Kệ nhạc cổ điển ivanhoe76 [Multi]

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Bác chủ đã "xuất đầu lộ diện" là một "cao thủ võ lâm" trong làng HDVietnam, thuộc trường phái "Classical Music" !!! "Tại hạ" xin cung kính cảm ơn "tiền bối" !

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

^^ :-bd \/

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Hewitt - Faure Piano Music (2013) [Hyperion] {24-44}

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FLAC (tracks) 24 bit/44.1 kHz | Time – 01:12:48 | 603 MB | 5% Recovery Info | Genre: Classical
Official Digital Download – Source: Hyperion-records | Digital Booklet , Front Cover | © Hyperion Records
Recorded: August 2012 at Jesus-Christus-Kirche, Berlin, Germany
Angela Hewitt (piano)

Spoiler

Angela Hewitt’s recordings of French piano music have received the highest critical acclaim, her ‘tenderness, Gallic wit, verve, and—the most important ingredient of all—charm’ proving perfect for works by Chabrier, Debussy, Ravel and indeed Rameau and Couperin. Now she turns to a composer who is more serious and introspective, with a refinement that has led to him being relatively overlooked by performers. But in Angela Hewitt’s hands this music is an utter joy.
This album includes the major work Thème et variations, Op 73—one of Faure’s greatest works for piano—and a selection of Valses-caprices and Nocturnes. It ends with a more radiant piece from Fauré’s youth, the earliest piece included on this recording—the Ballade pour piano seul, Op 19, dedicated to Saint-Saëns.

‘Hewitt’s way with the Valses-caprices is scintillating and extrovert, most notably in the second waltz’s swing-high, swing-low teasing sophistication … she is notably sensitive, too, to the openings of Nocturnes Nos 6 and 13, and to the latter’s anguished utterance … Hewitt’s excellently recorded disc (as bright as the playing) provides an invigorating modern alternative’ –Gramophone
‘Take a French composer with a contrapuntal bent, whose music requires a rigour, poise and nuance akin to that of a ballet dancer. Then choose a pianist, such as Angela Hewitt, whose feel for all these qualities is a given. The result is an exquisite Fauré recital … Hewitt’s clarity is exemplary. The purity and strong, supple backbone of her playing lets Fauré’s inventive genius, his extraordinary sensitivity to colour, harmonic shading, texture and eloquence, shine on its own terms’ –BBC Music Magazine

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Korobeinikov - Shostakovich Piano Concertos 24 Preludes (2011) [Mirare] {24-44}

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FLAC (tracks) 24-bit/44.1 kHz | Time – 01:18:08 minutes | 625 MB | Genre: Classical
Studio Master, Official Digital Download | Source: highresaudio.com | Artwork: Front Cover , Digital Booklet | @ Mirare , Harmonia Mundi Label Group
Recorded: du 26 au 28 mai 2011 au Sibelius Hall à Lahti en Finlande
Andrei Korobeinikov, piano
Mikhail Gaiduk, trompette
Lahti Symphony Orchestra
Okko Kamu, direction

Spoiler

The program of this album of music by Shostakovich (or, since you are dealing with a French release here, “Chostakovich”) is heterogenous, consisting of the two piano concertos plus the 24 Preludes, Op. 34. So, too, are the performances. You may or may not like the album from start to finish, but Russian pianist Andrei Korobeinikov deserves credit for covering some well-trodden ground and blazing fresh paths. Herewith: one listener’s ranking. Korobeinikov’s recording of the Piano Concerto No. 2 in F major, Op. 102, is one of the very best available, and for this he shares the credit with conductor Okko Kamu and Finland’s superbly agile Lahti Symphony Orchestra. Shostakovich himself disparaged this work, which was written for his son, Maxim. Due to that criticism (which really ought not to be trusted any more than other statements by composers subject to moods of the moment) and to its rather conservative language, this concerto has often gotten short shrift from performers, who take very fast tempos and tend to treat it as a kind of technical exercise. This is one of the few performances (Leonard Bernstein’s classic reading with the New York Philharmonic is another, but this one is perhaps even more detailed) to slow down and let the music’s considerable sprightly grace emerge. The Concerto No. 1 for piano, trumpet, and orchestra in C minor, Op. 35, is hardly less satisfying, with an expansive reading and some very fine trumpet tone from Mikhail Galduk. In both of these performances Korobeinikov and Kamu execute fine realizations of models that, while not exactly common, have been done before. The 24 Preludes, Op. 34, are another story entirely. Part of the genius of these pieces from the early 1930s, and of the later 24 Preludes and Fugues, Op. 87, is that they pay tribute to the past without being “neo-classic” works; they contain elements of Chopin’s preludes and of Bach’s without really resembling either one. Korobeinikov, however, pushes them into the Chopin mold, with massive tempo fluctuations, heavy use of the pedals, and in general a heavily Romantic approach. The reading somehow seems not of a piece with the rest of the album, which suggests the degree of the excellent Okko Kamu’s influence, and it doesn’t quite fit with the rest of the musical personality of the young Shostakovich. But it is fresh, and it merits consideration, especially where there is a very compelling reason, in the form of the Piano Concerto No. 2, to add this well-recorded album to one’s Shostakovich shelf. Review by James Manheim

