24bit.me » Classical

Vanessa Benelli Mosell – [R]evolution (2015)
FLAC (tracks) 24 bit/96kHz | Time – 00:58:02 minutes | 821 MB | Genre: Classical
Official Digital Download – Source: Qobuz | @ Decca
Recorded: February, June 2014

[R]evolution celebrates the Decca debut for Italian pianist Vanessa Benelli Mosell and is a tribute to the music of the twentieth century.

When was the last time you heard any Stockhausen? Since his death, at the end of 2007, the German avant-gardist’s star has fallen in a reverse curve to that of his French comrade, Pierre Boulez. Hardly any Stockhausen is being recorded these days, and there are few concerts where the music can be heard. So an album by a young pianist who worked with the composer in his final years is a welcome opportunity to revisit a brave old world that has virtually vanished.

And it’s not hard to see why. Stockhausen’s 8 Klavierstücke (piano pieces), written between 1952 and 1961 as the composer was making his mark, are the kind of stuff that gave the avant-garde a bad name for random plinky-plonks and unprovoked violence. Vanessa Benelli Mosell makes the eight morsels sound reasonably structured and almost musical at times, but the grim austerity of Stockhausen’s sound world simply cannot be dispelled and the ear is grateful for every silence it can grab.

The album’s other works are more appealing, and winningly played. Karl Beffa’s 2008 suite is designed for either piano or harpsichord; having heard it played on one, I now crave the other. And Stravinsky’s Three Movements from Petrushka are hammered out with a reckless Russian brutalism, so much more feral than Stockhausen’s car-crash. Mosell, 28, has put together a really clever programme. But all she reveals by juxtaposition is Stockhausen’s mechanical lack of a human touch. –sinfinimusic.com

Tracklist:
Karlheinz Stockhausen (1928 – 2007)
1. Klavierstück I 03:04
2. Klavierstück II 01:52
3. Klavierstück III 00:38
4. Klavierstück IV 02:08
5. Klavierstück V 05:32
6. Klavierstück VII 06:56
7. Klavierstück VIII 02:16
8. Klavierstück IX 10:59
Karol Beffa (1973 – )
Suite pour Piano ou clavecin
9. 1. La volubile 01:52
10. 2. La ténébreuse 03:16
11. 3. La déjantée 04:01
Igor Fyodorovich Stravinsky (1882 – 1971)
Trois mouvements de Petrouchka
12. 1. Danse russe 02:29
13. 2. Chez Petrouchka 04:32
14. 3. La Semaine Grasse 08:33

Personnel:
Vanessa Benelli Mosell, piano

Download:

http://www.datafile.com/d/TVRJMU5USXdNRFUF9/VanessaBenelliMosellRevolution20159624.part1.rar
http://www.datafile.com/d/TVRJMU5USXdNREkF9/VanessaBenelliMosellRevolution20159624.part2.rar
or
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http://rapidgator.net/file/d8ef03e6a4f92f924304eb937e4b9614/VanessaBenelliMosellRevolution20159624.part2.rar.html

Francesco Maria Veracini – Complete Sonate Accademiche – Trio Settecento (2015)
FLAC (tracks) 24 bit/96kHz | Time – 03:06:48 minutes | 3,74 GB | Genre: Classical
Official Digital Download – Source: cedillerecords | @ Cedille Records
Recorded: Sonatas 7–11: August 21–23, 2013; Sonatas 1–6, 12, and Canone: August 4
and 6–10, 2014, in Nichols Concert Hall at the Music Institute of Chicago, Evanston, Illinois

Francesco Maria Veracini (1690–1768) was the foremost figure in a generation of renowned virtuosi, including Giuseppe Tartini (1692–1770), Pietro Locatelli (1695–1764), and Jean-Marie Leclair (1697–1764), who revolutionized the art of violin playing in the early 18th century. All four of these figures dazzled audiences throughout Europe with their astonishing performances. They raised the bar for instrumental soloists with their prolific production of fine and difficult music for the violin, works that daringly expanded the compass of expression and acrobatic performance on the instrument. Veracini’s place as leader of this violinistic ‘rat pack’ ism suggested by the fact that both Locatelli and Tartini, though only slightly younger, took inspiration from his playing and teaching, and Leclair’s path-breaking mature works are in turn, indebted to Locatelli. Veracini’s achievement is crowned and his legacy best preserved in his Opus 2 of 1744, the set of twelve Sonate Accademiche, a work of uniquely varied inspiration and majestic scope.

Appearing after a 23-year gestation (Opus 1 was published in 1721), the sonatas of Veracini’s Opus 2 represent a zenith of the genre, on a scale of sheer length attempted never before and not soon after. These sonatas are fully half again as long as their nearest rivals (the sonatas of Tartini and Locatelli) and they explode the possibilities of the genre, essaying a variety of designs and content unlike any other sonata collection of the era.

Trio Settecento, the “superlative Chicago-based early music ensemble” (Gramophone) presents Italian Baroque composer Francesco Maria Veracini’s monumental Opus 2 Sonate Accademiche for violin and continuo. It’s a cosmopolitan collection of 12 sonatas of breathtaking scope and pan-European influences — a set of sonatas unlike any other of the era. Veracini’s Sonate Accedemiche is both an homage to his fellow-countryman Arcangelo Corelli and an original masterpiece in its own right.
Billboard chart-topping violinist Rachel Barton Pine, “one of the rare mainstream performers with a total grasp of Baroque style and embellishment” (Fanfare) and her colleagues in Trio Settecento, cellist John Mark Rozendaal, and harpsichordist David Schrader, bring their “refreshing, life-enhancing Baroque playing” (Chicago Tribune) to these sonatas infused with melodies imported from Scotland, Dalmatia, Poland, the Canary Islands, and rural France.

Tracklist:
Francesco Maria Veracini (1690–1768)
Complete Sonate Accademiche
Sonatas for Violin and Continuo, Op. 2
Sonata No. 1 in D major (18:06)
Sonata No. 2 in B-flat major (16:38)
Sonata No. 3 in C major (15:01)
Sonata No. 4 in F major (14:14)
Sonata No. 5 in G minor (14:21)
Sonata No. 6 in A major (20:30)
Sonata No. 7 in D minor (15:30)
Sonata No. 8 in E minor (12:37)
Sonata No. 9 in A major (13:04)
Sonata No. 10 in F major (13:09)
Sonata No. 11 in E minor (17:22)
Sonata No. 12 in D minor (12:45)

Personnel:
Trio Settecento:
Rachel Barton Pine, violin
John Mark Rozendaal, viola da gamba
David Schrader, harpsichord

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Franz Xaver Scharwenka – Complete Piano Concertos – Alexander Markovich, Estonian National Symphony Orchestra, Neeme Jarvi (2014)
FLAC (tracks) 24 bit/48 kHz | Time – 02:20:09 minutes | 1.36 GB | Genre: Classical
Official Digital Download – Source: theCLASSICAL|shop | © Chandos Records
Recorded: Estonia Concert Hall, Tallinn; 6 – 8 May (Concertos Nos 1 and 4) & 10 and 11 June 2013 (Concertos Nos 2 and 3)

The Polish-born German composer Franz Xaver Scharwenka was a much lauded and beloved figure of late-nineteenth- and early-twentieth-century music. His four piano concertos are central works among his small output. They have here been recorded together for the first time.

Piano Concerto No. 1 was dedicated to Liszt and brought Scharwenka great renown. Originally conceived as a solo piano Fantasy, it was reworked as a piano concerto which in its content, despite a seemingly conventional three-movement structure, reflects its origin as a fantasia. The Second Piano Concerto seems to represent a step back stylistically, echoing the conservative style of Brahms. However, the influence of his native Poland can also be heard in allusions to Chopin as well as in Polish dance elements in the finale. The Third Concerto, in C sharp minor, opens with impressively powerful music reflective of this key signature, but in its highly romantic way it also introduces delicate and lyrical passages. Perhaps the finest of the concertos, the Fourth was met with astonishing enthusiasm at its premiere in 1908. It is an enormously varied work, a quality typified in the ‘roller-coaster’ first movement which moves rapidly from one expressive world to another.

