Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Hahn - Mozart Vieuxtemps Violin Concertos (2015) [DG] {24-96} View attachment 193946 FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.31 GB | 5% recovery info Genre: Classical | Official Digital Download | Deutsche Grammophon Composer: Johann Sebastian Bach Performer: Hilary Hahn (violin) Conductor: Paavo Järvi Orchestra/Ensemble: The Deutsche Kammerphilharmonie Bremen Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Hewitt - Handel Haydn (2009) [Hyperion] {24-44} View attachment 193951 FLAC (tracks) 24-bit/44.1 kHz | Time ~ 67:20 minutes | 523 MB | 5% recovery info Genre: Classical | Official Digital Download – Source: hyperion-records | Digital Booklet , Front Cover | © Hyperion Records Recorded: March 2009 at Jesus-Christus-Kirche, Berlin, Germany Angela Hewitt, piano Spoiler Recorded and released in the ‘anniversary year’ of both Handel and Haydn, Hyperion’s Record of the Month is an effusive celebration of the two composers, performed by an artist whose renditions of 17th- and 18th-century keyboard works on the piano have received the highest possible acclaim. This recital is a welcome gesture from the ‘high priestess of Bach’ (The Sunday Times). As you will hear, Hewitt’s trademark clarity of line, singing tone and instinctive musicality are perfectly suited to the urbane elegance of the works recorded here. In a fascinating and personal booklet note, Angela Hewitt takes the listener through her own childhood experiences of the works of Handel and Haydn that led her to select the works for this disc, and includes an interesting discussion of historical performance practice. This is an enchanting release that will delight Angela’s legion of fans. ‘Hewitt distils the essence of the original instruments without compromsing her out-and-out commitment to the modern keyboard … the large-scale Haydn E flat Sonata is superb, above all the middle movement in an astonishing and other-wordly E major. Hewitt’s dynamic range is bold … and the glittering facility of the final Presto is thrilling. Altogether a splendid contribution to these composers’ anniversary year’ (BBC Music Magazine) ‘Everything emerges with an impressive combination of clarity and vitality … the programme is unique to the current catalogue, and Hewitt’s favoured Fazioli instrument has been recorded with superb fidelity’ (International Record Review) ‘What intrigues me most about Angela Hewitt’s playing is the tension between the expressive restrictions of her 18th-century repertoire, and the imagination she deploys so fully within its boundaries … she takes pains to make each strand of the music apparent to the listener … technical virtuosity put to the service of Haydn’s brilliant wit’ (Fanfare, USA) Tracklist: George Frideric Handel (1685-1759) 1 Chaconne in G major HWV435 [7’28]Suite No 2 in F major HWV427 2 Adagio [3’08]3 Allegro [2’27]4 Adagio [2’15]5 Allegro: Fugue [2’16]Suite No 8 in F minor HWV433 6 Prelude [2’40]7 Allegro: Fugue [2’44]8 Allemande [2’56]9 Courante [2’01]10 Gigue [2’33]Joseph Haydn (1732-1809) 11 Andante and variations in F minor ‘Sonata, Un piccolo divertimento’ Hob XVII:6 [16’39]Piano Sonata in E flat major Hob XVI:52 12 Allegro moderato [7’59]13 Adagio [6’22]14 Finale: Presto [5’52] Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Batiashvili Ott - Brahms Violin Concerto C Schumann 3 Romances (2012) [DG] {24-96} View attachment 193953 FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 872 MB | 5% recovery info Genre: Classical | Official Digital Download | Deutsche Grammophon Composer: Johannes Brahms; Clara Schumann Performer: Lisa Batiashvili (violin); Alice Sara Ott (piano) Conductor: Christian Thielemann Orchestra/Ensemble: Staatskapelle Dresden Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Gergiev - Shostakovich Symphonies 3 & 10 (2010) [Mariinsky] {24-96} View attachment 194053 FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.7 GB | 5% recovery info Genre: Classical | Official Digital Download | Mariinsky Composer: Dmitri Shostakovich Conductor: Valery Gergiev Orchestra/Ensemble: Mariinsky Orchestra Spoiler For the the third title in his Shostakovich symphony cycle, Valery Gergiev again couples two works from different stages in the composer’s career. Although Shostakovich’s symphonies are usually highly programmatic, the Third and Tenth Symphonies are amongst his most enigmatic works. Symphony No. 3 was first performed in January 1930, its final movement setting a text by Semyon Isaakovich Kirsanov praising May Day and the revolution. Shostakovich stated that the work “expresses the spirit of peaceful reconstruction” and yet much of the music is dark and sombre in tone. The Tenth Symphony is one of his most popular and frequently heard works. It was first performed in December 1953 following the death of Stalin, although Shostakovich had been working on much of the material incorporated in the symphony for many years. The great Russian soprano Galina Vishnevskaya claimed that the symphony was “a composer’s testament of misery, forever damning a tyrant.” Previous releases in Gergiev’s Shostakovich cycle include