Tracklist:
Concerto pour piano et trompette n° 1 en ut mineur opus 35
1. Allegretto 6’01
2. Lento 8’33
3. Moderato 1’48
4. Allegro con brio 6’53

Vingt-quatre Préludes opus 34
5. I Moderato 1’21
6. II Allegretto 0’52
7. III Andante 2’13
8. IV Moderato 2’16
9. V Allegro vivace 0’25
10. VI Allegretto 1’13
11. VII Andante 1’45
12. VIII Allegretto 0’53
13. IX Presto 0’35
14. X Moderato non troppo 2’03
15. XI Allegretto 0’50
16. XII Allegro non troppo 1’18
17. XIII Moderato 1’58
18. XIV Adagio 2’34
19. XV Allegretto 1’04
20. XVI Andantino 1’01
21. XVII Largo 2’21
22. XVIII Allegretto 0’50
23. XIX Andantino 2’10
24. XX Allegretto furioso 0’39
25. XXI Allegretto poco moderato 0’40
26. XXII Adagio 3’01
27. XXIII Moderato 0’47
28. XXIV Allegretto 1’13

Concerto pour piano n° 2 en fa majeur opus 102
29. Allegro 7’21
30. Andante 7’33
31. Allegro (attacca) 5’42

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Martynov - Prokofiev Piano Sonatas Pensees Music for Children (2014) [ZZT] {24-48}

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FLAC (tracks) 24-bit/48 kHz | 01:15:37 minutes | 584 MB | Classical
Studio Master, Official Digital Download | Source: Qobuz | Digital Booklet | @ Zig-Zag Territoires , Outhere Music
Recorded: 21-24 January 2014 at Teldex Studio (Berlin)
Yury Martynov, piano

Spoiler

For Zig-Zag Territoires, Yury Martynov has undertaken the complete Beethoven symphonies in Liszt’s transcriptions on historic instruments. The third volume of that cycle came out in January 2014 and, like the previous instalments, has enjoyed great critical success.

This new release bears witness to another aspect of Yury Martynov’s talent and art, this time grappling with a composer from the avant-garde of the first half of the 20th century, and on a resolutely modern Steinway.
On the programme: works from the pre-war years (Sonata No.5, Pensées), as well as a ‘war’ work (Sonata No. 6) and the marvellous 12 pieces that make up the Music for Children, with which apprentice pianists are well familiar. This is therefore a recording that explores two registers quite present in Prokofiev’s work: rich, powerful writing contrasting with melodic, poetic writing.

Tracklist:
Sergei Prokofiev (1891-1953)
Sonata no.5 in C Major, op.38
1 I. Allegro tranquillo 6’14
2 II. Andantino 3’47
3 III. Un poco allegretto 4’49

Pensées (Thoughts), op.62
4 I. Adagio penseroso 5’01
5 II. Lento 2’39
6 III. Andante 5’44

Music for Children (Musique pour enfants), op.65
7 Morning (Matin) 2’06
8 Promenade (Promenade) 1’15
9 A Little Story (Historiette) 2’31
10 Tarantella (Tarantelle) 0’58
11 Repentance (Repentirs) 2’09
12 Waltz (Valse) 1’24
13 March of the Grasshopper (Cortège de Sauterelles) 0’49
14 Rain and Rainbow (La Pluie Et L’Arc-En-Ciel) 1’38
15 Playing Tag (Attrape Qui Peut) 0’48
16 March (Marche) 1’06
17 Evening (Soir) 2’35
18 The Moon Sails o’er the Meadows (Sur Les Près La Lune Se Promène) 1’47
Sonata no.6 in A Major, op.82
19 I. Allegro moderato 8’30
20 II. Allegretto 4’35
21 III. Tempo di valzer lentissimo 7’50
22 VI. Vivace 7’09

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Kantorow - Lalo Works for Violin and Orchestra (2009) [BIS] {24-44}

Giao hưởng Tây Ban Nha là tác phẩm nổi tiếng nhất của nhà soạn nhạc người Pháp E. Lalo. Tác phẩm này được ông viết giành cho một nhà soạn nhạc người Tây Ban Nha Pablo de Sarasate, cũng là một nghệ sỹ violon kiệt xuất đương thời. Mặc dầu có tên là Symphonie espagnole, nhưng tác phẩm này không được xem như giao hưởng hay một violin concerto mà là một tác phẩm có 5 phần, trong đó vai trò của soloist và dàn nhạc tương đối cân bằng. Tác phẩm này được trình diễn lần đầu dưới đôi tay điêu luyện của Ơ. Sarasate ngay lập tức gây tiếng vang và luôn hiện diện trong danh mục biểu diễn của các violinist hàng đầu.