Tracklist:
Franz Xaver Scharwenka (1850 – 1924)
1 – 3 Concerto No. 1, Op. 32, Scharw. 125 (1876) 30:13
in B flat minor for Piano and Orchestra
4 – 6 Concerto No. 2, Op. 56, Scharw. 126 (1881) 38:19
in C minor for Piano and Orchestra
7 – 9 Concerto No. 3, Op. 80, Scharw. 127 (1889) 31:34
in C sharp minor for Piano and Orchestra
10 – 14 Concerto No. 4, Op. 82, Scharw. 128 (1908) 39:57
in F minor for Piano and Orchestra

Personnel:
Alexander Markovich piano
Estonian National Symphony Orchestra
Neeme Järvi, conductor

Download:

http://www.datafile.com/d/TVRJMk16WXhNakUF9/Scharw3nkaCompl3t3PianoConc3rtosAl3xand3rMarkovich3stonianNationalSymphonyN33m3Jrvi20144824.part1.rar
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Franz Schubert – Complete Works for Violin and Piano, Vol. 1 – Julia Fischer, Martin Helmchen (2009)
FLAC (tracks) 24 bit/96kHz | Time – 01:04:31 minutes | 1,06 GB | Genre: Classical
Official Digital Download – Source: pentatonemusic.com | © PentaTone Classics
Recorded: Concertboerderij Valthermond, The Netherlands, 3-5/1/2009 & 3-5/7/2009

“It is particularly refreshing that Julia Fischer, one of the younger generation of world’s most promising string players, has not only taken these works to heart, providing a scintillating account of the Rondo Brilliant by way of an encore, but also given them the best possible new lease of life by making a persuasive and invigorating case for their continued promotion and enjoyment among violinists and audiences alike. She is aided in no small measure by the young pianist martin helmchen, who is enjoying a flourishing career as a soloist and also, on the evidence of this new PentaTone release, as an accompanist of stature…..If the second volume in this series is as good, it will be worth the wait.” –Richard Evans, International Record Review

“These well-recorded performances by Fischer and Helmchen (I listened to them in stereo mode), as distinctive—in their own way—as those by Andrew Manze, not only provide a pleasant hour of music-making at a very high level but offer what almost amounts to an alternative, cleaned, and restored view of Schubert’s works—one without outré mannerisms or timbres. If this weren’t enough, the volume appears to be Vol. 1 of a complete collection—with the Sonata in A Major and the Fantasy in C apparently on the way. But why wait, since this first volume deserves to be urgently recommended in itself.” –Robert Maxham, Fanfare

“The collaboration with Helmchen is one of seamless understanding and fluidity. Helmchen’s touch is as sensitive and graceful as Fischer’s, and the two together produce an entirely beautiful soundscape filled with moving dynamics, precise articulation, and sublime balance…. PentaTone’s sound is spacious and inviting, and those listening in multichannel mode will enjoy the sensation of sitting right between Fischer and Helmchen.” –Mike D. Brownell, AllMusic

Tracklist:
Franz Schubert (1797 – 1828)
Complete Works for Violin and Piano, Volume 1
Sonata (Sonatina) for Violin and Piano in D major, D. 384 (Op. 137, No. 1)
1 Allegro molto 4.10
2 Andante 4.25
3 Allegro vivace 4.00
Sonata (Sonatina) for Violin and Piano in A minor, D. 385 (Op. 137, No. 2)
4 Allegro moderato 6.48
5 Andante 7.29
6 Menuetto (Allegro) 2.13
7 Allegro 4.36
Sonata (Sonatina) for Violin and Piano in G minor, D. 408 (Op. 137, No. 3)
8 Allegro giusto 4.46
9 Andante 4.43
10 Menuetto (Allegro vivace) 2.28
11 Allegro moderato 4.04
Rondo for Violin and Piano in B minor “Rondo Brillant”, D. 895 (Op. 70)
12 Andante – Allegro 14.28

Personnel:
Julia Fischer, violin
Martin Helmchen, piano

Download:

http://www.datafile.com/d/TVRJMk16WXhOREEF9/Schub3rtCompl3t3WorksforViolinandPianoVol.1JuliaFisch3rMartinH3lmch3n20099624.part1.rar
http://www.datafile.com/d/TVRJMk16WXhNelkF9/Schub3rtCompl3t3WorksforViolinandPianoVol.1JuliaFisch3rMartinH3lmch3n20099624.part2.rar
or
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Franz Schubert – Complete Works for Violin and Piano, Vol. 2 – Julia Fischer, Martin Helmchen (2010)
FLAC (tracks) 24 bit/96kHz | Time – 01:07:04 minutes | 1,1 GB | Genre: Classical
Official Digital Download – Source: pentatonemusic.com | © PentaTone Classics
Recorded: Concertboerderij Valthermond, The Netherlands, 3-5/1/2009 & 3-5/7/2009

This album together with volume 2 completes the collaboration between Julia Fischer and Pentatone. Since all works which Schubert wrote for Violin and Piano, Volume 2 will show Julia Fischer as pianist as well (in the 4-hands piece: Fantasie in F minor D 940/op. 103).

Schubert’s complete works for violin and piano consist of three “sonatinas” Op. 137 Nos. 1-3 (D. 384, 385 and 408), Rondo Brillant D. 895, the Duo D. 574, and the amazing late Fantasia in D major D. 934. Because these do not quite fill two CDs, Volume 2 includes the Fantasia in F minor for piano duet, with Julia Fischer taking the second piano part. She’s obviously a tremendously gifted artist as the performance is an excellent one in every respect, and you’d never guess that one of the players is not a professional pianist.

That said, it’s the violin and piano works that constitute the principal attraction, and I include both discs together because I can’t imagine anyone interested in one not wanting the other as well. The three sonatinas are not, in fact, all that small, especially the latter two, which have four substantial movements apiece. Like everything Schubert wrote they are melodically generous and lovely from beginning to end. The D. 574 is more ambitious still, and by the time we get to the Fantasia we are talking about miracles. These performances are stupendous: perfectly balanced dialogs between two vibrant young personalities, ideally recorded in a warm acoustic space. There’s no need to say more: just get these discs. –David Hurwitz, ClassicsToday.com

“Helmchen is adept at pinpointing the crucial harmonies… and his touch is unusually sensitive… Fischer similarly manages to combine restraint with warm expression, and the occasional moments where she plays with more abandon – as in her dramatic first entry in D385 and the ebullient Minute of D403 – stand out the more effectively.” –GRAMOPHONE

Tracklist:
Franz Schubert (1797 – 1828)
Complete Works for Violin and Piano, Volume 2
Sonata for Violin and Piano in A major “Duo”, D. 574 (Op. posth. 162)
1 Allegro moderato 8.52
2 Scherzo (Presto) 4.08
3 Andantino 4.28
4 Allegro vivace 4.57
Fantasia for Violin and Piano in C major, D. 934 (Op. posth. 159)
5 Andante molto 3.22
6 Allegretto 5.36
7 Andantino 10.21
8 Tempo primo-Allegro-Allegretto-Presto 5.52
Fantasia in F minor for Piano Duet, D. 940 (Op. 103)
9 Allegro molto moderato 4.55
10 Largo 2.48
11 Allegro vivace 5.41
12 Tempo I 5.39

Personnel:
Julia Fischer, violin / piano (D. 940)
Martin Helmchen, piano

Download:

http://www.datafile.com/d/TVRJMk16WXhOVEUF9/Schub3rtCompl3t3WorksforViolinandPianoVol.2JuliaFisch3rMartinH3lmch3n20109624.part1.rar
http://www.datafile.com/d/TVRJMk16WXhOVEEF9/Schub3rtCompl3t3WorksforViolinandPianoVol.2JuliaFisch3rMartinH3lmch3n20109624.part2.rar
or
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Franz Schubert – Moments Musicaux – Valery Afanassiev (2012)
FLAC (tracks) 24 bit/44.1 kHz | Time – 01:10:56 minutes | 542 MB | Genre: Classical
Official Digital Download – Source: highresaudio.com | © ECM Records GmbH
Recorded: September 2010, Auditorio Radiotelevisione svizzera, Lugano

Pianist Valery Afanassiev – renowned for his strikingly individual and deeply introspective interpretations of the music of Franz Schubert – has paired two often extrovert works by the composer: the set of six Moments Musicaux and the Sonata D. 850. Recorded in September 2010 at the Auditorio Radiotelevisione Svizzera, Lugano, this is ECM’s second Schubert recording by the Moscow-born pianist, having previously released a live recording of Afanassiev performing Schubert’s final Sonata D. 960 at the 1986 Lockenhaus Festival that has become a connoisseur’s favourite. Composed from 1823 to 1827, the year before the composer’s premature death, the Moments Musicaux brim with song and dance, as well as Schubert’s characteristic mood swings from major to minor, from light to dark. The Sonata D. 850, written in 1825, is one of Schubert’s most ebullient piano sonatas – with yodelling-like melodies, simulated horn calls and strongly syncopated rhythms – but like so many works by this composer, there are passages with an air of nostalgia and emotional ambiguity.

