBC Philharmonic under its Chief Conductor, Juanjo Mena, and the discography is going from strength to strength – their recording of orchestral works by Falla was ‘Recording on the Month’ in BBC Music. They are joined on this recording by the bassoonist Karen Geoghegan.

Weber wrote the waltz Aufforderung zum Tanze (Invitation to the Dance) in 1819, around the time when he was also working on the opera Der Freischütz. The two works crossed paths once more, in 1841, when the latter was performed at the Opéra de Paris. Berlioz had been commissioned to orchestrate Aufforderung zum Tanze so that it could be incorporated into the opera, and he did so by melding Weber’s polished and elegant original with his own sound world, with customary panache. It is the version included on this disc.

Also featured are Weber’s Symphonies Nos 1 and 2. That these works should be so neglected is partly down to historical accident; they were composed just four years after Beethoven’s monumental ‘Eroica’ Symphony, the work which ditched the rulebook once and for all, and which turned the genre from classical perfection into a personal musical manifesto. So when Weber’s symphonies saw the light of day, overshadowed by the great master, no one took much notice.

Weber wrote the first symphony between 14 December 1806 and 2 January 1807, while the second took just over a week, from 22 and 28 January. Yet, there is no evidence of undue haste in the finished works, quite the opposite in fact. They strongly display what Debussy aptly described as Weber’s ability to ‘scrutinise the soul of each instrument’.

Also on this disc is the composer’s Bassoon Concerto. Much of the work’s appeal derives from Weber’s ear for sonority, and in particular the dark-hued palette natural to the bassoon. The finale has the bassoon playing a jester of great agility, yet with enough elegant touches to dispel any clichéd ideas of the instrument as a figure of fun. The movement builds to an assured and almost reckless virtuoso ending. Karen Geoghegan is the soloist in this work. Gramophone said of this young artist that ‘lyrical, mellifluous playing seems to come as naturally as wit and charm’.

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Poltéra - Martin Honegger Schoeck Cello Concertos (2012) [BIS} {24-44}

View attachment 193732

FLAC (tracks) 24 bit/44.1kHz | 01:12:39 minutes | 696 MB | Genre: Classical
Official Digital Download – Source: eClassical | © BIS Records
Recorded: January 2006 (Schoeck) and June 2007 (Martin, Honegger) at the Malmö Concert Hall, Sweden
Christian Poltéra, cello
Malmö Symphony Orchestra
Tuomas Hannikainen, conductor

Spoiler

In 2007-08, the Swiss cellist Christian Poltéra made his debut on BIS with a series of discs dedicated to three compatriots of his: the composers Othmar Schoeck, Arthur Honegger and Frank Martin. The unconventional programmes mixed chamber music and orchestral works centred on the cello, and were received with acclaim by the international music press. ‘An ideal introduction to Martin’s music’ enthused the reviewer in Gramophone, where that release was an Editor’s Choice, while the Schoeck anthology was described as ‘a beautifully-played collection that fills an important gap’ in American Record Guide, and the French magazine Diapason gave the Honegger disc its Diapason d’or, calling it ‘une pure merveille’. In reviews of all three discs, the orchestral support from the Malmö Symphony Orchestra and Tuomas Hannikainen was especially remarked upon, as were the respective virtues of the three concertos: ‘a nostalgic, dark-hued lyrical quality that makes for absorbing listening’ (Schoeck, International Record Review); ‘a typically suave, sophisticated score, boasting a surprisingly astringent but compellingly rhythmic Finale’ (Martin, BBC Music Magazine); ‘wonderful, jazzy tunes …, plenty of fireworks for the soloist, and it packs a huge amount of contrast into its quarter-hour of playing time’ (Honegger, ClassicsToday.com). These three works, composed between 1929 and 1966 and all too rarely heard today, have now been combined; an occasion not to be missed by anyone interested in exploring some highly individual 20 th-century cello scores, or in getting to know one of today’s most impressive young cellists.