View attachment 193227

FLAC (tracks) 24 bit/44.1kHz | Time – 69:39 minutes | 630 MB | Genre: Classical
Official Digital Download – Source: eClassical.com | © BIS Records AB
Recorded: December 2007 at the Manuel de Falla Auditorium, Granada, Spain
Jean-Jacques Kantorow (violin)
Granada City Orchestra, Kees Bakels (conductor)

Spoiler

In 1878 Édouard Lalo wrote to the Spanish violin virtuoso Pablo de Sarasate: ‘Your arrival in my life has been my greatest artistic opportunity… without you, I would have continued to write insignificant odds and ends’. The three works gathered here all spring from this arrival, beginning with the Violin Concerto, composed in 1873. The melodious and charming concerto held a great significance for the composer, who regarded it as his first work truly worthy of the name. In the eye of the public it was soon to be overshadowed, however. The première of Symphonie espagnole, in 1875, was followed by performances all over Europe, always in the expert hands of Sarasate. Neither a symphony nor a concerto, it is rather a five-movement suite in which the soloist and orchestra converse as equal partners. First in a long line of Spanish-themed works by French composers (including Bizet’s Carmen, Chabrier’s España, Debussy’s Iberia and Ravel’s Rhapsodie espagnole), it may be regarded as a composer’s tribute to his violinist’s country of origin. Three years later the Scandinavian accents of Fantaisie norvégienne were possibly the result of an encounter with the Norwegian composer and violinist Johan Svendsen. There is no doubt that Lalo was once more composing with Sarasate in mind, however. He wrote to the violinist: ‘I believe that I have succeeded in being amusing without being common… Feel free to add violinistic devilishness if you like.’ Whatever liberties Sarasate may have taken with the solo part, the première, conducted by Max Bruch, was again a great success. So great, in fact, that Lalo soon transformed it into a purely orchestral work, without soloist, giving it the title Rapsodie norvégienne. Standing in for Sarasate on the present disc is Jean-Jaques Kantorow, whose recording (on BIS-CD-1470) of Saint-Saëns’ Third Violin Concerto – incidentally another work dedicated to Sarasate! – was nominated for both a Gramophone Award and a BBC Music Magazine Award in 2008. Here he receives fine support from the conductor Kees Bakels, his collaborator on the Saint-Saëns disc, and the Granada City Orchestra, of which he himself was the artistic director during the years 2004-2008.

Tracklist:
Édouard Lalo (1823–92)
Concerto for Violin and Orchestra, Op.20
01 I. Andante 13:13
02 II. Andantino 04:46
03 III. Allegro con fuoco 05:48

Fantaisie norvégienne
04 I. Allegro non troppo 04:53
05 II. Andante 04:03
06 III. Allegro 04:22

Symphonie espagnole, Op.21
07 I. Allegro non troppo 07:13
08 II. Scherzando. Allegro molto 03:57
09 III. Intermezzo. Allegretto non troppo 06:14
10 IV. Andante 05:56
11 V. Rondo. Allegro 07:46

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Hamelin - Albéniz Iberia and other late piano music (2005) [Hyperion] {24-44}

View attachment 193257

FLAC (tracks) 24 bit/44.1 kHz | 02:05:05 minutes | 612 MB | 5% Recovery Info
Classical | Studio Master, Official Digital Download | Source: hyperion-records | Front cover , Booklet | © Hyperion Records
Recorded: August 2004 at Henry Wood Hall, London, United Kingdom
Marc-André Hamelin, piano

Spoiler

The twelve extended pieces which make up Albéniz’ Iberia are not only the composer’s greatest work, but also the greatest piano work to come out of Spain. Fired by his discovery of the music of Ravel and Debussy, Albéniz transformed his earlier salon style, which essentially produced charming but slight ‘picture postcards’ of Spain, into a language which was much more complex—harmonically, texturally and pianistically—and which created a series of tone poems which capture the spiritual essence of Spain. The superabundance of the writing also makes the cycle one of the supreme virtuoso challenges, so who better to realize the beauty beyond the notes than Marc-André Hamelin who reveals here that the previous virtual monopoly of this work by Spanish pianists may have done more harm than good.

The couplings here are also particularly appropriate in that we have a complete survey of all Albéniz’ late piano music from 1897 until his death. La vega and España are clearly precursors of Iberia; they came after a five year gap in piano output and are the first works to show the composer’s new style. Yvonne en visite!, in perhaps its first recording, is a charming and humorous work illustrating a child’s reluctant piano playing. The collection closes with a new completion by William Bolcom of the unfinished Navarra, which probably reveals much more of Albéniz’ original intention than the perfunctory ending by de Séverac hitherto used.