Composed from 1823 to 1827, the year before the composer’s death at age 31, the Moments musicaux brim with song and dance, as well as Schubert’s characteristic mood swings from major to minor, from light to dark, often within a single piece. With its glittering surface, the brief No. 3 in F minor was one of Schubert’s more popular piano pieces for decades; but the ballroom-worthy tune has an odd tension underneath, as if the party were bound to end early. No. 1 in C Major has melodies reminiscent of the composer’s Winterreise, while the two in A-flat Major, Nos. 2 and 6, tap rich veins of melancholy, particularly in Afanassiev’s interpretations. No. 4 in C-sharp minor is another number that swirls like a woman dancing with tears in her eyes. No. 5 in F minor is the set’s lone thoroughly fast-paced number, although even its uptempo leaps have a brittle quality.

The Sonata D850, written in 1825, is one of Schubert’s most ebullient piano sonatas – with ländler-like melodies, simulated horn calls and strongly syncopated rhythms; he composed the piece over three weeks in the spa town of Gastein, so the environment undoubtedly contributed to the sonata’s high spirits. Yet, as with so many works by this composer, there are also passages in D850 pregnant with nostalgia and emotional ambiguity, especially in the Con moto second movement, which Afanassiev explores with meditative concentration.

Russian pianist Valery Afanassiev recorded an album of Schubert’s late piano sonatas that inspired wildly divergent reactions with its tremendously unorthodox readings. This release on ECM shares much with the earlier album, and it may too be one of those things you either love or hate. As with the earlier release, CD buyers will get Afanassiev’s own quirky but far from dull notes, which range over topics from Goethe’s Faust to Bruckner’s Symphony No. 9 to Japanese philosophy. Afanassiev once again favors slow tempos. They’re not quite as extreme as on the sonata album, but his approach is similar: he presents, so to speak, exploded views of each phrase of Schubert’s music. His lines are fantastically detailed without being particularly expressive, and this is probably what fascinates some listeners while driving others crazy. It may be that his Schubert playing works better in some pieces than in others. The six Moments Musicaux, D. 780, will really make you sit up and take notice. What Afanassiev catches here is that these works (not a set, but substantial little pieces far from the bonbons that the publisher-supplied title would suggest) were written for an intimate, sophisticated audience that would have gotten his Faust references and would have been interested in a performance that explores the structure of the music in the way he does. The Piano Sonata in D major, D. 850, is not nearly as successful; the limpid central movements simply plod. The very fine sound and the overall abstract quality of ECM’s presentation both work as X factors in favor of what many will still find a slightly bizarre recording, but one that can’t be easily dismissed. –James Manheim, AllMusic

Tracklist:
Franz Schubert (1797–1828)
Six moments musicaux D 780 (op. 94)
1. C Major: Moderato 05:54
2. A-Flat Major: Andantino 07:17
3. F Minor: Allegro moderato 02:17
4. C-Sharp Minor: Moderato 05:19
5. F Minor: Allegro vivace 02:05
6. A-Flat Major: Allegretto 07:07
Sonata in D Major D 850 (op. 53)
7. Allegro vivace 09:37
8. Con Moto 12:38
9. Scherzo: Allegro vivace 09:29
10. Rondo: Allegro moderato 09:07

Personnel:
Valery Afanassiev, piano

Download:

http://www.datafile.com/d/TVRJMk16WXhOakkF9/Schub3rtMom3ntsMusicauxVal3ryAfanassi3v201244.124.rar
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Franz Schubert – ‘The Great’ C Major Symphony, D. 944 – Orchestra Mozart, Claudio Abbado (2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:02:44 minutes | 1,05 GB | Genre: Classical
Official Digital Download – Source: Qobuz | © Deutsche Grammophon
Recorded live at the Bologna Auditorium Manzoni on 19–23 September 2011 and at the Bozen Konzerthaus / Bolzano Auditorium on 24–25 September 2011

Announcing a rare new album conducted by Maestro Abbado – still much missed by many in the concert hall and the studio. Schubert remained one of Abbado’s favourite composers throughout his life and since his first performance in Den Haag in 1966 he returned again and again to the “Great“ C Major Symphony.
This very special album combines live performances with Abbado’s beloved Orchestra Mozart, recorded in September 2011. Twenty-five years after his first recording with the Chamber Orchestra of Europe, Abbado’s new interpretation of this symphony reveals a wealth of new details, making it his definitive take on the work.

“This is unmistakably a performance that balances Schubert’s last completed symphony right on the cusp of Romanticism. So much of the detail and the way Abbado shapes it here looks further into the 19th century and towards Bruckner…what his performance conveys most powerfully is the sense of a symphony bursting at its classical seams and pushing its expressive language as far as it will go.” –The Guardian

Tracklist:
Franz Schubert (1797 – 1828)
Symphony No.9 In C Major, D. 944 – “The Great”
1. Andante – Allegro ma non troppo 16:28
2. Andante con moto 15:28
3. Scherzo (Allegro vivace) 14:43
4. Allegro vivace 16:05
Personnel:
Orchestra Mozart
Claudio Abbado, Conductor

Download:

http://www.datafile.com/d/TVRJMk16WXhOekEF9/Schub3rtTh3Gr3atCMajorSymphonyD.944Orch3straMozartClaudioAbbado20159624.part1.rar
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Dmitry Shostakovich – Cantatas – Estonian National Symphony Orchestra, Paavo Jarvi (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 1:19:51 minutes | 860 MB | Genre: Classical
Official Digital Download – Source: HDTracks | © Warner Classics/Erato
Recorded live in the Estonia Concert Hall, Tallinn 18-20 April 2012

Estonian-born conductor Paavo Järvi and the Estonian National Symphony Orchestra turn to rarely performed choral works by Dmitri Shostakovich: Song of the Forests Op. 81, The Sun Shines on our Motherland Op. 90, and The Execution of Stepan Razin Op. 119. The new release confirms Järvi’s reputation as a conductor with a deep understanding for the music of Shostakovich, as well as a particular affinity for choral music, which has a strong tradition in his homeland. These cantatas have a particular significance in Estonia – a former Soviet Socialist Republic under Stalinist rule. By the time Shostakovich composed The Execution of Stepan Razin for bass, concert chorus and orchestra in 1964, Stalin had died and the composer felt able to take a few risks under the regime of Nikita Khrushchev. The cantata is set to a grisly poem about a 17th-century Cossack revolutionary. Järvi calls the work an “absolute masterpiece” and a “critical view of the Soviet regime”.

Tracklist:
Dmitry Shostakovich (1906-1975)
1 The Execution of Stepan Razin, Op. 119 29:25
2 The Sun Shines over our Motherland, Op. 90 14:17
The Song of the Forests, Op. 81
3 I. The war ended in victory (Bass, Chorus) 05:00
4 II. We will clothe our homeland with forests (Boys Chorus) 02:53
5 III. Memories of the past (Bass, Chorus) 07:00
6 IV. The pioneers plant the forests (Boys Chorus) 02:01
7 V. The people of Stalingrad go forth (Chorus) 03:24
8 VI. A walk into the future (Tenor, Chorus) 06:32
9 VII. Glory (Tenor, Bass, Boys Chorus, Chorus) 09:19

Personnel:
Aleksei Tanovitski – bass
Kostiantin Andrejev – tenor
Narva Boys Choir
Estonian Concert Choir
Estonian National Symphony Orchestra
Paavo Järvi – conductor

Download:

http://www.datafile.com/d/TVRJMk16WXlNRGsF9/ShostakovichCantatas3stonianNationalSymphonyPaavoJrvi20154824.part1.rar
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http://rapidgator.net/file/4c04b517a7716205d5692ab6be2864f0/ShostakovichCantatas3stonianNationalSymphonyPaavoJrvi20154824.part1.rar.html
http://rapidgator.net/file/22ace43cf00f7d9c231019024f687695/ShostakovichCantatas3stonianNationalSymphonyPaavoJrvi20154824.part2.rar.html

Dmitri Shostakovich – Symphony No. 7 in C Major ‘Leningrad’ , Op. 60 – Russian National Orchestra, Paavo Jarvi (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:59 minutes | 1.16 GB | Genre: Classical
Official Digital Download – Source: Qobuz | © PentaTone Classics
Recorded: at the Great Hall of the Moscow Conservatory in Moscow, Russia in February 2014

When Paavo Järvi’s Leningrad recording was first announced I really didn’t think it would be a contender. In the past this conductor has struck me as meticulous almost to a fault, and not the most communicative of baton wavers. That said, a Russian orchestra playing Shostakovich usually demands a listen. Factor in PentaTone’s reputation for fine recordings and it would seem this new album is a decent prospect. Even then I must admit to feeling somewhat blasé; with so many potent rivals what more could Järvi bring to the piece?