Tracklist:
Frank Martin (1890–1974)
Concerto for Cello and Orchestra (1966) (Universal)
1 I. Lento – Allegro moderato – Lento 8’30
2 II. Adagietto 7’08
3 III. Vivace selvaggio ed aspro – Cadenza – Vivace 8’28
Arthur Honegger (1892–1955)
Concerto for Cello and Orchestra (H. 72) (1929) (Maurice Senart)
4 Andante – Lento – Allegro marcato (Tranquillo – Lento – Presto) 15’10
Othmar Schoeck (1886–1957)
Concerto for Cello and String Orchestra (Hug & Co.) Op. 61 (1947)
5 I. Allegro moderato 14’08
6 II. Andante tranquillo – Più lento – Tempo I 8’09
7 III. Presto 2’37
8 IV. Lento – Molto allegro 6’47

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Pierlot - Couperin Apotheoses (2012) [Mirare] {24-88}

View attachment 193761

FLAC (tracks) 24 bit/88.2 kHz | Digital Booklet | 1.14 GB
Genre: Classical | Official Digital Download - Source: Qobuz
Composer: François Couperin
Conductor: Philippe Pierlot
Orchestra/Ensemble: Ricercar Consort

Spoiler

Philippe Pierlot and his superb Ricercar Consort present tributes to both Corelli and Lully with the two Apothéoses by François Couperin, written in the memory of Arcangelo Corelli and Jean-Baptiste Lully respectively. Behind them is an aesthetic programme: they are a plea for the mixture of the Italian and the French style, the so-called goûts réunis. The ensemble consists of Marc Hantaï and Georges Barthel (transverse flutes), François Fernandez and Sophie Gent (violins), Philippe Pierlot (viola da gamba), Eduardo Egüez (theorbo and guitar) and François Guerrier (harpsichord). Both pieces are given lively and expressive interpretations: Couperin's Apothéoses are in the tradition of the tombeau, and therefore the Tombeau de Monsieur de Lully by Jean-Féry Rebel fits well into the programme and is performed in between the two pieces by Couperin.

Reviews: Antagonism between French and Italian Baroque music was generated largely by politics, royal taste and ill-qualified critics. (The famous description of Leclair playing the violin like an angel, and Locatelli like a devil, comes from a minor Dutch organist from Groningen.

In the two ‘apotheoses’ on this disc, François Couperin raises to God-like status both the Italian Corelli and the Italian-born turncoat Lully. But Couperin’s ultimate achievement is ‘la réunion des goûts’ (the reuniting of tastes).

Le Parnasse ou l’apothéose de Corelli is a thoroughly Italian trio sonata – two violins with continuo – in which Corelli approaches Parnassus, drinks from the inspiring Hippocrene fountain, falls asleep, and thanks the Muses for honouring him. Meanwhile, in Concert à la mémoire de Lulli, Lully’s elevation to God-like status evokes ‘subterranean rumblings’ of jealousy and groans from his contemporaries, with flutes added to strings. Finally, both composers accompany each other in turn, celebrating the ‘réunion’ of music greater than the sum of its parts.

The consort’s performance is superbly stylised, from the disarming simplicity of Corelli’s ‘sleep’ to the delicate cross-rhythms of a gentle Lullian ‘air’. Jean-Féry Rebel’s Tombeau de Monsieur de Lully, which divides the Couperin pieces, spectacularly contrasts Italian fire with French lyricism.

The programme is excellently recorded in a glorious acoustic. The liner notes (lacking dates and translations) could be more helpful.


Tracklisting:

Le Parnasse ou L´Apothéose de Corelli. Grande Sonade, en Trio
1. Corelli au piéd du Parnasse prie les Muses de le Recevoir parmi elles
2. Corelli charmé de la bonne réception qu´on lui fait au Parnasse, en
marque Sa joye. Il continuë avec ceux qui L´accompagnent
3. Corelli buvant à la Source D´hypocrêne. Sa Troupe Continuë
4. Enthouziasme de Corelli Causé par les eaux D´hypocrêne
5. Corelli aprés son enthouziasme S´endort; et sa Troupe jouê le Sommeil suivant
6. Les Muses reveillent Corelli, et le placent auprês d´Apollon
7. Remerciment de Corelli

Tombeau de Monsieur de Lully - Jean Ferry REBEL
8. Gravement
9. Gay
10. Recit
11. Recit
12. Les Regrets. Grave

Concert Instrumental sous le Titre d´Apothéose composé
à la mémoire immortelle de l´incomparable Monsieur de Lulli
13. Lulli aux Champs Elisés: Concertant avec les Ombres liriques
14. Air pour les mêmes
15. Vol de Mercure aux Champs Elisés, pour avertir qu´Apollon y va descendre
16. Descente d´Apollon: qui vient offrir son violon à Lulli; et sa place au Parnasse
17. Rumeur Souteraine: Causée par les Auteurs Contemporains de Lulli
18. Plaintes des Mêmes pour des Flûtes ou pour des Violons tres adoucis
19. Enlévement de Lulli au Parnasse
20. Accüeil entre-Doux, et Agard, fait à Lulli par Corelli et par les Muses italiénes
21. Remerciment de Lulli: á Apollon
22. Apollon, persuade Lulli, et Corelli Que la réünion des Goûts François et