Tracklist:
Isaac Albéniz (1860-1909)
Iberia
1. Book 1 No 1: Evocación [6’23]2. Book 1 No 2: El puerto [3’56]3. Book 1 No 3: El Corpus en Sevilla [8’14]4. Book 2 No 1: Rondeña [6’38]5. Book 2 No 2: Almería [10’48]6. Book 2 No 3: Triana [5’07]7. Book 3 No 1: El Albaicín [7’27]8. Book 3 No 2: El polo [6’47]9. Book 3 No 3: Lavapiés [6’20]10. Book 4 No 1: Málaga [5’01]11. Book 4 No 2: Jerez [9’57]12. Book 4 No 3: Eritaña [5’08]13. La vega [16’00]
Yvonne en visite!
14. Movement 1: La révérence! [1’52]15. Movement 2: Joyeuse rencontre et quelques pénibles événements! [4’34]
España. Souvenirs
16. Movement 1: Preludio [8’43]17. Movement 2: Asturias [3’30]18. Navarra [8’40]

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Ibragimova Tiberghien - Schubert Sonatas (2013) [Hyperion] {24-96}

View attachment 193260

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 2CD | 1.93 GB
Classical | Official Digital Download - Source: Hyperion
Franz Schubert
Alina Ibragimova (violin), Cédric Tiberghien (piano)

Spoiler

The luminous partnership of Alina Ibragimova and Cédric Tiberghien returns to Hyperion for this double album containing Schubert’s complete music for violin and piano. Their intelligence and technical prowess, their seamless and intimate connection as performers and their profound understanding of the music combine in magical performances.

While still in his teens, Schubert wrote four works for violin and piano that could have been given the label ‘sonata’, yet none of the four was published with that title. The first three, completed in 1816, bear instead the designation of ‘Sonatina’, perhaps to appeal to the amateur market. But these are highly accomplished works by the teenage composer and there is little ‘domestic’ feeling in the extended, mysterious unravellings of D385 which hint at compositions yet to come.

The later Violin Sonata in A major, D574 (now described as a ‘Duo’), urges the violinist on to greater virtuosic feats, and the Rondo in B minor even more so, with the piano sometimes treated as a surrogate orchestra. The extensive Fantasy in C major, written in the last year of Schubert’s life, is a masterpiece: the composer’s greatest achievement in this genre, which combines poignancy with sheer joy in life itself.

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Gergiev - Brahms German Requiem (2014) [LSO] {24-96}

View attachment 193311

FLAC (tracks) 24 bit/96 kHz | 1 CD | Front Cover | 1.3 GB |
Genre: Classical | Official Digital Download - Source: Linn Records
Christopher Maltman (Baritone), Sally Matthews (Soprano)
Johannes Brahms
Valery Gergiev (conductor)
London Symphony Orchestra, London Symphony Chorus

Spoiler

Valery Gergiev and the London Symphony Orchestra present Brahms’ greatest choral work, the 'German' Requiem, featuring soprano Sally Matthews and baritone Christopher Maltman. Gergiev’s first Brahms release on LSO Live, Symphonies Nos 1 & 2, Tragic Overture & Haydn Variations was awarded 5/5 by BBC Music Magazine.
Intended to be for ‘all humanity’, Brahms’ 'German' Requiem is a powerful work – its central themes of melancholy and comfort are universally applicable. Non-liturgical, yet sacred and devotional in spirit, it showcases the great romantic melodies for which Brahms was renowned, and has become a popular work with choirs all over the world – admired for its mystical, consolatory and contemplative tone.

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Bell - Tchaikovsky Violin Concerto (2005) [Sony] {24-176}

Đánh dấu album 100 với một hàng hiệu nghệ sỹ vỹ cầm trứ danh Joshua Bell, nhạc trưởng Michael Tilson Thomas và dàn nhạc Berliner Philharmoniker với kiệt tác violin concerto của Tchaikovsky.

View attachment 193328

FLAC (tracks) 24 bit/176kHz | 51:27 minutes | 1.7 GB | 5% recovery info
Classical | © Sony Classics | 2005 | Covers
Pyotr Ilyich Tchaikovsky
Joshua Bell (violin)
Berliner Philharmoniker; Michael Tilson Thomas (conductor)

Spoiler

"Joshua Bell has been capturing the hearts and applause of audiences around the world for a the past several years, striding out on stage with his handsome and elegant appearance and playing a very wide repertoire of violin concerti with involvement and musicality. In this recording of the Tchaikovsky Violin Concerto in D major all of his positive attributes are now enhanced with a lush, even tone and an intimate approach to one of the violin blockbuster pieces. It is a wholly successful venture.

Bell continues to grow as an artist and much of that growth comes in the quality of tone he now produces. It is creamy where called for and crisp and incisive when challenged. His approach to the Tchaikovsky is a passionate one, though without the overplaying that creeps into so many other violinist's readings. He is well supported by the Berlin Philharmonic under the warmly compatible leadership of Michael Tilson Thomas. This is a Tchaikovsky concerto performance to cherish.