Symphonies Nos 2 & 11 and Symphonies Nos 1 & 15, the latter of which was nominated for two Grammy Awards. The Mariinsky label will release its second recording with pianist Denis Matsuev during May 2011 featuring Shostakovich’s piano concertos. Gergiev’s recent releases on LSO Live have included Mahler’s Symphony No 5, an Outstanding Recording in International Record Review. “Valery Gergiev conducts his Mariinsky Orchestra – on its LSO-backed house label – in thoughtful accounts of astonishing detail. The playing – and recording quality – in this important Shostakovich cycle is hugely impressive.” Yorkshire Evening Post, 15th April 2011 “riveting, pugnacious, and genuinely taut performances...And how wonderful to hear a truly Russian chorus capture the blind utopian optimism of the finale...It is a thrill to sense the contrast of the Third's youthful joy against the pungent maturity of the Tenth. And Gergiev knows exactly how to touch every nerve.” The Scotsman, 3rd May 2011 ***** “He treats [the Third] like a film score, making the most of graphically illustrative passages...and inspiring the massed ranks of the Mariinsky Chorus to sing their hearts out in the stirring choral finale...there are some extremely impressive things to discover in Gergiev's interpretation [of the Tenth], particularly in the second half of the work...There's some wonderfully expressive woodwind playing, too” BBC Music Magazine, June 2011 ****... “The Allegretto [of the Tenth] is taken quite swiftly and is the most successful movement, the puppet-like dance quite poker-faced, while the repeated 'Elmira' motif...is sensitively played by the horns...[in the Third] Gergiev favour sprightly tempos, even if these exaggerate the sometimes trite nature of the musical material...The performance is capped by the Mariinsky Theatre Chorus, singing with fervour.” International Record Review “In the Third Symphony, the overriding priority is a sense of enthusiasm - one that has to be driven towards the manic, then shadowed by nightmarish visions, and finally colossally reasserted, one that has to be fuelled from start to finish by unshakeable self-belief. Gergiev and his Mariinsky players have all those qualities at their fingertips...If this is outstanding, the Tenth is even more so.” Gramophone Magazine, July 2011 “Gergiev and his orchestra charge through the Third Symphony's roistering torrent of ideas, so that the music seems to hold itself together by adrenalin alone: the result, like the work itself, is brash and brilliant...the one that matters is the Tenth Symphony: Gergiev's superb, tight-reined interpretation holds its own with the best.” Classic FM Magazine, July 2011 ***** “Gergiev's account of the symphony is visceral and uncompromising - just listen to the initial string chords of the second movement.” David Smith, Presto Classical, April 2014 Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Gergiev - Shostakovich Symphonies 1 & 15 (2008) [Mariinsky] {24-96} View attachment 194055 FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.6 GB | 5% recovery info Genre: Classical | Official Digital Download | Mariinsky Composer: Dmitri Shostakovich Conductor: Valery Gergiev Orchestra/Ensemble: Mariinsky Orchestra Spoiler The second release on the Mariinsky label features Shostakovich's first and final symphonies. Valery Gergiev made award-winning recordings of Symphonies 4-9 for Philips, however he will release a complete cycle on the Mariinsky label, starting with the symphonies he has not previously recorded. Over 45 years separate the composition of Symphonies 1 and 15 and yet both exude creativity and Shostakovich's dark wit.The First Symphony owes much to the influence of Shostakovich's Russian predecessors including Tchaikovsky and Scriabin. However it also reflects contemporary artistic life and the optimism of the early years in the Soviet Union. By contrast the final symphony is a more bitter work, drawing on many of the themes that recur throughout Shostakovich's career and yet never resorting to melodrama. Establishing its own independent label gives the Mariinsky Theatre complete artistic and financial control over its recordings. It will be able to make more recordings than was possible in the past whilst ensuring that artistic values are consistently of the highest order. It will gain the freedom to choose which repertoire it records and enable listeners around the world to enjoy exceptional performances from one of the greatest opera and ballet companies. The Mariinsky Theatre can trace its origins back to 1783 when Catherine The Great issued a decree that led to its formation. It has staged the premieres of operas by Verdi, Borodin, Mussorgsky and Tchaikovsky as well as many of the great ballets including Sleeping Beauty,The Nutcracker, La Bayadère and Raimonda.The company remains committed to presenting new opera and ballet, most recently Smelkov's The Brothers Karamazov and in 2009 will premiere three new mono-operas based on works by Gogol. Under the leadership of Valery Gergiev its international reputation has blossomed with frequent touring and recordings. It recently reverted to the Mariinsky