As it happens, quite a lot. For a start the half-hour first movement, with its long, much-derided march, is full of surprises. There’s a sweetness to the introductory section – an innocence, if you like – that seems very apt in the light of what’s to come. Sunny and unsuspecting this music is played with a simple loveliness that had me hearing the notes anew. Even more impressive is the superb recording, whose perspectives are as close to the concert-hall experience as I’ve heard in a very long time.

When it materialises the march is spine-tingling; it’s well paced, without haste or histrionics, and it’s all the more effective for that. The Russian woodwinds, so naturally caught, are first-rate and those cymbal clashes are powerful but proportionate. That’s very refreshing in a work that’s often presented in a crudely filmic way, not least when so much of the score’s fine detail is allowed to shine through. This is the very antithesis of Elder’s St-Vitus-like version, yet by some unexplained alchemy Järvi never wants for strength or intensity.

The oh-so-pliant start to the Moderato has seldom emerged with such disarming loveliness, its quiet, affectionate recollections accompanied by a wistful smile. The breath-bating hear-through quality of the playing and recording beggars belief; it really is as if one were at a live concert, caught in that almost hypnotic state where one communes with musicians and audience alike. Also, Järvi adds a penetrating chill to this spectral music, the like of which I’ve not heard since Gergiev’s deeply unsettling performance at the RFH some years ago.

In a composer – and a symphony – that’s no stranger to banalities it’s remarkable that Järvi’s discreet, unhurried approach brings with it a sustained coherence and logic that never sell the music short. Even the bleak, upward-winding start to the Adagio has a beauty that far from minimising the underlying grief actually seems to intensify it. The RNO strings sound glorious, the dark-toned woodwinds even more so, and it’s impossible not to be moved – and mightily so – by these spare, artless utterances. Indeed, I can’t recall the score being laid bare in such a way, its beating heart open to the elements.

One might think that such attention to detail is the enemy of purpose and momentum, but in this case it most certainly isn’t. Even the rollicking, circus-like episodes – played without recourse to vulgar emphasis – have a certain dignity that I find most affecting. And that’s the nub of it; this is a performance that eschews the fearsome in favour of the fragile, and favours the individual over the faceless crowd. Indeed, there were times when I wished the ravishing Adagio would never end, such is the heartfelt eloquence with which it’s delivered.

This conductor continues as he began, with a calm, clear-eyed Allegro non troppo. As so often the result is anything but prosaic, with the fleeting jauntiness of the first movement caught to perfection. Järvi also constructs a mean climax, and the music’s underlying jubilation never succumbs to emptiness or anarchy. The nobility here is entirely personal – a tribute to the indomitability of the human spirit, perhaps – and if Järvi seems a tad measured at this point it’s because there’s so much to filter out from the surrounding tumult. At the same time tension builds – quietly, unobtrusively – and all the while one has to marvel at the equally discreet virtuosity of this Russian band.

It’s not just about detail though, for Järvi shapes the music in such a way that hidden rhythms and phrases are disinterred as well. Goodness, is there no end to the revelations of this performance? As for the finale it unfolds with an unforced, passionately voiced grandeur that couldn’t be further from the bombast that some find here. That should come as no surprise, given the number of times Järvi defeats expectations in this paradigm-shifting performance. Even if you prefer cruder, more equivocal accounts of this symphony you simply cannot overlook this extraordinary alternative.

An unaffected, deeply humanising Seventh; quite possibly the best thing Paavo Järvi has ever done.

Dan Morgan

Tracklist:
Dmitri Shostakovich (1906-1975)
Symphony No. 7 in C Major, Op. 60 (1941)
1 I. Allegretto 26.17
2 II. Moderato (poco allegretto) 11.45
3 III. Adagio 17.16
4 IV. Allegro non troppo 17.25

Personnel:
Russian National Orchestra
Paavo Järvi, conductor

Download:

http://www.datafile.com/d/TVRJMk16WXlNak0F9/ShostakovichSymphonyNo.7inCMajorOp.60RussianNationalOrch3straPaavoJrvi20159624.part1.rar
http://www.datafile.com/d/TVRJMk16WXlNekEF9/ShostakovichSymphonyNo.7inCMajorOp.60RussianNationalOrch3straPaavoJrvi20159624.part2.rar
or
http://rapidgator.net/file/dc565f179ce14adc6f6005fbcb31f6bc/ShostakovichSymphonyNo.7inCMajorOp.60RussianNationalOrch3straPaavoJrvi20159624.part1.rar.html
http://rapidgator.net/file/a348193332cf72458489191ee60155c6/ShostakovichSymphonyNo.7inCMajorOp.60RussianNationalOrch3straPaavoJrvi20159624.part2.rar.html

Wolfgang Amadeus Mozart – The last three symphonies nos. 39, 40, 41 K. 543, 550, 551 – Orchestra of the Eighteenth Century, Frans Bruggen (2014)
FLAC (tracks) 24 bit/44.1 kHz | Time – 01:31:14 minutes | 878 MB | Genre: Classical
Official Digital Download – Source: Qobuz | © Glossa | Naxos of America
Recorded: live in Rotterdam (de Doelen), Netherlands, on 4 March 2010

More than three decades have elapsed since Frans Brüggen set down his earlier visions of the three final symphonies by Wolfgang Amadeus Mozart with his Orchestra of the Eighteenth Century. Now, he has chosen to release his new views of these contrasting yet complementary works as part of his Grand Tour series on Glossa. The Dutch maestro has been regularly engaging with the music of the Salzburg genius throughout the time of his musical journey with the Orchestra of the Eighteenth Century and the symphonies of Mozart have frequently appeared in their concert schedules.

If the precise, original performing locations for these symphonies remain elusive, the three works – “Jupiter”, K551, the E flat major, K543, and that “evergreen study in the key of G minor”, K550, known by people all around the world as the “Mozart 40” – all clamour for constant and fresh interpretations; these are precisely what Frans Brügge delivers. Recordings on Glossa from Brüggen in recent times – always made whilst on tour – have included Mozart’s concertos for horn, clarinet and violin, as well as the Requiem.

With Stefano Russomanno providing a well considered booklet essay, this new release of the three final Mozart symphonies, available on two CDs and recorded live in Rotterdam, provides eloquent testimony to Frans Brüggen’s ability to summon up the expressiveness and spontaneity demanded by Mozart’s masterpieces from 1788.

Tracklist:
Wolfgang Amadeus Mozart (1756-1791)

Vol. 1

Symphony No. 39 in E flat major, KV 543
01 Adagio – Allegro 11:13
02 Andante con moto 8:24
03 Menuetto & Trio 3:42
04 Allegro 8:05

Symphony No. 40 in G minor, KV 550
05 Molto allegro 6:51
06 Andante 6:47
07 Menuetto & Trio 3:48
08 Allegro assai 4:55

Vol. 2

Symphony No. 41 in C major, KV 551, “Jupiter”
01 Allegro vivace 11:42
02 Andante cantabile 10:27
03 Menuetto & Trio 4:18
04 Molto allegro 11:39

Personnel:
Orchestra of the Eighteenth Century
Frans Brüggen

Download:

http://www.datafile.com/d/TVRJMk16WXpNRFkF9/W.A.MozartTh3LastThr33Symphoni3sOrch3straofth318thC3nturyFransBrgg3n201444.124.part1.rar
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or
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Peter Ilyich Tchaikovsky – Works for violin & orchestra – Julia Fischer, Yakov Kreizberg, Russian National Orchestra (2006)
FLAC (tracks) 24 bit/96kHz | Time – 01:08:25 minutes | 1,14 GB | Genre: Classical
Official Digital Download – Source: pentatonemusic.com | © PentaTone Classics
RecordeRecorded: DZZ Studio 5, Moscow (1-5), 4/2006 MCO Studio 5, Hilversum (6-8), 4/2006

For a work so popular, and so highly favored by record companies, Tchaikovsky’s Violin Concerto hasn’t been getting too much attention lately. In any case, great performances are few and far between, but this performer certainly belongs on anyone’s short list of truly outstanding versions. It has everything: transcendent virtuosity, tons of excitement in the finale, and perhaps most importantly of all, a soloist with both taste and a personal sound that allows her to make the music her own. Today’s violin soloists are so well trained that we tend to forget the difference between great technique and great timbre. Julia Fischer has both. Right from the opening of the first movement her sound positively glows.