Adding to the recording are three well selected works by Tchaikovsky - the playful 'Danse Russe' from 'Swan Lake', 'Meditation, in D major', and 'Serenade melancolique, for violin & orchestra in B minor'. They are beautifully performed and feel like well-deserved encores to the concerto! Highly recommended." Grady Harp, October 05

Track Listings
1. Concerto in D Major for Violin and Orchestra, Op. 35
2. I. Allegro moderato Album Version 19:32
3. II. Canzonetta. Andante
4. III. Finale. Allegro vivacissimo
5. Méditation in D minor, Op. 42, No. 1
6. Danse russe from Swan Lake, Op. 20 (Act III)

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Chúc mừng bác chủ với album thứ 100 !!! Chúc bác chủ "nội công" ngày càng "thâm hậu" !!! (anh chị em sẽ được nhờ !!! Hì, hì ...) =D> :>

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Ogrintchouk - Mozart Oboe Concerto Quartet Sonata (2014) [BIS] {24-96}

View attachment 193411

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 951 MB | 00:55:48
Genre: Classical | Official Digital Download - Source: Qobuz | BIS Records
Wolfgang Amadeus Mozart
Alexei Ogrintchouk, Leonid Ogrintchouk, Maxim Rysanov, Boris Brovtsyn, ...
Alexei Ogrintchouk (oboe & conductor)
Lithuanian Chamber Orchestra

Spoiler

Alexei Ogrintchouk performs three pillars of the oboe repertoire with the support of the renowned Lithuanian Chamber Orchestra and the company of three highly respected young string players in the quartet. As principal oboist of the Royal Concertgebouw Orchestra, Alexei Ogrintchouk is an international soloist in his own right. His performances of J.S. Bach’s oboe concertos was judged to be ‘as astonishing as it is successful’ on the web site klassik-heute.de, with a sound described as ‘generous, rounded, warm and velvety’ in Classica.

Chamber recordings of major repertory on modern instruments is becoming increasingly rare on recordings, but Russian-born oboist Alexeï Ogrintchouk shows there's still considerable life in the genre with this selection of Mozart works for oboe. The underperformed Oboe Quartet in F major, K. 370, is a real highlight here. This work blends sparkling melody and virtuosity (it was composed for a famed oboist of Mozart's time) in a way that clearly looks forward to, and is nearly on a par with, the clarinet masterpieces of Mozart's last years, and Ogrintchouk plays it to the hilt in a performance that remains relaxed despite the very high technical demands placed on the soloist. The Oboe Concerto in C major, K. 314, probably better known in its D major version for flute and orchestra, is very nearly as good. There was no reason for BIS' engineers to mike Ogrintchouk quite so closely in the large Lithuanian National Philharmonic Hall, picking up a good number of clicking keys, but in both the quartet and the concerto he serves as a talented leader (and conductor in the concerto, which is rare for wind players), generating ensemble work well beyond the norm in each case. The transcription of the Violin Sonata in B flat major, K. 378, is not quite so successful, even if, as the notes point out, this work was transcribed for various instruments going back to Mozart's own time. The piano is the dominant partner in the work, and the odd timbre of the oboe makes a slightly strange impression as an accompanying instrument. There is, however, nothing to complain about in any of the performances by Ogrintchouk, the lead oboist of the Concertgebouw Orchestra in Amsterdam and clearly both a technically and interpretively gifted player. The recording of the Oboe Quartet here is worth the price of admission by itself.

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Warner - Haydn Myslivecek Cello Concertos (2013) [Mirare] {24-96}

View attachment 193442

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.3 GB
Classical | Official Digital Download - Source: Cedille
Franz Joseph Haydn, Josef Myslivecek
Wendy Warner (cello)
Drostan Hall (conductor)
Camerata Chicago

Spoiler

On Haydn & Mysliveček Cello Concertos, American cellist Wendy Warner, a protégé of Mstislav Rostropovich, and Camerata Chicago, conducted by its British-born founder, Drostan Hall, present Franz Josef Haydn’s essential C Major and D Major Cello Concertos, harmoniously paired with a genuine rarity: the C Major Cello Concerto of Czech composer Josef Mysliveček (1737–1781), a Haydn contemporary.

Reviews: Haydn scholar H.C. Robbins Landon described Haydn’s D major cello concerto as one of the composer’s “weakest compositions”, an “uncomfortable” work, displaying “misjudgments of dramatic timing”, its concluding rondo “staid and melodically short-winded”. Whatever the theoretical, and to some degree subjective basis for that assessment, for most listeners, hearing this concerto will provoke nothing short of pure delight and appreciation for Haydn’s clever and catchy—and often virtuosic—thematic writing, buoyant rhythms, and thoroughly entertaining interplay between soloist and orchestra. There’s a reason why the work is represented on more than 100 recordings in the current CD catalog. And Wendy Warner’s addition to that number is a stellar confirmation of its popularity to audiences and particular appeal to performers.

That same popularity applies to the C major concerto, written in the 1760s, some 20 years earlier than the D major, yet only re-discovered in 1961 and given its modern premiere in Prague a year later. This work features even more brilliant bursts of virtuosic writing for the soloist—and Warner really digs in: you can just picture the flashing bow strokes, the swift, fluid motion of fingers, and a resultant musical enunciation that seems so easily and effortlessly produced, so absolutely natural, and so articulate and artful that you wouldn’t care if the tune were “Twinkle, twinkle little star”, you’d be just as impressed and satisfied. In fact, in view of the grand heap of Haydn cello concerto recordings, Warner’s playing places this one at the very top.