name, having previously been known more widely outside Russia by its Communist-era name of Kirov. Forthcoming releases from Mariinsky include a broad cross-section of Russian repertoire. Well-known and rarely heard music by Tchaikovsky and Shostakovich will feature alongside works such as Rodion Shchedrin's opera The Enchanted Wanderer. The next title, for release in November 2009,will include overtures by Tchaikovsky. “Following hard on the heels of Mikhail Pletnev's fine SACD version of Shostakovich's 15th is this impressively recorded version of the same work made in the sumptuous acoustics of the new Mariinsky Concert Hall. Whereas Pletnev emphasises the grim, almost nightmarish imagery of the first movement, Gergiev is much more playful and skittish, and the crystal clear recorded focuses upon the chamber-like aspect of Shostakovich's scoring. In the darker resonances of the ensuing Adagio, Gergiev weaves a more continuous symphonic thread... although the warmer perspective of the Gergiev recording brings a much greater depth and impact to the Symphony's final despairing climax.” BBC Music Magazine, September 2009 ***** “Recorded at the new Mariinsky Concert Hall, adjacent to the historic “Imperial” theatre, these works are meat and drink for Gergiev’s outstanding Mariinsky players and bode well for what surely must become a complete cycle.” Sunday Times, 12th July 2009 Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Gergiev - Shostakovich Symphony 7 "Leningrad" (2012) [Mariinsky] {24-96} "...Ngày 23.9.1942, bản giao hưởng “Leningrad” được công diễn ở Matxcơva. Báo động phòng không giữa buổi hòa nhạc. Đạn nổ đầy trời. Âm nhạc vẫn cứ bay lên. Không một ai rời khỏi chỗ. Shostakovich mạnh hơn Hitler! Và tại Leningrad bị phong tỏa có 15 nhạc sĩ ngồi lắng nghe, xúc động lặng người. Họ thề rằng phải biểu diễn bản giao hưởng “của mình” đó ở đây, chính Leningrad này! Và họ đã thực hiện được điều tưởng như không thể đó vào năm 1942 ở thành phố đang ngắc ngoải giữa vòng vây xiết chặt của quân thù. ... Ngày 19.7.1942, giao hưởng Leningrad dưới sự chỉ huy của Toscanini đã vang lên ở New York và được truyền đi khắp lục địa Mỹ. Thành công thật là vang dội. Toscanini điện cho Shostakovich từ New York: “Tôi muốn nhân danh cá nhân chúc mừng ông, người đại diện vĩ đại của một đất nước vĩ đại!”. Báo chí Mỹ viết: “Sau cái vung tay cuối cùng của Toscanini, mỗi người có mặt trong phòng hòa nhạc đều quay người sang bên cạnh và nói: Quỷ dữ làm sao có thể chiến thắng nổi một dân tộc sáng tạo được thứ âm nhạc đẹp như thế này! Giao hưởng Leningrad cho chúng ta sức mạnh tinh thần và niềm hy vọng rằng một thế giới đang đến. Shostakovich không chỉ nói nhân danh người Nga vĩ đại, mà nhân danh cả nhân loại!”… HLQ View attachment 194064 FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.5 GB | 5% recovery info Genre: Classical | Official Digital Download | Mariinsky Composer: Dmitri Shostakovich Conductor: Valery Gergiev Orchestra/Ensemble: Mariinsky Orchestra Spoiler Valery Gergiev continues his Shostakovich symphony cycle with an emotionally-charged performance of the Seventh Symphony. Shostakovich dedicated his Symphony No 7 to the defiance shown by the citizens of Leningrad in the face of Nazi totalitarianism. Despite the widespread reassessment that has since taken place regarding the inspirations for his symphonies, the ‘Leningrad’ symphony remains a highly-potent symbol for the residents of modern-day St Petersburg. Previous releases in Gergiev’s Shostakovich cycle have included Symphonies Nos 1 & 15, 2 & 11 and 3 & 10. Between them they have received two Grammy Award nominations, as well as Chocs from Classica (France) and Editor’s Choices from Gramophone. Gergiev will conduct Shostakovich symphonies with the Rotterdam Philharmonic in December, and complete the Brahms & Szymanowsky cycles with the LSO in London. In January the Mariinsky orchestra will perform a number of Shostakovich symphonies with Gergiev in France and in February they return to Russia for performances of Shchedrin’s 'Dead Souls' and Strauss’ 'Elektra'. “Gergiev and his heroic St Petersburg orchestra show that the Adagio – touched by a sense of intimacy, passion and tragedy – is the real kernel of the symphony. This live recording has occasional imperfections of ensemble, always a hazard with Gergiev, but what counts is the big picture, captured here with intensity, heart and soul.” Financial Times, 29th December 2012 **** “such is the poignancy and sensitivity with which Gergiev shapes the world-weary melodies that I was immediately won over...