Italien doit faire la perfection de la Musique. Essai en forme d´Ouverture.
23. Lulli, joüant le sujet; et Corelli l´acompagnant.
24. Corelli, joüant le sujet à son tour, que Lulli acompagne
25. Corelli, joüant le sujet; et Lulli l´acompagnant.
26. Lulli, joüant le sujet à son tour, que Corelli acompagne
27. Gravement
28. Saillie Vivement
29. Rondement
30. Vivement

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Wallisch - Haydn The London Sonatas (2014) [Linn] {24-192}

View attachment 193787

FLAC (tracks) 24 bit/192 kHz | Digital Booklet | 2.7 GB | 5% Recovery Info
Genre: Classical | Official Digital Download - Source: Linn Records
Composer: Franz Joseph Haydn
Performer: Gottlieb Wallisch

Spoiler

Famed for his clarity of line and purity of tone, Gottlieb Wallisch moves from Mozart to his contemporary Haydn for his fourth recording with Linn. Wallisch launched his international career by winning the ‘Joseph Haydn Prize’ as well as first prize at the prestigious Stravinsky Awards at the age of just sixteen. He celebrated Haydn’s anniversary year in 2009 by giving a critically acclaimed cycle of concerts in the Musikverein, Vienna dedicated to the composer.

Haydn’s famous London Sonatas can be viewed as the distillation of the composer’s entire sonata-writing experience; Gottlieb perfectly captures his characteristic humour, energy and spiritedness. Sonata No. 60 was written for an instrument of greater tonal range than the Viennese instruments of the day, with a wider palette of specified dynamic possibilities and pedal effects. With a striking two-movement format, asymmetrical phrases and unusual accents Sonata No. 61 was ahead of its time, breaking the limits of traditional sonata form. Often described as a symphony for the piano, Sonata No. 62 has frequently been praised as Haydn’s ‘opus summum’ due to its large-scale form, diversity of expression and its virtuoso requirements. Named a Steinway Artist in 2012, Gottlieb Wallisch is a respected artist in the Viennese piano tradition. Gottlieb Wallisch has performed with many leading orchestras including Royal Liverpool Philharmonic, the London Philharmonic Youth Orchestra and the BBC National Orchestra of Wales. He has performed at prestigious London venues Wigmore Hall and Queen Elizabeth Hall.

Tracklisting:
1. Sonata for Keyboard no 60 in C major, H 16 no 50 by Franz Joseph Haydn
Performer: Gottlieb Wallisch (Piano)
Period: Classical
Written: c1794-95
Venue: Historischer Reitstadel zu Neumarkt in d
Length: 16 Minutes 7 Secs.
2. Sonata for Keyboard no 61 in D major, H 16 no 51 by Franz Joseph Haydn
Performer: Gottlieb Wallisch (Piano)
Period: Classical
Written: circa 1794-1795; London, England
Venue: Historischer Reitstadel zu Neumarkt in d
Length: 5 Minutes 0 Secs.
3. Sonata for Keyboard no 62 in E flat major, H 16 no 52 by Franz Joseph Haydn
Performer: Gottlieb Wallisch (Piano)
Period: Classical
Written: 1794; London, England
Venue: Historischer Reitstadel zu Neumarkt in d
Length: 19 Minutes 19 Secs.
4. Sonata for Keyboard in F minor, H 17 no 6 by Franz Joseph Haydn
Performer: Gottlieb Wallisch (Piano)
Period: Classical
Written: 1793; Vienna, Austria
Venue: Historischer Reitstadel zu Neumarkt in d
Length: 13 Minutes 44 Secs.
5. Sonata for Keyboard no 59 in E flat major, H 16 no 49 by Franz Joseph Haydn
Performer: Gottlieb Wallisch (Piano)
Period: Classical
Written: 1789; Eszterhazá, Hungary
Venue: Historischer Reitstadel zu Neumarkt in d
Length: 18 Minutes 47 Secs.