Warner’s impressive command of style and technique also serve to convince us that the “other” concerto on the program—a little-known work by Czech composer, and friend of Mozart, Joseph Myslivecek—is a more than worthy companion to the Haydn pieces; in fact, if you’re not paying very close attention, you won’t notice the transition from the Haydn C major concerto to Myslivecek’s work in the same key—the style and quality of Myslivecek’s composition makes an easy, almost seamless flow from one piece to the next. Combining this work with the two Haydn concertos was a smart bit of programming that, along with the unquestioned virtuoso performances of Wendy Warner, gives this disc an extraordinary value not only for collectors but for those who have yet to acquire a recording of these essential Haydn works. Praise for the orchestra and its conductor Drostan Hall must not go without mention—they are outstanding collaborators whose appropriately styled, energetic playing and remarkably tight ensemble complement every note and expressive utterance from Warner’s Guarneri cello. The sound, from College Church in Wheaton, Illinois, is consistent with Cedille’s highest standard. Don’t miss this.

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AAMB - Music for the Berlin Court (2012) [HM] {24-96}

View attachment 193454

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.4 GB | 5% Recovery Info
Genre: Classical | Official Digital Download - Source: Qobuz | Harmonia Mundi
Johann Gottlieb Graun, Christoph Nichelmann, Frederick the Great, Carl Philipp Emmanuel Bach
Academy for Ancient Music Berlin

Spoiler

Reviews: Released to coincide with the 300th anniversary of the birth of Frederick the Great, Akademie für Alte Musik Berlin’s album of music from the Potsdam court is a strong-willed tribute to the strong-willed monarch’s musical achievements, both as a composer himself—he studied with the composer and pedagog Quantz—and as impresario, surrounding himself with some of his age’s finest performers and composers.

Johann Gottlieb Graun (1703–71) is represented here by two works. Sometimes overshadowed by the achievements of his brother Carl Heinrich (1704–59), one of the most important German mid-century composers of Italian opera, Johann Gottlieb worked at Frederick’s court as a violinist and composer. His Overture and Allegro in D Minor are fine examples of a composer who deserves more recognition than he is currently receiving. The overture in the French style receives a stylish and rivetingly precise treatment at the hands of Stephan Mai (directing from the violin) and the orchestra. This is a group that is not afraid to explore contrast in dynamic, articulation, and color, including experimenting with scoring; the repeat of the allegro in the overture opens with winds and no strings, highlighting the rich and reedy sound of oboists Xenia Löffler and Michael Bosch and bassoonist Christian Beuse.

Graun’s A-Minor Gamba Concerto is a real monster. One of five concerti that Graun wrote for Frederick’s court gambist, the virtuoso Ludwig Christian Hesse, the piece clocks in at nearly 25 minutes. The first movement is tempestuous, with sudden silences and dramatic ebbs and flows, demanding virtuosity and precision from not only the soloist but the orchestra as well. A tender Arioso in C Major provides a respite from the drama, but does not let up on the technical demands, while the closing Allegro blends fireworks with elegant restraint. Gambist Jan Freiheit handles the demanding solo part with grace and power. However, the recording’s engineering does not do him any favors, creating a thunderously booming bass while leaving the gamba’s highest register sounding waifish and whiny at times. It simply cannot compare to the depth, power, and sparkle of Vittorio Ghielmi’s 1998 recording of the same concerto with Limoges Baroque Ensemble (Astrée 8617).

Christoph Nichelmann (1717–62) studied with both Johann Sebastian and Wilhelm Friedemann Bach, and served as second harpsichordist at Frederick’s court from 1745 to 1756. The Concerto in C Minor on this album, one of at least 20 concerti for harpsichord and orchestra Nichelmann composed, shows the stylistic influence of both the elder Bach and the newer empfindsamer , or sensitive style, championed by C. P. E. Bach and the Grauns, and even points toward early Classicism. On this recording, keyboardist Raphael Alpermann plays the solo on fortepiano, but delivers a puzzling interpretation. While his articulation is searingly crisp and perfectly executed, he does not fully take advantage of the fortepiano’s expressive capabilities through techniques carried over from expressive harpsichord playing, such as rolling chords for greater emphasis or slightly dislocating a melody note as an accent. The result is disconcertingly reminiscent of Glenn Gould’s Bach recordings, and odd, considering Alpermann’s stylish, rhythmic, and expressive harpsichord playing on the Graun and Bach works and his fortepiano continuo on Frederick the Great’s Flute Sonata in C Minor, a pleasant work with its most interesting feature being its dramatic opening recitative.

The album closes with C. P. E. Bach’s quirky and fun Symphony in D, once again demonstrating the orchestra’s ability to turn on a dime, bringing out the striking tempo and affect changes that define the younger Bach’s style. The second movement is a tender accompanied duet between flute and viola da gamba, elegant and refined, and beautifully played by gambist Freiheit and flutist Christoph Huntgeburth. As on the rest of the album, the soundstage is close, yet wide enough to capture the space between instruments. Except for the unfortunate EQ problems with the gamba concerto, it makes for a delightful if idealized listening experience, with every instrumental color coming through clearly and independently without sacrificing blend and a sense of space, important conditions necessary for this capricious, witty, and highly expressive music to come alive.