[in the Finale] Gergiev exerts a much tauter control over proceedings, the inexorable tread of the sarabande rhythm achieving mesmeric cumulative power which is helped in no small measure by the superbly responsive orchestral playing and the tremendous dynamic range of the recording.” BBC Music Magazine, March 2013 **** Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Rattle - Dvorak Tone Poems (2005) [Warner] {24-44} View attachment 194069 FLAC (tracks) 24 bit/44.1 kHz | Time – 01:24:00 minutes | 740 MB | 5% recovery info Genre: Classical | Official Digital Download – Source: HDTracks | © Warner Classics Recorded: Philharmonie, Berlin, 4–7 March, 23–25 April 2004 Berliner Philharmoniker Sir Simon Rattle, conducter Spoiler Dvorák returned to Bohemia from his last American visit in April 1895 and for the rest of his life divided his time between Prague and his small property at Vysoká, making occasional trips abroad to conduct or attend performances of his music. Aged at this time fifty-three, he was internationally famous and in a position to write more or less what he wanted. Between the spring of 1893 and the end of 1895 he had completed some of his finest instrumental works – the Ninth Symphony (‘From the New World’), the Cello Concerto and three string quartets – but he now seems to have made a conscious decision to turn away from ‘pure’ instrumental music. An intensely patriotic man, he was always anxious to be appreciated as a Czech artist, and in the last decade of his life concentrated on giving musical expression to subjects that were both national and dramatic. His real ambition was to write a successful national opera to stand alongside the works of Smetana: Rusalka, composed in 1900, broadly realised this aim. Perhaps it was as a half-way step towards the stage that in January 1896 he began to compose, almost simultaneously, three symphonic poems: The Water Goblin, The Noonday Witch and The Golden Spinning-Wheel. The first was finished within five weeks, on 11 February; the other two by the end of February and March respectively. They were given a run-through at the Prague Conservatoire on 3 June, and first performed in London in October and November. A fourth in the series, The Wood Dove, followed that autumn. These works, which Dvoˇ rák entitled ‘orchestral ballads’, are based on poems by Karel Jaromír Erben (1811–1870), official archivist of the city of Prague. Although he devoted only a small part of his life to original writing, he made a large collection of folk songs, first published in 1841. His original work is almost all contained in one small volume, Kytice z povˇ estí národních (A Garland of Folk Poetry, 1853), a collection of twelve ballads, one of which had already provided Dvorák with the text of his large-scale cantata The Spectre’s Bride (1885). These ballads are too sophisticated to be considered direct imitations of folk poetry, but Erben drew heavily on his country’s folk traditions for their narrative poetic form and and their dramatic, symbolic and psychological possibilities. Tracklist: The Golden Spinning Wheel (Zlatý kolovrat), symphonic poem, B. 197 (Op. 109) 27.50 1 Allegro, ma non troppo 8.35 2 Molto vivace 6.40 3 Lento 6.24 4 Allegro, ma non troppo 6.10 The Wild Dove (Holoubek), symphonic poem for orchestra, B. 198 (Op. 110) 20.49 5 Andante, marcia funebre 5.21 6 Allegro 2.55 7 Molto vivace 5.37 8 Andante 6.55 The Noon Witch (Polednice), symphonic poem, B. 196 (Op. 108) 13.32 9 Allegretto 5.35 10 Andante sostenuto e molto tranquillo 5.19 11 Andante 2.37 The Water Goblin (Vodník), symphonic poem, B. 195 (Op. 107) 21.18 12 Allegro vivo 7.00 13 Andante mesto come prima 4.53 14 Un poco più mosso 4.29 15 Allegro vivace 4.55 Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Bell - Bach Violin Concertos (2014) [Sony] {24-44} View attachment 194073 FLAC (tracks) 24-bit/44,1 kHz | Time – 49:57 minutes | 311 MB | 10% recovery info Genre: Classical | Studio Master, Official Digital Download | Source:Qobuz | Digital Booklet , Front cover © Sony Music | Recorded: April 28 & 29, 2014 at Air Studios, London, Great Britain Joshua Bell, violin and leader Academy of St Martin in the Fields Spoiler Violinist Joshua Bell is one of the most acclaimed classical musicians of today — renowned for his expressive, elegant, intelligent playing and his deep commitment to bringing the classical tradition to wider audiences. Now Bell has for the first time recorded the masterpieces of J.S. Bach with the Academy of St Martin in the Fields. In his third season now as their music director, Bell performs Bach’s sublime Violin Concertos No. 1 and No. 2, along with a never-done-before ‘violin and orchestra’ arrangement of the famous “Chaconne” from the Partita No. 2 (adapted from Mendelssohn’s piano accompaniment), the Gavotte en Rondeau from Partita No. 3 for solo violin (using Schumann’s accompaniment), and the universally beloved “Air on the G string.” “Bach is the composer who got me hooked on music in the first place,” says Bell, whose “house was filled with Bach when I was growing up.” He also began his music career with Bach. Says Bell, “I made my first appearance as soloist with an orchestra when I was seven years old. The concerto was by Bach, and Bach’s music has been central in my life, even though I have until now resisted recording his music. My approach to Bach has been continuously evolving. I grew up deeply influenced by a tradition of Bach playing that has since gone out of fashion with the arrival of the ‘original instrument’ movement. What fascinates me is how the beauty of Bach can shine through both when performed in a ‘romantic’ style (if done tastefully of course!) and also when done with a more ‘historically informed’ approach.” Tracklist: Johann