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Gergiev - Ravel Daphnis et Chloe Pavane Bolero (2010) [LSO] {24-88}

View attachment 193805

FLAC (tracks) 24 bit/88.2 kHz | Digital Booklet | 1.4 GB | 5% Recovery Info
Genre: Classical | LSO Live
Composer: Maurice Ravel
Conductor: Valery Gergiev
Orchestra/Ensemble: London Symphony Orchestra, London Symphony Chorus

Spoiler

"the work [Daphnis and Chloe] is in the orchestra's blood. Valery Gergiev's combination of attention to detail and grasp of long-term architecture allied to a splendid surround sound recording make this a very enticing prospect. The strings sweep and swoon magnificently, the numerous woodwind solos are rarely less than sublime, while the brass manage both statuesque mobility in the panoramic vistas, and bracing punch in the general dances, ably supported by crackling percussion." -- BBC Music Magazine (UK)


‘a performance which carried the listener breathlessly into a dance of entirely spiritual dimensions. Both demanding and obtaining a control over his orchestra which only pianists should reasonably expect from their instruments, Gergiev has always aimed high with the LSO. With this concert, they hit the bullseye’ The Guardian

‘Gergiev must count himself fortunate in having a Rolls-Royce of an orchestra, with a well-nigh infalliable energy ... the sun rose as gloriously as ever, and Gergiev leapt high as dawn swung into the final Danse générale’ The Times

‘The sultry, sensual score of Ravel’s Daphnis and Chloe was handled stylishly, Gergiev and the excellent LSO properly holding something in reserve for the magnificent sunrise and exhilarating coda’ The Evening Standard

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Equilbey - David Le Désert - Accentus (2015) [Naive] {24-48}

View attachment 193832

FLAC (tracks) 24 bit/48kHz | Time – 01:33:26 minutes | 986 MB | 5% Recovery Info
Genre: Classical | Official Digital Download – Source: Qobuz | © Naïve classique
Recorded: May 2014 at the Cité de la musique, Paris (France)
Félicien David (1810-1876)
Cyrille Dubois, ténor [4, 7]Zachary Wilder, ténor [9]Jean-Marie Winling, récitant [CD2]Accentus
Orchestre de chambre de Paris
Laurence Equilbey, conductor

Spoiler

Tracklist:
le désert
Première partie
1 l’entrée au désert 8’31 / 9’40
2 marche de la caravane 4’25 / 4’39
3 la tempête au désert 3’47 / 4’18
Deuxième partie
4 hymne à la nuit 6’58 / 7’14
5 fantaisie arabe – danse des almées 3’41 / 3’41
6 la liberté au désert 1’38 / 1’38
7 la rêverie du soir 3’32 / 3’32
Troisième partie
8 le lever du soleil 2’39 / 2’55
9 chant du muezzin 2’39 / 2’39
10 le départ de la caravane 2’53 / 3’47
11 chant du désert 4’17 / 5’05
CD1: version sans récitant
CD2: version intégrale, avec récitant

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Trio Wanderer - Beethoven Complete Piano Trios (2012) [HM] {24-96}

View attachment 193856

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 4.2 GB | 5% Recovery Info | 4CDs | 3 parts
Genre: Classical | Official Digital Download - Source: Qobuz | Harmonia Mundi
Composer: Ludwig van Beethoven
Orchestra/Ensemble: Wanderer Trio

Spoiler

Already established within Viennese culture by Haydn and Mozart, the trio genre was taken to new limits by the inexhaustible imagination of Beethoven's genius: "a serene joy come from an unknown world", was E. T. A. Hoffmann's reaction on hearing the Trio in D major Op.70 no.1. The Wanderers have ventured into the Beethoven piano trios and mastered every inch of its topography. What better guide could there be for us to follow with total confidence, in their 25th anniversary year?

Reviews: Even more than with their Schubert, Trio Wanderer’s perspective on Beethoven is so fresh it’s almost disconcerting. The prevailing impressions are of delicacy, beauty of tone and a spirited playfulness that’s often eclipsed when performers go all out for high seriousness. Rarely has the C minor Trio sounded less tragic and more lyrical and impish. Sometimes this is convincing. The major-minor contrasts in the second movement of Op. 70 No. 2 are handled beautifully. The teasing finale of the Ghost Trio, is a delight. And the Wanderers make a good case for the version of Op. 11 No. 1 with violin (instead of the more familiar clarinet); you’d think this must be how Beethoven first conceived it. In the famous Archduke, the prevailing impression is of gently affectionate, quick-witted, intimate discourse, making the Scherzo memorable.

But however valuable it is to be reminded that Beethoven isn’t all gruffness, imposing grandeur and heaven-storming intensity, it is decidedly odd to find those qualities so little in evidence on this recording. If there’s passion here, it’s of the intellectual, rather than the physical kind. Despite the Trio Wanderer’s strong sense of the long line, and of the role rhythm plays in powering the argument, this is a Beethoven of subtle frissons rather than thrills. It’s the imaginative brilliance of the writing that stands out in the slow movement of the Ghost, but there’s little sense of a darker presence in the background. The slow movement of the Archduke glides serenely from variation to variation, but I don’t get much sense of an emotional exploration. I’m glad I’ve heard these beautifully recorded performances. They’ve opened up vistas on this music I’ve barely glimpsed before. But as an overall view of Beethoven, this is just too – in both senses of the word – partial.