Tracklisting:
1. Ouvertüre und Allegro in A Minor, GraunWV A:XI:2: I. Ouvertüre (Lento - Allegro) 8:22
2. Ouvertüre und Allegro in A Minor, GraunWV A:XI:2: II. Allegro 3:25
3. Concerto per il Cembalo Concertante in D Minor, D-B M. TH. 169: I. Allegro 7:26
4. Concerto per il Cembalo Concertante in D Minor, D-B M. TH. 169: II. Adagio sempre piano 6:13
5. Concerto per il Cembalo Concertante in D Minor, D-B M. TH. 169: III. Presto 3:46
6. Sonata, per il Flauto Traverso Solo e Basso in C Minor, "pour Potsdam No. 190": I. Recitativo 2:09
7. Sonata, per il Flauto Traverso Solo e Basso in C Minor, "pour Potsdam No. 190": II. Andante et Cantabile 5:09
8. Sonata, per il Flauto Traverso Solo e Basso in C Minor, "pour Potsdam No. 190": III. III. 1:29
9. Concerto Per Il Viola Da Gamba Concertata In A Minor, Graunwv A:XIII:14: I. Allegro Moderato 10:14
10. Concerto Per Il Viola Da Gamba Concertata In A Minor, Graunwv A:XIII:14: II. Adagio (Arioso) 6:56
11. Concerto Per Il Viola Da Gamba Concertata In A Minor, Graunwv A:XIII:14: III. Allegro 7:14
12. Sinfonie No. 1 in D Major, Wq. 183, 1: I. Allegro di molto 5:47
13. Sinfonie No. 1 in D Major, Wq. 183, 1: II. Largo 1:34
14. Sinfonie No. 1 in D Major, Wq. 183, 1: III. Presto 2:51

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Faust - Schumann Violin Concerto Piano Trio No. 3 (2014) [HM] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Digital Booklet, Covers | 1.12 GB | 01:01:36
Classical | Official Digital Download - Source: Harmonia Mundi
Robert Schumann
Isabelle Faust (violin); Jean-Guihen Queyras (cello); Alexander Melnikov (piano)
Freiburger Barockorchester; Pablo Heras-Casado (conductor)

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Wanderers Nachtlied (2014) [HM] {24-96}

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FLAC (tracks) 24 bit/96 kHz | 2 CDs | Digital Booklet | 2.1 GB
Classical | Official Digital Download - Source: eClassical | Harmonia Mundi
Franz Schubert
Matthias Goerne, Helmut Deutsch, Eric Schneider

Spoiler

Not 'just another Schubert recording, but a major artistic achievement’ [Christian Girardin, harmonia mundi] Matthias Goerne is totally invested in the recording and editing process. Vol. 9 (the last one in the series) is due out towards the end of 2014. Future recordings will include Brahms with Christophe Eschenbach and Mahler (arr. Berio) Early Songs to be recorded in September 2014 with Josep Pons and the BBCSO.

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Davis - Haydn Symphonies Nos. 92 93 97-99 (2011) [LSO] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Digital Booklet, Covers | 2.8 GB
Classical | Official Digital Download | LSO Live
Franz Joseph Haydn
London Symphony Orchestra, Sir Colin Davis (conductor)

Spoiler

Colin Davis was a marvelous Haydn conductor, at least most of the time, and with one small exception these are uniformly splendid performances. That exception consists of the finale of Symphony No. 93, which is relatively slack, especially coming after the rowdier than usual Minuet. Everything else here is splendid. This is “big band” Haydn the way it’s meant to be. Consider how powerful those minor-key outbursts are in the slow movement of the “Oxford” Symphony. Terrific, isn’t it?

You’ll also love the amount of personality that Davis injects into the finale of No. 98–the harpsichord solo doesn’t just play where Haydn writes it, but also in the final bars, a totally captivating effect, as is the use of solo violin when the keyboard enters. All of this reveals a lifelong love of this music, and a thoughtful, sympathetic engagement with it. Every symphony here features similarly imaginative moments, from No. 97?s brassy minuet to the delicious clarinets in the finale of No. 99.