Sebastian Bach (1685 – 1750) 1. Violin Concerto No. 1 in A Minor, BWV 1041: I. Allegro (3:21) 2. Violin Concerto No. 1 in A Minor, BWV 1041: II. Andante (6:33) 3. Violin Concerto No. 1 in A Minor, BWV 1041: III. Allegro assai (3:28) 4. Violin Concerto No. 2 in E Major BWV 1042: I. Allegro (6:55) 5. Violin Concerto No. 2 in E Major BWV 1042: II. Adagio (5:53) 6. Violin Concerto No. 2 in E Major BWV 1042: III. Allegro assai (2:34) 7. Partita No. 2 in D Minor, BWV 1004: V. Chaconne (13:29) 8. Orchestral Suite No. 3 in D Major, BWV 1068: II. Air (4:55) 9. Partita for Violin Solo No. 3 in E Major, BWV 1006: III. Gavotte en Rondeau (2:49) Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Herreweghe - Brahms Works for chorus and orchestra (2011) [Phi] {24-44} View attachment 194078 FLAC (tracks) 24 bit/44.1 kHz | Time – 00:56:15 minutes | 550 MB | 5% recovery info Genre: Classical, Choral | Official Digital Download – Source: Qobuz | © Phi / Outhere Label Group Recorded: 18-20 July 2011, Warsaw, Polskie Radio, Witold Lutoslawski Studio Ann Hallenberg, mezzo-soprano Collegium Vocale Gent, chorus Orchestre des Champs-Elysées Philippe Herreweghe, conductor Spoiler For his 3rd album on Phi, his new label published by the group Outhere, Philippe Herreweghe has brought together a splendid set of artists in the Lutoslawski hall in Warsaw. Ann Hallenberg, whose voice won over the public of some of the world’s most prestigious concert halls, takes on the Rhapsody for contralto solo and men’s chorus by Brahms while the rest of the programme leads the listener through his essential works for chorus and orchestra. Herreweghe’s long-time affinity with the composer of A German Requiem has enabled him to provide a coherent and personal vision of those musical pages in which Brahms gave free course to his most intimate thoughts. Collegium Vocale Gent is joined in this endeavour by the members of the Accademia Chigiana of Sienna with whom it formed a European ensemble that was officially recognised as Cultural Ambassador of the European Union just a few months ago. Together with the Orchestre des Champs-Elysées and its authentic instrumentarium, this great choir interprets the Burial Song, the Song of Destiny, the Song of the Fates and the motet Warum ist das Licht gegeben. A great moment for all admirers of Brahms and fans of choral singing at its very best! Brahms’ works for chorus account for a significant part of his output, far greater than would be guessed by the frequency of their performances in modern times, apart from Ein deutsches Requiem. His music for mixed choirs and women’s voices, either a cappella or accompanied by piano, are the works that were the most often performed during his lifetime because of their dissemination through the proliferation of amateur community choirs of the era. He wrote relatively few works for chorus and orchestra, most of them in the later part of his career, and this CD brings together an attractive selection of five of them. The most familiar are the Rhapsodie for alto, men’s voices, and orchestra, Op. 53, and Schicksalslied for choir and orchestra, Op. 54. Brahms wrote them not long after completing his Requiem, and it’s easy to hear echoes of its depths of feeling and musical language in these shorter, but still profound pieces. Gesang der Parzen, Op. 89, his last choral-orchestral work, a setting of Goethe, also deserves broader exposure. It’s perhaps the most eccentric musically, filled with unpredictable shifts in direction, but it makes a strong mystical impression particularly in its haunting final moments. The remaining works, the early Begräbnisgesang, Op. 13, and the motet, Warum ist das Licht gegeben, Op. 74/1, may be less likely to find wide audiences, but they are nonetheless satisfying and richly lyrical and are bound to interest the composer’s fans and anyone who loves sumptuous Romantic choral music. Phillipe Herreweghe leads Collegium Vocale Gent, a group he founded in 1970, and it’s evident from the easy give and take of the performance that there is fluid communication between them. The group sings with seamless phrasing and remarkable subtlety of dynamic inflections. Ann Hallenberg, usually known as a Baroque specialist, brings a light, pure, warmly focused mezzo to the Alto Rhapsody. The sound is clean and ambient, with a good sense of presence. –Stephen Eddins Tracklist: Johannes Brahms (1833-1897) 1. Schicksalslied für Chor und Orchester op. 54 16’20 2. Rhapsodie für eine Altstimme, Männerchor und Orchester „Alt-Rhapsodie“ op. 53 11’34 3. Warum ist das Licht gegeben, Motet für gemischten Chor a cappella op. 74/1 10’13 4. Begräbnisgesang für gemischten Chor und Blasinstrumente op. 13 7’13 5. Gesang der Parzen op. 89 10’59 Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Baerts - Busoni Berg Zemlinsky Webern Lieder (2014) [ZZT] {24-44} View attachment 194104 FLAC (tracks) 24-bit/44.1 kHz | Time ~ 00:50:57 minutes | 333 MB | 5% recovery info Genre: Classical | Official Digital Download – Source: Qobuz | Digital Booklet , Front Cover © Zig-Zag Territoires , Outhere Music | Recorded: at deSingel (Blue Hall) Het Collectief Katrien Baerts, soprano