Review David Hurwitz “classicstoday.com” 10\10
For a work so popular, and so highly favored by record companies, Tchaikovsky’s Violin Concerto hasn’t been getting too much attention lately. In any case, great performances are few and far between, but this newcomer certainly belongs on anyone’s short list of truly outstanding versions. It has everything: transcendent virtuosity, tons of excitement in the finale, and perhaps most importantly of all, a soloist with both taste and a personal sound that allows her to make the music her own. Today’s violin soloists are so well trained that we tend to forget the difference between great technique and great timbre. Fischer has both.
Right from the opening of the first movement her sound positively glows. Partly it’s a function of her well-controlled vibrato, and chalk up the rest to perfect intonation. Fischer’s double-stops, in a work that’s full of them, are so in tune, and so musical, that it’s frightening. Her sweetly singing tone makes for a Canzonetta that truly communicates like a song, as if Fischer commanded a genuine human voice and not an instrumental approximation. Yakov Kreizberg has his orchestra in top form, following her every step of the way, and the couplings are equally fine, particularly the eloquently phrased Sérénade.
Ordinarily I don’t like mixed programs of orchestral and chamber music, but the Souvenir really belongs in this collection of Tchaikovsky’s music for violin, and Kreizberg makes as fine an accompanist at the piano as he does on the podium. In terms of production, this also is one of PentaTone’s best. The sound is warm, present, very well balanced, and happily not excessively biased toward the rear channels in SACD format. So if you’re looking for a splendid new Tchaikovsky Violin Concerto that offers superior artistic values and excellent SACD surround sonics, this is definitely the one to get. Keep your eye on Fischer; she belongs with artists such as Hillary Hahn and James Ehnes in the front rank of today’s rising stars of the violin. [1/17/2007]

Tracklist:
Violin Concerto in D, Op. 35
1 I. Allegro moderato 18:05
2 II. Canzonetta (Andante) 6:44
3 III. Finale (Allegro vivacissimo) 10:04

Sérénade mélancolique, Op. 26
for violin and orchestra
4 I. Andante 9:27

Valse – Scherzo, Op. 34
for violin and orchestra
5 I. Allegro (Tempo di Valse) 7:46

Souvenir d’un lieu cher, Op. 42
for violin and piano
6 I. Méditation 9:17
7 II. Scherzo 3:15
8 III. Mélodie 3:22

Personnel:
Julia Fischer, violin
Yakov Kreizberg, piano (6-8)
Russian National Orchestra
Yakov Kreizberg, conductor (1-5)

Download:

http://www.datafile.com/d/TVRJMk9USTFPVGsF9/TchaikovskyWorksforviolinorch3straJuliaFisch3rRussianNationalOrchJakovKr3izb3rg20069624.part1.rar
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or
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Leonardo Vinci – Catone in Utica – Il Pomo d’Oro, Riccardo Minasi (2015)
FLAC (tracks) 24 bit/96kHz | Time – 03:53:25 minutes | 4,25 GB | Genre: Classical, Opera
Official Digital Download – Source: prestoclassical.co.uk | © Decca
Recorded: Villa San Fermo, Lonigo, 27 February–7 March 2014

World premiere recording of an opera by a Neapolitan master fast gaining a first-rate modern reputation. Max Emanuel Cencic gathers around him an intoxicating mix of stratospheric countertenors, a top tenor, and an orchestra who sizzle with excitement for a performance of an opera that will appeal to all fans of Baroque music’s unsung heroes.

As March’s ‘Five Countertenors’ album showcased, the age of the countertenor is here. Max Emanuel Cencic has gathered around him, once again, a superb cast to bring Vinci’s “Catone In Utica” to vivid life.
“Vinci is the Lully of Italy: true, simple, natural, expressive”- for generations Leonardo Vinci was just another obscure Baroque composer: this first-rate recording will lift the veil from this forgotten genius of Italian opera, and from the mysterious all-male world of the 18th-century Roman stage.

With a libretto by Metastasio, Vinci’s opera was unveiled in Rome in 1728 with an all-male cast (women having been banned from the stage by the Pope): countertenors took the three heroic male roles as well as the female parts.

As well as Cencic (Arbace), the other superb countertenors are Franco Fagioli (Cesare), Valer Sabadus (Marzia), and Vince Yi (Emilia). Tenor Juan Sancho takes the title role (Catone) in this stage work about Julius Caesar’s defeat of the Republican forces led by Marcus Portius Cato in 46BC, and Riccardo Minasi, who enjoys a considerable reputation for his recordings of Baroque repertoire, conducts.

Tracklist:
Catone in Utica (Rome, 1728)
Opera in 3 acts by Leonardo Vinci
Libretto by Pietro Metastasio
World premiere recording
1 Sinfonia I
2 Sinfonia II
3 Sinfonia III
Act 1
4 “Perché sì mesto o padre? “
5 “Con sì bel nome in fronte”
6 “Poveri affetti miei “
7 “Non ti minaccio sdegno “
8 “Che giurai! Che promisi!”
9 “Che legge spietata!”
10 “Dunque Cesare venga”
11 “Io conquest’occhi “
12 “Si sgomenti alle sue pene”
13 “Tu taci Emilia?”
14 “Nell’ardire che il seno t’accende”
15 “Quanto da te diverso”
16 “Piangendo ancora rincecer suole”
17 “Se gli altrui folli amori”
18 “O nel sen di qualche stella”
19 “Giunse dunque a tentarti”
20 “Pur ti reveggo, o Marzia”
21 “Chi un dolceamor condanna”
22 “Mie perdute speranze”
23 “E’ in ogni core diverso amore”
24 “Se manca Arbace”
25 “Un certo non so che”
26 “Ah troppo dissi”
27 “E’ folia se mascondete”
Act 2
28 “Romani, il vostro duce”
29 “Va’, ritorna al tuo tiranno”
30 “A tanto eccesso arriva l’orgoglio di Catone?”
31 “So, che pieta non hai”
32 “E qual sorte è la mia!”
33 “Soffre talor del vento”
34 “Lode agli dei La fuggitiva speme”
35 “In che t’offende”
36 “Tu vedi o bella”
37 “Per te spero”
38 “Oh dei tutta se stessa”
39 “Nascesti alle pene”
40 “Si vuole ad onta mi ache Cesare s’ascolti?”
41 “Se in campo armato”
42 “Ah signor che facesti?”
43 “Dovea svenarti allora”
44 “Sarete paghi alfin”
45 “So che godendo vai”
46 “Udisti Arbace? Il credo appena”
47 “Se sciogliere non vuoi”
48 “L’ingiustizia, il disprezzo”
49 “Che sia la gelosia”
Act 3
50 “Tutto amico ho tentato”
51 “La fronda che circonda”
52 “Quanti aspetti la sorte cangia in un giorno!”
53 “Confusa, smarrita”
54 “Qual’insoliti moti”
55 “Combattuta da tante vicende”
56 “Del rivale all’aita”
57 “Quell’amor che poco accende”
58 “Pur veggo alfine un raggio d’incerta luce”
59 “È questo amici il luogo”
60 “Deh, in vita ti serba”
61 “Dove mai l’idol mio”

Personnel:
Il pomo d’oro
Riccardo Minasi, conductor
Juan Sancho, Catone
Franco Fagioli, Cesare
Max Emanuel Cencic, Arbace
Valer Sabadus, Marzia
Martin Mitterrutzner, Fulvio
Vince Yi, Emilia

Download:

Andreas Ottensamer – Brahms: The Hungarian Connection (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:48 minutes | 1,08 GB | Genre: Classical
Official Digital Download – Source: highresaudio.com | @ Deutsche Grammophon / Mercury Classics
Recorded: October 2014, Nikodemus-kirche, Berlin, Germany

Andreas Ottensamer, himself half-Hungarian, naturally recognizes Brahms’ Clarinet Quintet as “genuinely one of the monuments of the entire clarinet repertoire, a piece that every clarinettist dreams of playing”. The album includes Brahms’ Clarinet Quintet, one of the most seminal works for the instrument – combined with Hungarian dances and waltzes by Brahms, all newly arranged to include additional material from Brahms’ original musical sources, with an authentic folk twist. Brahms is seen as one of the most serious composers of the German school – this bold venture reveals how closely connected his music actually is to the vibrant folk music inspired Hungarian music world.