The SACD sonics are a little bit dry, typically from this source, but clear and well-balanced, with plenty of presence and impact, and the audience is very quiet. Even if you already own Davis’ earlier recordings on Philips with the Concertgebouw Orchestra, these interpretations are different and distinctive enough to justify the investment. - David Hurwitz, ClassicsToday.com

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Janis - Liszt Todtentanz Rachmaninoff Piano Concerto No. 1 (1961) [RCA LP] {24-96}

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Vinyl rip in 24-bit/96kHz FLAC (tracks) | HQ Artwork
829 MB | Classical | 1961
Classic Records/RCA LSC-2541 (1994) 180g 1S RTI Pressing
Chicago Symphony Orchestra/Fritz Reiner, Conductor
Byron Janis - pianist

Spoiler

LP track listing

Side One
Franz Liszt
1. "Todtentanz" - 15:22
Side Two
Sergei Rachmaninoff - Piano Concerto No. 1 in F-sharp minor, Op. 1
2. "Vivace" - 12:13
3. "Andante" - 5:39
4. "Allegro vivace" - 7:34

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Reiner - Moussorgsky Ravel Pictures at an Exhibition (1958) [RCA LP] {24-96}

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Vinyl rip in 24-bit/96kHz FLAC (tracks) | HQ Artwork
664 MB | Classical | 1958
Classic Records/RCA LSC-2201 (1994) 180g RTI Pressing
Chicago Symphony Orchestra/Fritz Reiner, Conductor

Spoiler

This Moussorgsky - Pictures at an Exhibition is a Classic Records reissue of the RCA Living Stereo "Shaded Dog" release.

The piece consists of a series of short compositions that do not require a strong structural musical knowledge to decipher. Originally written for piano and later orchestrated by Maurice Ravel, Pictures at an Exhibition is a melodic, impressionistic sonic spectacular that one rarely tires of hearing. A "warhorse" in the true sense of the word, and when you hear this rich, sensuous recording from way back when, you'll wonder whether the art of recording has made progress, spun in circles, or gone backwards since 1957. There's nothing "old" sounding about it.

This justly famous record shines on magnificently through the Classic Records' reissue. Much has been said and written about this performance. It's all true! The Chicago Symphony's ensemble is immaculate and the many solos are played with great distinction. This orchestra was full of stars, hired intelligently in the '50s by Rodzinski, Kubelik and Reiner. Peck, Still, Herseth, Farkas, Druzinsky, Jacobs and Brody, to name a few, play with an integrity and individual style that has seldom been matched. As such, the solos are phrased splendidly and enjoy flawless intonation.

There are many great things to enjoy, but what really jumped out at me in this recording was Ravel's astonishingly good orchestration. We've all heard the music umpteen times, and, like many comfortable things, we tend to take it for granted. Reiner and his heroes will refresh your memory of Ravel's (and Moussorgsky's) genius with unassailable playing and a rich interpretation. Like all great things, it just seems right. The magic continues with the warm recorded sound. The soundstage is wide if not deep, and imaging is similar to the hall perspective. Some audiophiles seem to think that each section of the orchestra should be imaged and separated into blocks of sound. In reality, this is incorrect. From my view, Layton and Mohr get the blend just right.

Turn the lights down and live the experience of goblins, troubadours, bustling markets, witches, caves and the squabbling of the rich and poor. It is a startling experience.

LP track listing
Modest Moussorgsky - Pictures at an Exhibition (orchestrated by Maurice Ravel)
Side One
1. "Promenade" - 1:47
2. "Gnomus" - 2:32
3. "Promenade" - 1:05
4. "Il vecchio castello" - 4:23
5. "Promenade" - 0:34
6. "Tuileries" - 0:58
7. "Bydlo" - 3:23
8. "Promenade" - 0:44
9. "Ballet of the Chicks in Their Shells" - 1:11
10. "Samuel Goldenburg and Schmuyle" - 2:14

Side Two
11. "The Market Place at Limoges" - 1:17
12. "Catacombae, sepulchrum romanum" - 1:56
13. "Con mortuis in lingua mortua" - 1:57
14. "The Hut on Fowl's Legs" - 3:25
15. "The Great Gate at Kiev" - 5:14

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Davies - Handel Oratorio Arias (2014) [Linn] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.28 GB |
Genre: Classical | Official Digital Download - Source: Linn Records
Composer: George Frideric Handel
Performer: Iestyn Davies, Rachel Chaplin, Crispian Steele-Perkins, Carolyn Sampson, ...
Conductor: Robert King
Orchestra/Ensemble: The King's Consort

Spoiler

Acclaimed countertenor Iestyn Davies and The King’s Consort perform an outstanding programme of Handel arias from some of the composer’s finest oratorios. Eleven varied solo arias include ‘O sacred oracles of truth’, the delicate ‘Tune your harps’, ‘Eternal source of light’ (with supreme trumpet playing from Crispian Steele-Perkins), the melodious ‘Your tuneful voice’ and the virtuoso ‘Mighty love now calls to arm’, as well as rarities including ‘On the valleys, dark and cheerless’ and an especial jewel, ‘Mortals think that Time is sleeping’.
Iestyn is joined in two glorious duets by soprano Carolyn Sampson, including the ecstatic ‘Welcome as the dawn of day’ and the ghostly ‘Who calls my parting soul from death’.
Recorded in the well-nigh perfect acoustic of Menuhin Hall with a large and colourful orchestra, who also contribute two

Reviews: “Davies's quick coloratura is dazzling in the final aria, 'How can I stay when love invites?'”
“Davies's phrasing is to be admired, spanning as it does long lines of breath control.”
“a first class anthology of Handel arias. The singing of Iestyn Davies is a delight from start to finish and he receives ideal support from Robert King and his players.”

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