Reinbert de Leeuw, conductor Spoiler When it comes to modern music – from the 20th-century repertoire to scores on which the ink is barely dry –, Het Collectief is one of the finest European ensembles. With their sixth disc for Outhere and their first on the Zig-Zag Territoires label, the ensemble returns to the roots of the modern repertoire, interpreting Webern’s Passacaglia and, with soprano Katrien Baerts, Berg’s Sieben frühe Lieder, Zemlinsky’s Maeterlinck Gesänge. But how, with a chamber ensemble, does one perform this music that was written for orchestra or piano? It means finding transcriptions! Happily, Reinbert de Leeuw, conductor, pianist, composer, teacher, founder of the famous Schönberg Ensemble and eminent personality on the contemporary music scene, has arranged these works. And the icing on the cake: Het Collectief plays these arrangements under the direction of… Reinbert de Leeuw himself! Tracklist: Ferruccio Busoni (1866 – 1924) 1 Berceuse Elégiaque Opus 42 (1909) 8’28 (arr. A. Schönberg – 1920) for 2 Violins, Alto, Cello, Double Bass, Harmonium, Piano, Flute and Clarinet Alban Berg (1885 – 1935) Sieben frühe Lieder (1905-1908) (arr. Reinbert de Leeuw) 13’44 for Soprano, 2 Violins, Alto, Cello, Double Bass, Harmonium, Piano, Flute and Clarinet 2 Nacht 3’52 3 Schilflied 1’55 4 Die Nachtigall 2’04 5 Traumgekrönt 2’32 6 Im Zimmer 1’14 7 Liebesode 1’45 8 Sommertage 1’42 Alexander von Zemlinsky (1871 – 1942) Sechs Gesänge nach Maeterlinck Opus 13 (1913) 17’23 for Soprano, 2 Violins, Alto, Cello, Double Bass, Harmonium, Piano, Flute and Clarinet 9 Die drei Schwestern (arr. Reinbert De Leeuw) 3’31 10 Die Mädchen mit den verbundenen Augen (arr. Erwin Stein) 2’47 11 Lied der Jungfrau (arr. Leonard Stein) 2’09 12 Als ihr Geliebter schied (arr. Leonard Stein) 1’50 13 Und kehrt er einst heim (arr. Erwin Stein) 3’06 14 Sie kam zum Schloss gegangen (arr. Reinbert De Leeuw) 4’00 Anton Webern (1883 – 1945) 15 Passacaglia Opus 1 (1908) (arr. R. De Leeuw) 15’04 for 2 Violins, Alto, Cello, Double Bass, Harmonium, Piano, Flute, Clarinet and Oboe Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Cohen - Monteverdi Madrigals of Love and Loss (2014) [Hyperion] {24-96} View attachment 194135 FLAC (tracks) 24 bit/96 kHz | 1 CD | Digital Booklet | 1.3 GB | 5% recovery info Genre: Classical | Official Digital Download - Source: Qobuz | Hyperion Composer: Claudio Monteverdi, Tarquinio Merula Conductor: Jonathan Cohen Orchestra/Ensemble: Arcangelo Spoiler Gramophone Award-winning ensemble Arcangelo (in their first recording as a vocal and instrumental group) presents a selection from Monteverdi’s last three books of madrigals. These ardent and passionate works are microcosms of Monteverdi’s great operas, and among his most celebrated music. Most of the madrigals of Book 6 (1614) are songs of parting and loss. Book 7 (1619) is entitled Concerto, meaning that all the works it contains require instrumental accompaniment. And Book 8 (1638) introduces the genere concitato—the ‘agitated’ manner that Monteverdi devised to convey the emotions of war, whether physical or psychological. Combattimento di Tancredi e Clorinda sets an extended passage from Tasso’s epic poem Gerusalemme liberata. Tasso’s text, set in the time of the first crusade, tells of the combat between the Christian knight Tancredi and the Saracen maiden Clorinda. Most of the action of the Combattimento is conveyed by a narrator (Testo—the text), sung here by celebrated tenor James Gilchrist. Reviews: “All of Cohen's singers come from the world of opera, and it shows in performances that place the drama of le parole to the fore...But among so much vocal athleticism, it's still the instrumentalists that dominate...Arcangelo's musicians deploy rough-edged expressive risk-taking within a framework of complete stylistic control.” “The first impression given by the opening track on this disc is of enormous energy and breadth. There is some superb singing from the assured and polished tenor Thomas Walker, while even more impressive is the remarkably full-bodied sound and glorious instrumental textures from the dozen players” Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Maazel - Verdi Messa da Requiem (2015) [Sony] {24-44} View attachment 194162 FLAC (tracks) 24 bit/44.1 kHz | Time – 01:32:17 minutes | 846 MB | 5% recovery info Genre: Classical | Official Digital Download – Source: highresaudio.com | © Sony Music Entertainment Recorded: 6, 7 & 9 February 2014 Anja Harteros, soprano Daniela Barcellona, mezzo-soprano Wookyung Kim, tenor Georg Zeppenfeld, bass Philharmonischer Chor München Münchner Philharmoniker Lorin Maazel, conductor Spoiler World-famous conductor Lorin Maazel was chief conductor of the Münchner Philharmoniker until shortly before his death in July 2014 at the age of 84. This live recording, which happened in February 2014, is probably the last recording of Maazel. It documents an acclaimed and moving concert in the Munich Philharmonie with Lorin Maazel and the Münchner Philharmoniker and their choir per-forming Verdi’s famous requiem. The excellent soloists were Anja Harteros (soprano), Daniela Barcellona (mezzo-soprano), Wookyung