Andreas Ottensamer, principal clarinetist of the Berlin Philharmonic, has released several innovatively programmed albums without resorting to common crossover formulas. Brahms: The Hungarian Connection is another. The title is perhaps a bit too strong in that the last part of the program does not consist of music by Brahms and, in fact, has no direct connection to Brahms. But as a recital juxtaposing Hungarian folk sounds with their ramifications in the concert repertoire, the program works well. Some may not have thought of the Clarinet Quintet in B minor, Op. 115, as a Hungarian piece, but listen again to the slow movement passage where the string quartet conjures up a cimbalom. The extremely gentle performance of the quintet is worth the price of admission in itself; for a reading by an all-star group as opposed to an established ensemble, it breathes unusually well. The quartet’s cellist, Stephan Koncz, arranged the rest of the music for clarinet and string quartet, and he certainly doesn’t do anything an average Viennese musician might not have attempted during Brahms’ lifetime. From two lightly Hungarian waltzes (one from the Op. 39 set for piano four-hands and one from the Liebeslieder Waltzes, Op. 52), listeners move into more explicitly Hungarian material, first arranged by Brahms and then by other composers. It’s an unorthodox recital structure, but it’s effective, leading both to some little-known and fun pieces (the Two Movements of Hungarian composer Leó Weiner) and then to an infectious Transylvanian dance medley finale. Ottensamer’s tone modulates nicely from ultra-smooth in the Brahms to peppy in the more Hungarian pieces. Recommended for Brahmsians and clarinet lovers alike.

Tracklist:
01 – Clarinet Quintet in B minor, Op.115 – I. Allegro
02 – Clarinet Quintet in B minor, Op.115 – II. Adagio
03 – Clarinet Quintet in B minor, Op.115 – III. Andantino – Presto non assai, ma con sentimento
04 – Clarinet Quintet in B minor, Op.115 – IV. Con moto
05 – Two Waltzes in A major: Waltz op. 39 no. 15 & Waltz no. 6 from Liebeslieder op. 52: “Ein kleiner, hübscher Vogel”
06 – Hungarian Dance No. 7, WoO 1
07 – Hungarian Dance No. 1 (Isteni Csárdás), WoO 1
08 – Két Tétel – Búsuló juhász (Woeful Shepherd)
09 – Két Tétel – Csurdöngölo (Barndance)
10 – Dances From Transylvania

Producer and recording engineer: Philipp Nedel.
Recorded October 2014 at Nikodemus-Kirche in Berlin, Germany.

Musicians:
Andreas Ottensamer – clarinet
Leonidas Kavakos – violin
Antoine Tamestit – viola
Christoph Koncz – violin, cello
Stephan Koncz – violin, cello
Ödon Rácz – double bass
Predrag Tomic – accordion
Oskar Ökrös – cimbalom

Download:

http://www.datafile.com/d/TVRJNE1qTTRNRFkF9/AndreasttensamerBrahms.TheHungarianCnnectin2015HRA2496.part1.rar
http://www.datafile.com/d/TVRJNE1qTTRNRFEF9/AndreasttensamerBrahms.TheHungarianCnnectin2015HRA2496.part2.rar
or
http://rapidgator.net/file/45f9d31e2ba3f0615ff8b365ac7bff18/AndreasttensamerBrahms.TheHungarianCnnectin2015HRA2496.part1.rar.html
http://rapidgator.net/file/8c722f40108a23c94ebb6114f203c0cb/AndreasttensamerBrahms.TheHungarianCnnectin2015HRA2496.part2.rar.html

Malcolm Arnold – 4 Scottish Dances & Symphony No. 3 – London Philharmonic Orchestra, Malcolm Arnold (1959/2013)
FLAC (tracks) 24 bit/96 kHz | Time – 44:26 minutes | 1,49 GB | Genre: Classical
Official Digital Download – Source: HDTracks.com | @ Everest Records
Recorded: November 1958 at the Walthamstow Assembly Hall in London, UK

Malcolm Arnold (1921-2006) was a successful English contemporary composer, known for his musical versatility. He was a renowned professional trumpeter, joining the London Philharmonic Orchestra as third trumpeter in 1941; within a year had graduated to the first chair in the trumpet section.

The Four Scottish Dances were composed early in 1957, and are dedicated to the BBC Light Music Festival. They are all based on original melodies but one, the melody of which was composed by Robert Burns. Arnold’sSymphony No. 3 was composed between 1954 and 1957, is written for normal symphony orchestra without harp or percussion. It is in three movements. The symphony was dedicated to the Royal Liverpool Philharmonic Society.

Tracklist:
Malcolm Arnold (1921-2006)
Four Scottish Dances, Op. 59
1 I. Pesante 02:29
2 II. Vivace 02:04
3 III. Allegretto 03:47
4 IV. Con brio 01:15
Symphony No. 3, Op. 63
5 I. Allegro – Vivace 13:30
6 II. Lento 13:48
7 III. Allegro con brio – Presto 07:33

London Philharmonic Orchestra
Malcolm Arnold – Conductor

Mark Jenkins – Executive Producer
Lutz Rippe – Remastering and digital transfers

Digital restoration and remastering using Algorithmix software products

Download:

http://www.datafile.com/d/TVRJNE1qTTRNVEkF9/Arnld4ScttishDancesSymphnyN.3LndnPhilharmnicMalclmArnld195919224.part1.rar
http://www.datafile.com/d/TVRJNE1qTTRNVE0F9/Arnld4ScttishDancesSymphnyN.3LndnPhilharmnicMalclmArnld195919224.part2.rar
http://www.datafile.com/d/TVRJNE1qTTRNVFEF9/Arnld4ScttishDancesSymphnyN.3LndnPhilharmnicMalclmArnld195919224.part3.rar
or
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http://rapidgator.net/file/824d8711ab311750ca3695dc15a86f4b/Arnld4ScttishDancesSymphnyN.3LndnPhilharmnicMalclmArnld195919224.part2.rar.html
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Ludwig van Beethoven – Symphonies Nos. 1 & 8 – London Symphony Orchestra, Josef Krips (1960/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 53:09 minutes | 1,81 GB | Genre: Classical
Official Digital Download – Source: HDTracks | @ Everest Records
Recorded: Walthamstow Assembly Hall, London, January 1960

It is not known exactly when Beethoven completed his First Symphony, as the autograph score was lost. It is known, however, when the symphony was first performed and what the critics thought of it. It premiered in Vienna in 1800, also on the program was a Mozart symphony, an aria and duet from Haydn’s Creation, an unspecified piano concerto by Beethoven, his Septet, and some improvisations at the piano by the composer. The critics were rather complimentary about all the works but the Beethoven symphony. The Eighth is the shortest of Beethoven’s symphonies, also probably the jolliest, with much of that “unbuttoned” humor so frequently ascribed to the composer.

Josef Krips’ cycle of Ludwig van Beethoven’s nine symphonies was recorded in 1960, originally on 35mm film for the Everest label, but this deluxe audiophile treatment was hardly apparent in several inferior-sounding reissues over the years. However, this situation has been rectified by Madacy, who reissued the Everest recordings in a fresh remastering from the original tapes. This recording is reasonably faithful to the professional but not fully polished sound of the London Symphony Orchestra, presenting the way it sounded before its rise to world-class status; the orchestra is quite smooth in a fairly reverberant acoustic that provides a pleasant aural effect. Krips may be grouped among conductors of the conventional approach to performing Beethoven that was prevalent in the mid-20th century, for his performances reflect a preference for a full-size orchestral scale, modern instruments, and homogenization of timbres. Interestingly, Krips’ tempos tend toward the fast side, which early music orchestras would later adopt as the norm for period practice, especially in Beethoven. These recordings of the symphonies are solidly played and consistently clear in reproduction, and first-time listeners seeking a bargain could hardly do better than to try this set. –Blair Sanderson

Tracklist:
Ludwig van Beethoven (1770-1827)
Symphony No. 1 in C Major, Op. 21
1 I. Adagio molto – Allegro con brio 09:18
2 II. Andante cantabile con moto 06:27
3 III. Menuetto: Allegro molto e vivace 03:54
4 IV. Finale: Adagio – Allegro molto e vivace 06:21
Symphony No. 8 in F Major, Op. 93
5 I. Allegro vivace e con brio 09:55
6 II. Allegretto scherzando 04:18
7 III. Tempo di Menuetto 05:25
8 IV. Allegro vivace 07:31

Personnel:
London Symphony Orchestra
Josef Krips, Conductor

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or
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http://rapidgator.net/file/e79a8dbe74278a7ffe57f437f083cba3/BeethvenSymphniesNs.18LndnSymphnyrchestraJsefKrips196019224.part2.rar.html
http://rapidgator.net/file/d9baa560273d7a05c84419e1bc972a41/BeethvenSymphniesNs.18LndnSymphnyrchestraJsefKrips196019224.part3.rar.html

Ludwig van Beethoven – Symphony No. 3 – London Symphony Orchestra, Josef Krips (1960/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 44:57 minutes | 1,43 GB | Genre: Classical
Official Digital Download – Source: HDTracks | @ Everest Records
Recorded: Walthamstow Assembly Hall, London, January 1960

Beethoven’s Eroica represents his symphonic declaration of independence from the domination of Haydn and Mozart. He spent two years composing it, polishing and refining each phrase until he had exactly what he wanted. The results must have proved startling to the symphony’s first hearers. Not only was it probably by far the longest symphony written up to that time but it had more daring innovations.