Tracklisting:

CD 01

Piano Trio no.1
in E flat major / Mi bémol majeur / Es-Dur, op.1 no.1
1 | I. Allegro 9’10
2 | II. Adagio cantabile 7’06
3 | III. Scherzo. Allegro assai 4’34
4 | IV. Finale. Presto 7’16
Piano Trio no.2
in G major / Sol majeur / G-Dur, op.1 no.2
5 | I. Adagio - Allegro vivace 10’41
6 | II. Largo con espressione 8’50
7 | III. Scherzo. Allegro - Trio 3’10
8 | IV. Finale. Presto 7’08

Dynamic Range Report

CD 02

Piano Trio no.3
in C minor / ut mineur / c-Moll, op.1 no.3
9 | I. Allegro con brio 9’13
10 | II. Andante cantabile con Variazioni 6’44
11 | III. Menuetto. Quasi Allegro - Trio 3’32
12 | IV. Finale. Prestissimo 7’31
Piano Trio no.4
in B flat major / Si bémol majeur / B-Dur, op.11 no.1
13 | I. Allegro con brio 8’19
14 | II. Adagio con espressione 4’40
15 | III. Tema (con variazioni): “Pria ch’io l’impegno”. Allegretto 6’24
Piano Trio no.9
in E flat major / Mi bémol majeur / Es-Dur, op.44
16 | 14 Variations on “Ja, ich muß mich von ihr scheiden” 12’28

Dynamic Range Report

CD 03

Piano Trio no.5 (“Ghost” / “Trio des esprits”/ “Geister-Trio”)
in D major / Ré majeur / D-Dur, op.70 no.1
17 | I. Allegro vivace e con brio 9’32
18 | II. Largo assai ed espressivo 9’50
19 | III. Presto 7’37
Piano Trio no.6
in E flat major / Mi bémol majeur / Es-Dur, op.70 no.2
20 | I. Poco sostenuto - Allegro ma non troppo 10’07
21 | II. Allegretto 4’55
22 | III. Allegretto ma non troppo 6’38
23 | IV. Finale. Allegro 7’50

Dynamic Range Report

CD 04

Piano Trio no.7 (“Archduke” / “à l’Archiduc” / “Erzherzog-Trio”)
in B flat major / Si bémol majeur / B-Dur, op.97 no.1
24 | I. Allegro moderato 12’45
25 | II. Scherzo. Allegro 6’18
26 | III. Andante cantabile, ma però con moto 10’46
27 | IV. Allegro moderato - Presto 6’46
Piano Trio no.8
28 | 10 Variations on “Ich bin der Schneider Kakadu” 16’09
in G major / Sol majeur / G-Dur, op.121a
Piano Trio no.11
in E flat major / Mi bémol majeur / Es-Dur, WoO 38
29 | I. Allegro moderato 4’09
30 | II. Scherzo 4’48
31 | III. Rondo 4’43
32 | Piano Trio no.12 4’54
in B flat major / Si bémol majeur / B-Dur, WoO 39

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Pérez - Costello - Love Duets (2014) [Wagner] {24-44}

View attachment 193857

FLAC (tracks) 24 bit/44.1 kHz | Digital Booklet | 655 MB | 5% recovery info
Genre: Classical | Official Digital Download - Source: Qobuz | Harmonia Mundi
Composer: Charles Gounod, Giuseppe Verdi, Giacomo Puccini, Leonard Bernstein, ...
Performer: Stephen Costello, Ailyn [Soprano Vocals] Perez, Stephen [Tenor Vocals] Costello, Ailyn Pérez
Conductor: Patrick Summers
Orchestra/Ensemble: BBC Symphony Orchestra

Spoiler

Richard Tucker Award-winners Stephen Costello and Ailyn Pérez – dubbed “America’s fastest-rising husband-and-wife opera stars” (Associated Press) – look forward to releasing their first album together: a recording of romantic love duets by Verdi, Puccini, Bernstein, and others, recorded with the BBC Symphony Orchestra under Patrick Summers’s leadership in London. The album is slated for release in May 2014, and it will be the couple’s first release as exclusive recording artists for Warner Classics.

Pérez explains: “Given our great love for our art and each other, I’m really looking forward to joining our voices in some of my favourite roles and operatic duets.”