Kim (tenor) and Georg Zeppenfeld (bass). Tracklist: Giuseppe Verdi (1813-1901) I. Requiem (e Kyrie) 1. Requiem aeternam 11:22 II. Dies irae 2. Dies irae 02:28 3. Tuba mirum 03:31 4. Liber scriptus 05:13 5. Quid sum miser 03:51 6. Rex tremendae 04:11 7. Recordare 04:17 8. Ingemisco tamquam 03:52 9. Confutatis maledictis 05:45 10. Lacrimosa 06:39 III. Offertorio 11. Domine Jesu 04:23 12. Hostias 05:57 IV. Sanctus 13. Sanctus 02:43 V. Agnus Dei 14. Agnus Dei 05:28 VI. Lux aeterna 15. Lux Aeterna 06:50 VII. Libera me 16. Libera me 02:40 17. Dies irae 06:11 18. Libera me 06:56 Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Esfahani - Time Present and Time Past (2015) [DG] {24-48} View attachment 194183 FLAC (tracks) 24 bit/48 kHz | Time – 01:13:46 minutes | 943 MB | 5% recovery info Genre: Classical | Official Digital Download – Source: prestoclassical.co.uk | © Deutsche Grammophon Recorded: Cologne, Deutschlandfunk Kammermusiksaal, 9/2014 Mahan Esfahani, harpsichord Concerto Köln Spoiler Mahan Esfahani’s new album“Time Present and Time Past” is an eclectic programme fusing Baroque with Minimalism – and the first harpsichord album DG has released in over 30 years! Gramophone Award winner Mahan explores the relationship between two musical genres which are 300 years apart, yet emphasizing its similarities by playing all pieces on period instruments – which has never been done before with the Reich and Gorecki pieces. If you buy only one record of harpsichord music in your life . . . buy this sensational album. The 30-year-old Iranian-American Mahan Esfahani has been making waves among connoisseurs for several years. Now he emerges as a superstar whose musicianship, imagination, virtuosity, cultural breadth and charisma far transcends the ivory tower in which the harpsichord has traditionally been placed . . . Where necessary, Esfahani is brilliantly accompanied by Concerto Köln. Even their final performance — of JS Bach¿s Vivaldi-inspired harpsichord concerto in D Minor, with its plangently lyrical slow movement — has a delicious twist. In the last movement Esfahani inserts a flamboyant cadenza by Brahms, of all people. A truly magical mash-up of times past, present and future. –Richard Morrison, The Times This collection of harpsichord pieces old and new shows Esfahani at his vibrant and expressive best . . . Esfahani proves that his instrument doesn’t exist merely for music of olden times . . . Górecki’s concerto is weirdly fascinating . . . –Geoffrey Norris, The Daily Telegraph Tracklist: Alessandro Scarlatti (1660–1725) 1. Variations On La Follia 06:28 Henryk Gorecki (1933–2010) 2. 1. Allegro molto 04:25 3. 2. Vivace 04:11 Carl Philipp Emanuel Bach (1714-1788) 4. 12 Variations On “La Folia d’Espagne” In D Minor, Wq. 118, No. 9 07:19 Francesco Geminiani (1687–1762) 5. Concerto Grosso In D Minor 11:49 Steve Reich (1936-) 6. Piano Phase For Two Pianos 16:42 Johann Sebastian Bach (1685–1750) 7. 1. Allegro 07:49 8. 2. Adagio 06:38 9. 3. Allegro (Cadenza: Johannes Brahms) 08:25 Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Gens - Berlioz Ravel Works for Soprano and Orchestra (2012) [Ondine] {24-44} View attachment 194251 FLAC (tracks) 24 bit/44.1kHz | Time – 01:05:28 minutes | 597 MB | 5% recovery info Genre: Classical | Official Digital Download – Source: HDTracks | © Ondine Oy, Helsinki Recorded: La Cité, Salle 2000, Nantes; 25.9.2009, 26–28.10.2010 Véronique Gens, soprano Orchestre National des Pays de la Loire John Axelrod, conductor Spoiler On this release famous soprano Véronique Gens performs Herminie and Les Nuits d’été by Hector Berlioz and Shéhérazade by Maurice Ravel with the Orchestre National des Pays de la Loire under the baton of its music director John Axelrod. Véronique Gens is internationally recognised as one of the greatest sopranos. She has made a big career with baroque repertoire and Mozart, but French repertoire, especially Berlioz and Ravel, are “as natural to her as the air that she breathes”. Her French remains a model of immaculate diction, fluid and luminous. Having a very special relationship to Berlioz’s Les Nuits d’été and Herminie, Véronique Gens combines them on this release with Shéhérazade by Ravel, which conjures up a totally different world. On this CD Herminie is released the first time with Véronique Gens. The charismatic conductor John Axelrod is music director of the Orchestre National des Pays de la Loire since 2009, following the philosophy of being “open to the world” by extraordinarily diverse repertoire choices and innovative programming. Also internationally he is a sought after conductor both for concerts and opera productions. Founded in 1971, the Orchestre National des Pays de la Loire, a “national” orchestra since 1996, is based in two cities, in Angers and Nantes. Today about 200 concerts attract yearly about 200,000 listeners, among them more than 10,000 subscribers. Tracklist: Hector Berlioz (1803–1869) Herminie 1 Moderato 3’56 2 No. 1. Air. Adagio non troppo 5’06 3 No. 2. Air. Allegro assai agitato 5’10 4 No. 3. Air. Allegro impetuoso vivace 7’59 Les nuits d’ete, Op. 7 5 No. 1: Villanelle 2’13 6 No. 2: Le Spectre de la rose 