Tracklist:
Ludwig van Beethoven (1770-1827)
Symphony No. 3 in E-Flat Major, Op. 55 „Eroica“
1 I. Allegro con brio 14:50
2 II. Marcia funebre: Adagio assai 12:49
3 III. Scherzo: Allegro vivace 05:55
4 IV. Finale: Allegro molto 11:23

Personnel:
London Symphony Orchestra
Josef Krips, Conductor

Download:

http://www.datafile.com/d/TVRJNE1qTTRNamsF9/BeethvenSymphnyN.3LndnSymphnyrchestraJsefKrips196019224.part1.rar
http://www.datafile.com/d/TVRJNE1qTTRNekUF9/BeethvenSymphnyN.3LndnSymphnyrchestraJsefKrips196019224.part2.rar
http://www.datafile.com/d/TVRJNE1qTTRNekEF9/BeethvenSymphnyN.3LndnSymphnyrchestraJsefKrips196019224.part3.rar
or
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http://rapidgator.net/file/e9ce3694b142ab4d48779619d0b802a2/BeethvenSymphnyN.3LndnSymphnyrchestraJsefKrips196019224.part2.rar.html
http://rapidgator.net/file/abd5fc406a1b0dad71107197979a902b/BeethvenSymphnyN.3LndnSymphnyrchestraJsefKrips196019224.part3.rar.html

Ludwig van Beethoven – Symphony No.3 ‘Eroica'; Overtures – Simon Bolivar Symphony Orchestra of Venezuela, Gustavo Dudamel (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 1:07:11 minutes | 1,26 GB | Genre: Classical
Official Digital Download – Source: HDTracks | @ Deutsche Grammophon
Recorded: March 2012, Centro de Acción Social por la Música, Sala Simón Bolivar, Caracas, Venezuela

GRAMMY® Award-winning conductor Gustavo Dudamel and the Simon Bolivar Orchestra bring their captivating energy to one of the summits of the orchestral repertoire – Beethoven’s Symphony No.3, the “Eroica.” This work also includes two of Beethoven’s most-beloved overtures, “Egmont” and “The Creatures of Prometheus.” The world-class ensemble delivers with power and precision. This is a must-have for anyone who wishes to discover the power of classical music!

Reviews

“Energy and excitement run through every bar of these performances…[one is] thrilled by the sheer delight in the playing he inspires.” – The Sunday Telegraph

Tracklist:
Ludwig van Beethoven (1770 – 1827)
Symphony No.3 in E flat, Op.55 -“Eroica”
1. 1. Allegro con brio 17:35
2. 2. Marcia funebre (Adagio assai) 17:39
3. 3. Scherzo (Allegro vivace) 5:26
4. 4. Finale (Allegro molto) 12:16
The Creatures of Prometheus, Op.43
5. Overture 5:07
Music To Goethe’s Tragedy “Egmont” Op.84
6. Overture 9:11

Personnel:
Simón Bolívar Symphony Orchestra of Venezuela
Gustavo Dudamel, conductor

Download:

http://www.datafile.com/d/TVRJNE1qTTRNelEF9/BeethvenSymphnyN.3SimnBlivarSymphnyrchGustavDudamel20129624.part1.rar
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or
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http://rapidgator.net/file/49220cda0eb7a5e8f0556676755d97ff/BeethvenSymphnyN.3SimnBlivarSymphnyrchGustavDudamel20129624.part2.rar.html

Hector Berlioz – Symphonie fantastique – Los Angeles Philharmonic, Gustavo Dudamel (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 01:00:58 minutes | 951 MB | Genre: Classical
Official Digital Download – Source: highresaudio.com | @ Deutsche Grammophon
Recorded: Walt Disney Concert Hall, Los Angeles, United States, May 2008

In his “Fantastic Symphony in Five Parts,” a literal translation of the composer’s final title, Berlioz tells a musical tale with himself as the central character – creating not only a mood (as in Liszt’s symphonic poems), but states of mind and precise, physical situations. Nothing like it had been attempted on this scale before.

Berlioz’s new concept of how far one could go in dramatic music without resorting to a vocal text once caused considerable polemicizing over whether such music was viable without reference to the “story.” Wagner’s great friend and champion, Eduard Dannreuther, took the negative tack: “The Symphonie fantastique, particularly its finale, is sheer nonsense when the hearer has no knowledge of the program.”

„Dudamel is an excellent colorist . . . [his] colors are extremely vivid, and help with something else this conducting is very good at: maintaining great clarity of secondary lines, without muddying the primary melody. This is especially evident in the first movement her. Dudamel and the orchestra maintain a lovely, singing line through material that can otherwise seem merely introductory or transitional. Dudamel takes the movement’s ‘Passions’ as seriously as the earlier ‘dreams’, perhaps even more so, with very strong accents and eruptive phrase launches in the more dynamic sections. The second-movement ball scene benefits from very flexible phrasing, and lots of feline portamento in the repeated opening material. The third movement is nicely bucolic . . . Then Dudamel and the LA Phil really take off in the ‘Marc to the Scaffold’, everything crackling with energy and played with a jolly snarl (and repeat) . . .“ –James Reel, Fanfare

Tracklist:
Hector Berlioz (1803-1869)
Symphonie fantastique, Op.14
1. Rêveries. Passions (Largo – Allegro agitato ed appassionato assai) 14:57
2. Un bal (Valse: Allegro non troppo) 06:39
3. Scène aux champs (Adagio) 17:58
4. Marche au supplice (Allegretto non troppo) 06:39
5. Songe d’une nuit du Sabbat (Larghetto – Allegro – Ronde du Sabbat: Poco meno mosso) 09:44
6. Upbeat Live – Pre-Concert Lecture 04:53

Personnel:
Los Angeles Philharmonic
Gustavo Dudamel, conductor
Steven Stucky, speaker (#6)

Download:

http://www.datafile.com/d/TVRJNE1qTTROREkF9/BerlizSymphniefantastiqueLAPhilGustavDudamel20139624.part1.rar
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or
http://rapidgator.net/file/8e8ad4da22860783131593a442cea23a/BerlizSymphniefantastiqueLAPhilGustavDudamel20139624.part1.rar.html
http://rapidgator.net/file/a9dd97bffa165bd35cdd786cf918adf5/BerlizSymphniefantastiqueLAPhilGustavDudamel20139624.part2.rar.html

Georges Bizet – Carmen – Magdalena Kozena, Jonas Kaufmann, Berliner Philharmoniker, Sir Simon Rattle (2012)
FLAC (tracks) 24 bit/44.1 kHz | Time – 02:29:40 minutes | 1,32 GB | Genre: Classical
Official Digital Download – Source: HDTracks | @ Warner Classics
Recorded: 16–21.IV.2012, Philharmonie, Berlin

Carmen was premiered at the (second) Salle Favart, the home of Paris’ Opéra-Comique – then as now in the Place Boieldieu – on 3 March 1875. Georges Bizet, its composer, died of a heart attack exactly three months later, on 3 June, aged 36. In his short life he had written, in whole or in part, more than a dozen works for the lyric stage, ranging from one-act operettas to five-act grand operas: and had contemplated at least a dozen more. He was exceptionally well connected in the tight-knit and faintly incestuous musical world of mid-19th-century Paris, and almost universally well-liked. Over 4,000 mourners attended his funeral in the Église de la Sainte-Trinité – the location of Rossini’s in 1868 and Berlioz’s the year after – including his former mentor Charles Gounod, so emotionally overwrought that he was unable to finish the eulogy at the subsequent interment at Père Lachaise. That night – 5 June – Carmen was given its 33rd performance at the Salle Favart; and this time the press that had greeted the work’s premiere with almost unanimous hostility was suddenly to be found bemoaning the loss of one of French music’s greatest talents.