Costello adds: “To be on a label for which so many incredible artists have recorded is a huge honour. I am also honoured to share this album with two great artists – my wife, Ailyn Pérez, and Maestro Patrick Summers. I am truly humbled!”

Described by Vanity Fair as “a match made in verismo heaven,” theirs is a love story that is the stuff of opera itself. The young American soprano and tenor met at Philadelphia’s Academy of Vocal Arts, where an onstage romance in Puccini’s most beloved opera kindled the flames of a real-life passion. This season, Pérez and Costello appear in performance together across the globe, headlining in La traviata in London, Berlin, Hamburg, and San Francisco, and giving concerts in New York, Philadelphia, and San Francisco.

They are the only married couple to boast having two prestigious Richard Tucker Awards on the mantelpiece: Costello took home the “Heisman Trophy of opera” in 2009 and Pérez won in 2012, becoming the first Hispanic singer to do so in the award’s history. When they performed together at the 2012 Richard Tucker Gala, which was broadcast nationally in the U.S. and is still available for on-demand streaming, the New York Times’s Anthony Tommasini admired their “palpable chemistry.”

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Rysanov - Tabakova String Paths (2013) [ECM] {24-48}

View attachment 193876

FLAC (tracks) 24-bit/48 kHz | 01:12:18 minutes | 751 MB | Genre: Classical
Official Digital Download – Source: highresaudio.com | Digital Booklet , Front Cover | © ECM Records GmbH , ECM Player
Kristina Blaumane, violoncello
Maxim Rysanov, viola, conductor
Janine Jansen, violin
Roman Mints, violin
Julia-Maria Kretz, violin
Amihai Grosz, viola
Torleif Thedéen, violoncello
Boris Andrianov, violoncello
Raimondas Sviackevičius, accordion
Vaiva Eidukaitytė-Storastienė, harpsichord
Stacey Watton, double bass
Donatas Bagurskas, double bass
Lithuanian Chamber Orchestra

Spoiler

ECM New Series presents the first full album devoted to the music of Dobrinka Tabakova, a composer born in Bulgaria in 1980 but raised from a young age in London. In Tabakova’s music – richly melodic, texturally sensuous, often emotionally radiant – there resides the new and the familiar, or rather the familiar within the new, and vice versa; there are the spirits of East and West coursing through the pieces, usually hand in hand; and just as the composer’s technical virtuosity is apparent, she possesses a desire, and a gift, for direct communication that can be heard in virtually every measure. The recording features Tabakova’s Concerto for Cello and Strings and the Rameau-inspired Suite in Old Style for viola and chamber orchestra, as well as three chamber works: the string trio Insight, the string septet Such Different Paths and a trio for violin, accordion and double-bass, Frozen River Flows. The performers include star violinist Janine Jansen and several of Tabakova’s former conservatory colleagues: violinist Roman Mints, violist-conductor Max Rysanov and cellist Kristina Blaumane, principal with the London Philharmonic Orchestra.


Tracklist:

Insight – For string trio
1. Insight 09:35

Concerto for Cello and Strings
2. I. Turbulent, Tense 07:19
3. II. Longing 08:42
4. III. Radiant 04:53
5. Frozen River Flows 06:13

Suite in Old Style for solo viola, harpsichord and strings
6. Prelude. Fanfare from the Balconies, Back from Hunting -… 06:01
7. II. The Rose Garden By Moonlight 07:30
8. III. Riddle of the Barrel-Organ Player – Postlude…. 05:04

Such different paths for string septet
9. Such Different Paths 16:56

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Egarr - Bach Orchestral Suites BWV. 1066-1069 (2014) [AAM] {24-96}

View attachment 193898

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.8 GB
Genre: Classical | Official Digital Download - AAM
Composer: Johann Sebastian Bach
Conductor: Richard Egarr
Orchestra/Ensemble: Academy of Ancient Music

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Hahn - Bach Concertos (2003) [DG] {24-88}

View attachment 193938

FLAC (tracks) 24 bit/88.2 kHz | Digital Booklet | 1.1 GB
Genre: Classical | Official Digital Download | DG
Composer: Johann Sebastian Bach
Performer: Hilary Hahn (violin)
Conductor: Jeffrey Kahane
Orchestra/Ensemble: Los Angeles Chamber Orchestra

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Hì hụi kéo nhạc của bác chủ mà chưa 1 lời cám ơn :"> . Muộn còn hơn không: cám ơn bác đã chia sẻ nhiều album HiRes quý !