6’30 7 No. 3: Sur les lagunes 5’58 8 No. 4: Absence 4’35 9 No. 5: Au Cimetière 4’44 10 No. 6: L’Île inconnue 3’58 Maurice Ravel (1875–1937) Sheherazade 11 Asie 9’20 12 La flûte enchantée 2’54 13 L’Indifférent 3’24 Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Avdeeva - Chopin Schubert Prokofiev [Mirare] {24-96} View attachment 194256 FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.4 GB | 5% recovery info Genre: Classical | Official Digital Download - Source: Mirare Composer: Fryderyk Chopin; Franz Schubert; Sergei Prokofiev Yulianna Avdeeva, piano Spoiler The first woman to win the Warsaw Chopin Competition since Martha Argerich in 1965, Yulianna Avdeeva here presents her first solo recording, featuring three major composers. From Schubertian reverie to the diabolical energy of Prokofiev by way of the implacable trajectory of the 24 Preludes of Chopin, her composer of predilection, the youthful Yulianna Avdeeva deploys a sensational piano technique coupled with a vivid, expressive, and poetic palette. Pianist Magazine December 2014 “thoughtful and finely played … played with elegance and beauty.” International Record Review October 2014 “[she produces] a wonderful richness of tone, playing to the bed of the note at all times, and a richness of nuance… Avdeeva is a deeply thoughtful musician, who displays remarkable beauty of tone and care in the shaping of every phrase. Certainly this is one of the finest recordings of Chopin’s Preludes that I have heard … an artist of huge promise.” Gramophone Magazine January 2015 “from the first bar Avdeeva makes you sit up and take note. Here is an artist who can truly make the piano sing - and to no greater effect than in the A flat minor Trio of No. 2.” Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi] Les Sacqueboutiers - Gabrieli Venise sur Garonne (2014) [Flora] {24-44} View attachment 194257 FLAC (tracks) 24 bit/44.1 kHz | Time – 01:19:12 | 801 MB | 5% recovery info Genre: Classical | Official Digital Download – Source: HDTracks | Digital Booklet , Front Cover | © Flora Recorded: March 2014 at l’annexe Barrière de Paris du Conservatoire à Rayonnement Régional de Toulouse. Giovanni Gabrieli, composer Les Sacqueboutiers de Toulouse Monsieur Jean Dekyndt, director Spoiler During the XVIth century, in San marco Basilica of Venice, two organs were facing each other on the loft surrounding the choir. Both organist positions were occupied by famous musicians such as Giovanni Gabrieli, pupil of his uncle Andrea, and Gioseffo Guami, a pupil of Adrian Willaert. The location of these instruments allowed these musicians to compose pieces of several groups of voices which were still called “choirs”. Such a use of various choirs originates in the two organs of San Marco, but maybe probably more in the interpretation of psalms by separate choirs, the “cori spezzatti’, in the whole Northern Italy. This distribution of the sound amongst several choirs gave birth to a new musical style that most composers of the early XVIIth century considered : the “echo”. This way of writing music allowed the composers to take advantage of the generous acoustics of churches and basilicas, providing a resonant representation of these places vastness. Moreover, the distribution of instruments by homogeneous families gave birth to the notion of orchestra, the way we nowadays consider it. The part played by these “choirs” becoming more and more important, and finally the composition of purely instrumental music resulted in the conception of magnificent Canzoni whose style was progressively exported in the whole XVIIth century Europe. The program Venise sur Garonne, (Venise on Garonne river) gathers the most prominent pieces of work originally and mostly devoted to cornetti and sackbuts and specially the Canzoni requiring the largest number of instruments, up to 22 distinct voices distributed among 5 different choirs. This form of composition, highly appreciated during the baroque period, progressively disappeared with the emergence of the symphonic orchestra. Tracklist: Giovanni Gabrieli (1683-1764) 1. Symphoniae Sacrae (1587): Canzon duodecimi toni in eco à 10 04:04 2. Symphoniae Sacrae (1615): Canzon VIII à 8 03:41 3. Symphoniae Sacrae (1597): Canzon duodecimi toni à 10 05:33 4. Symphoniae Sacrae (1615): Canzon III à 6 03:06 5. Symphoniae Sacrae (1615): Sonata XVIII à 14 06:59 6. Symphoniae Sacrae (1597): Canzon noni toni à 12 03:51 7. Symphoniae Sacrae (1615): Canzon IV à 6 02:41 8. Symphoniae Sacrae (1615): Canzon XVI à 12 04:11 9. Symphoniae Sacrae (1597): Sonata « piano & forte » à 8 04:37 10. Symphoniae Sacrae (1615): Canzon XVII à 12 03:33 11. Symphoniae Sacrae (1615): Canzon prima à 5 02:39 12. Symphoniae Sacrae (1597): Canzon septimi & octavi toni à 12 03:12 13. Symphoniae Sacrae (1615): Sonate XXI 04:30 14. Symphoniae Sacrae (1597): Canzon octavo toni à 12 03:54 15. Symphoniae Sacrae (1615): Canzon X à 8 04:10 16. Raveri (1608): La Spiritata à 4 03:08 17. Symphoniae Sacrae (1597): Canzon quarto toni à 15 04:13 18. Symphoniae Sacrae (1615): Canzon II à 6 03:53 19. Symphoniae Sacrae (1615): Sonata XX à 22 07:10 Nhấn nút Cảm ơn (dưới chân bài) để thấy link!