 

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Kamu - Sibelius The Tempest The Bard Tapiola (2011) [BIS] {24-44}

View attachment 193943

FLAC (tracks) 24 bit/44.1kHz | Time – 01:11:41 minutes | 621 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: eclassical.com | © BIS Records AB
Recorded: January 2011 at the Sibelius Hall, Lahti, Finland
Lahti Symphony Orchestra (Sinfonia Lahti)
Okko Kamu conductor

Spoiler

To many, the Lahti Symphony Orchestra has become synonymous with excellence in Sibelius repertoire. Its numerous recordings with the previous chief conductor Osmo Vänskä have received countless distinctions and awards, and the orchestra is universally regarded as having a very special affinity for the music of their great compatriot.

On the present disc it is Okko Kamu, Vänskä’s successor as chief conductor, who wields the baton. Kamu has been a presence on the international scene ever since the early 1970s, when he made a highly-acclaimed set of Sibelius symphonies in partnership with Herbert von Karajan.
Here three other works by Sibelius make up the programme, which opens with music for Shakespeare’s play The Tempest, for which the composer in 1925 wrote the most ambitious of his several theatre scores. For concert use he later selected the Overture and two Suites recorded here. In 1926, a year after The Tempest, Sibelius again turned to the realm of magic in his masterful evocation of the forest, the symphonic poem Tapiola. The title can be translated as ‘the domain of Tapio’, god of the forest in Finnish mythology, and according to Walter Damrosch, who conducted the first performance, the audience was ‘enthralled by the dark pine forests and the shadowy gods and wood-nymphs who dwell therein’. From the start the work has been regarded as one of the greatest masterpieces from Sibelius’ pen. These two large-scale works are here separated by the seven-minute long symphonic poem The Bard from 1913, a work which in its treatment of the thematic material and the chamber-music-like quality of its scoring invites comparison with the Fourth Symphony of two year’s earlier.

Tracklist:
Jean Sibelius (1865–1957)
The Tempest – Overture, Op.109 No.1
01 Largamente molto – Largo assai 07:12
The Tempest – Suite No.1, Op.109 No.2
02 I. Der Eichbaum (The Oak Tree). Andante sostenuto 03:00
03 II. Humoreske. Allegro commodo 01:05
04 III. Calibans Lied (Caliban’s Song). Allegro commodo 01:29
05 IV. Die Herbstmänner (The Harvesters). Allegro 02:26
06 V. Canon. Allegro 02:06
07 VI. Scène. Allegretto 01:35
08 VII. Intrada – Berceuse. Largo – Andante sostenuto 02:33
09 VIII. Zwischenspiel – Ariels Lied (Entr’acte – Ariel’s Song) 02:57
10 IX. Der Sturm (The Storm). Largo – Largo assai 04:32
The Tempest – Suite No.2, Op.109 No.3
11 I. Chor der Winde (Chorus of the Winds). Largamente assai – Poco adagio 02:51
12 II. Intermezzo. Andante con moto 01:58
13 III. Tanz der Nymphen (Dance of the Nymphs). Allegretto grazioso 01:59
14 IV. Prospero. Largo 01:31
15 V. Lied I (Song I). Allegretto moderato 01:02
16 VI. Lied II (Song II). Un poco con moto 01:03
17 VII. Miranda. Allegretto 01:53
18 VIII. Die Najaden (The Naiads). Poco con moto 01:34
19 IX. Tanz-Episode (Dance Episode) 02:04
The Bard, Op.64
20 Lento assai – Largamente 07:01
Tapiola, Op.112
21 Largamente – Allegro moderato – Allegro 17:36

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Thực ra chủ thớt phải cám ơn downloader chứ bác! Thớt mà vắng người down thì buồn lắm!

 

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Neschling - Guarnieri Symphonies Nos 1 4 (2003) [BIS] {24-44}

View attachment 193944

FLAC (tracks) 24 bit/44.1kHz | Time – 00:58:06 minutes | 545 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: eclassical.com | © BIS Records AB
Recorded: February 2002 at the Sala São Paulo, Brazil
São Paulo Symphony Orchestra
John Neschling, conductor

Spoiler

Continuing its excellent series of Guarnieri Symphonies, the São Paulo Symphony Orchestra under John Neschling presents another program of marvelous music that deserves the widest possible exposure outside of its native Brazil. Guarnieri’s First Symphony was composed in 1944 and dedicated to Serge Koussevitsky. It’s as fine an example of American (in the widest sense) neo-classicism as anything by Copland, Harris, or Piston, and it’s worth pointing out that this confidently mature work actually precedes much of those composers’ symphonic output, as it does, say, Tippett’s, whose rhythmic complexity and contrapuntal business it in some ways resembles. The central slow movement, marked “Profundo”, is particularly well sustained and supports the composer’s claim to be regarded a major 20th century symphonist. Symphony No. 4, in three brief movements lasting less than 20 minutes, is subtitled “Brasília”, but it’s dedicated to Leonard Bernstein and was largely composed in New York. Both Bernstein and the composer were especially impressed by the marvelous central slow movement (which is as long as the two outer movements combined), and in particular with its “crazy” climax. A pellucid, formally elegant, richly scored work based on Brazilian folk music (but never slavishly so and never at the expense of structural coherence), it would make a terrific “first half” piece at a typical symphony concert. The Abertura Festiva lives up to its name, being brilliantly scored with an especially colorful percussion battery–and like the eponymous piece by Shostakovich, it’s simply a joy from start to finish. If you acquired the first disc in this series (and if you didn’t, you should be ashamed), then you know that Neschling and his orchestra turn in first-rate playing. Only a bit of strain in the big fugue toward the end of the First Symphony’s opening movement reveals the string players under pressure, but otherwise this is world-class music-making in the service of world-class music. Glorious sonics, solid on the bottom and bright but never shrill on top, complete a most attractive picture. –David Hurwitz, Classics Today

Tracklist:
Camargo Guarnieri (1907-1993)
Symphony No.1 (1944)
01 I. Rude 09:17
02 II. Profundo 13:22
03 III. Radioso 10:15
Abertura Festiva (1971)
04 Abertura Festiva (1971) 06:15
Symphony No.4, ‘Brasília’ (1963)
05 I. Allegro energico 04:27
06 II. Lento e tragico 08:43
07 III. Energico trionfante 04:34

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Hewitt - Liszt Piano Sonata (2015) [Hyperion] {24-44}

View attachment 193945

FLAC (tracks) 24 bit/44.1kHz | Time – 74:31 minutes | 608 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: hyperion-records | © Hyperion Records
Recorded: May 2014 at Jesus-Christus-Kirche, Berlin, Germany
Angela Hewitt, piano

Spoiler

Angela Hewitt’s notes for this important new album describe a teenager’s moment of revelation when she first came to appreciate the epic masterpiece that is the Liszt Piano Sonata. Here we have a heart-felt recording where this palpable sense of wonder is manifest alongside Hewitt’s enthralling technical facility at the keyboard.
The programme is completed by the second half of Liszt’s dazzling second Année de pèlerinage collection: the three Petrarch Sonnets and the noble Dante Sonata, the latter composed as a fund-raiser for the Bonn Beethoven monument in 1839.

The British-Canadian pianist Angela Hewitt has a refreshing attitude to Liszt. On first hearing, the monumental Piano Sonata in B minor as a teenager she thought “what an awful piece”, a mere vehicle for piano bashing. Why would anyone play it? Then a better pianist—her own teacher, Jean-Paul Sévilla—showed her the work’s miracles. At once she set about learning it herself. With Liszt, out of the wild forest of notes, the pianist must find line, delicacy, lyricism, sinew and nobility. Many players have collapsed under the weight of fiendish technical challenges so that the music sounds relentless, even grotesque. Liszt found big ideas irresistible. That other marathon, the Dante Sonata, compresses The Divine Comedy into a single movement, from the grumbling horrors of Hell to the benediction of Paradise. The harmonies, full of tritones, are wild and remote. Virtuosity is only the start. Here, in the B minor sonata and in the three youthful Petrarch Sonnets, Hewitt is magisterial. For many years Bach has been her calling card. Her Liszt is, if anything, yet more compelling. –The Guardian

Tracklist:
Franz Liszt (1811-1886)
Piano Sonata in B minor S178
1 Lento assai [13’20]2 Andante sostenuto [7’52]3 Allegro energico [1’55]4 Allegro energico – Più mosso [6’16]5 Andante sostenuto [4’56]6 Sonetto 47 del Petrarca
(No 4 of Années de pèlerinage, deuxième année – Italie, S161) [6’24]7 Sonetto 104 del Petrarca
(No 5 of Années de pèlerinage, deuxième année – Italie, S161) [7’35]8 Sonetto 123 del Petrarca
(No 6 of Années de pèlerinage, deuxième année – Italie, S161) [7’58]9 Après une lecture du Dante ‘Fantasia quasi Sonata’
(No 7 of Années de pèlerinage, deuxième année – Italie, S161) [18’15]

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