Opera was never going to be the same again. Single-handedly, Carmen redrew the boundaries both musically and especially dramatically, of what could be represented on an opera stage. When it finally returned to the Comique in 1883 in a bowdlerised version, there was public uproar, and the original had to be restored immediately. And in the selfsame year, the Comique was busy rehearsing Massenet’s Manon, which effectively abandons dialogue in favour of mélodrame (speech over music) and depicts – in the flagrant seduction of a priest, in church, by a trollop – a far more shockingly immoral event than anything in Bizet’s opera. Opera’s doors were now open to a fuller, franker depiction of real-life events and emotions on the operatic stage such as Émile Zola was bringing to the novel. He never lived long enough to see it happen, but Bizet’s objective had been fulfilled. The era of operatic verismo had dawned.

Tracklist:
Georges Bizet (1838-1875)
Carmen / Opera in four acts
Act One
1. Prélude 03:20
2. No.1 Introduction: Sur la place, chacun passe, chacun… 02:01
3. Regardez donc cette petite qui semble vouloir nous parler 04:03
4. No.2 Marche et Chœur des gamins: Avec la garde montante,… 04:43
5. Nr. 3 Chœur et Scène: La cloche a sonné; nous, des ouvrières 04:01
6. Mais nous ne voyons pas la Carmencita!…Quand je vous… 01:09
7. No.4 Havanaise: L’amour est un oiseau rebelle 04:19
8. No.5 Scène: Carmen! sur tes pas nous nous pressons tous! 01:59
9. Que est-ce-que ça veut dire, ces façons-là? 00:17
10. No.6 Duo: Parle-moi de ma mère 09:36
11. Carmen, Act 1: Attends un peu 00:43
12. No.7 Chœur: Au secours! 02:60
13. Eh bien, José? Qu’est-ce qui c’est passé? 00:13
14. No.8 Chanson et Mélodrame: Avez-vous quelque chose à… 03:06
15. Laissez-moi échapper 00:30
16. No.9 Chanson et Duo: Près des remparts de Séville 04:32
17. No.10 Final: Voici l’ordre, partez 02:23
18. Entreacte 01:41
Act Two
19. No.11 Chanson: Les tringles des sistres tintaient avec un… 04:34
20. Vivat! vivat le Torero! 01:16
21. Votre toast, je peux vouz le rendre…Toréador, en garde! 05:02
22. Dis-moi ton nom 00:42
23. No.13bis: Toréador, en garde 01:11
24. Eh bien monsieur, quelles nouvelles 00:18
25. No.14 Quintette: Nous avons en tête une affaire 04:50
26. Partez sans moi, j’irai vous rejoindre demain 01:30
27. Enfin, te voilà! 00:36
28. No.16 Duo: Je vais danser en votre honneur 00:34
29. La-la-la-la…Attends un peu, Carmen 02:12
30. Au quartier! pour l’appel? 02:51
31. Au quartier! pour l’appel? 04:26
32. Non! tu ne m’aimes pas! 02:48
33. Non! Je ne veux plus t’écouter! 01:09
34. No.17 Final: Holà! Carmen! holà! holà! 01:22
35. Bel officier, l’amour vous joue en ce moment un assez… 01:13
36. Plus tard!…La guerre, c’est la guerre! 02:31
37. Entr’acte 02:39
Act Three
38. No.18 Introduction: Écoute, écoute, compagnon, écoute! 02:40
39. Notre métier est bien 01:39
40. À quoi tu penses? 00:38
41. No.19 Trio: Mêlons! Coupons! 03:07
42. Voyons que j’essaie à mon tour 01:02
43. En vain pour éviter 02:09
44. La mort… Parlez encor, parlez mes belles 00:52
45. Eh bien?…Eh bien, c’est plus compliqué que prévu! 00:28
46. No.20 Morceau d’Ensemble: Quant au douanier 03:05
47. No.21 Air: Je dis que rien ne m’épouvante 05:27
48. Qui êtes-vous, répondez! 00:07
49. Je suis Escamillo, Torero de Grenade! 00:59
50. Elle avait pour amant 00:37
51. Mais pour nous enlever nos filles de Bohème 00:48
52. Enfin ma colère…Quelle maladresse 01:18
53. Tout beau! 01:23
54. No.23 Final: Holà! holà! José! 02:32
55. Prends garde à toi…Carmen 00:37
56. Moi! Je viens te chercher! 01:06
57. Va-t’en – Tu me dis de la suivre! 03:13
58. Toréador, en garde! 00:59
59. Entr’acte 02:21
Act Four
60. No.24 Chœur: À deux cuartos! 02:07
61. No.25 Chœur et Scène: Les voici! Voici la quadrille! 03:46
62. Si tu m’aimes, Carmen 01:23
63. Carmen, un bon conseil 01:58
64. C’est toi – C’est moi 04:04
65. Tu m’aimes donc plus 05:55

Personnel:

Magdalena Kožená – Mezzo-Soprano
Jonas Kaufmann – Tenor
Genia Kühmeier – Soprano
Kostas Smoriginas – Baritone
Christian Van Horn – Bass-Baritone
Andrè Schuen – Bass-Baritone
Christina Landshamer – Soprano
Rachel Frenkel – Mezzo-Soprano
Jean-Paul Fouchécourt – Tenor
Simone Del Savio – Baritone
Chor der Deutschen Staatsoper Berlin – Choir
Eberhard Friedrich – Chorus Master
Kinderchor der Deutschen Staatsoper Berlin – Choir
Vinzenz Weissenburger – Chorus Master
Berliner Philharmoniker – Orchestra
Sir Simon Rattle – Conductor

Download:

http://www.datafile.com/d/TVRJNE1qTTRPREkF9/BizetCarmenMagdalenaKenJnasKaufmannBerlinerPhilharmniker201244.124.part1.rar
http://www.datafile.com/d/TVRJNE1qTTRPRGcF9/BizetCarmenMagdalenaKenJnasKaufmannBerlinerPhilharmniker201244.124.part2.rar
or
http://rapidgator.net/file/a899d2ecd844ee1673f9b08913eb2962/BizetCarmenMagdalenaKenJnasKaufmannBerlinerPhilharmniker201244.124.part1.rar.html
http://rapidgator.net/file/1ee99f5a6c0e80afc9bc727c649458b2/BizetCarmenMagdalenaKenJnasKaufmannBerlinerPhilharmniker201244.124.part2.rar.html

Johannes Brahms – Piano Concertos Nos. 1 & 2; 7 Fantasien op. 116 – Emil Gilels, Berliner Philharmoniker, Eugen Jochum (1972/76/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 2:05:05 minutes | 2,06 GB | Genre: Classical
Official Digital Download – Source: HDTracks | @ Deutsche Grammophon
Recorded: #1-7: June 1972, Jesus-Christus-Kirche, Berlin, Germany; #8-14: September 1975, Concert Hall, Turku, Finland

The concerto sessions took place at a time when we were experimenting with quadraphonic recording, although no Deutsche Grammophon discs were ever issued in that format. Emil Gilels had already made a highly successful recording of the Second Concerto for another company and knew the work backwards, so the sessions were easy, the slow movement in particular requiring very little subsequent editing.

Gilels took the business of recording very seriously and was determined that we should too. For him the sound had to be worked on during the sessions, just like his interpretation. Once we let him try out the piano in eight different positions before he was convinced that the one we had advocated from the beginning was correct!

When Eugen Jochum was asked in an interview a year before his death about the finest recordings of his long and distinguished career, he singled out the Brahms concertos with Gilels for special mention. Considering that Jochum was “only” accompanying a soloist, it is hard to imagine a more eloquent tribute to the discs’ success.

– Klaus Scheibe

Tracklist:
Johannes Brahms (1833 – 1897)
Piano Concerto No.1 in D minor, Op.15
1. 1. Maestoso – Poco più moderato 24:13
2. 2. Adagio 14:49
3. 3. Rondo (Allegro non troppo) 12:39
Piano Concerto No.2 in B flat, Op.83
4. 1. Allegro non troppo 18:17
5. 2. Allegro appassionato 09:29
6. 3. Andante – Più adagio 14:02
7. 4. Allegretto grazioso – Un poco più presto 09:52
Fantasias (7 Piano Pieces), Op.116
8. 1. Capriccio In D Minor 02:12
9. 2. Intermezzo In A Minor 03:35
10. 3. Capriccio In G Minor 03:13
11. 4. Intermezzo In E Major 04:22
12. 5. Intermezzo In E Minor 03:00
13. 6. Intermezzo In E Major 03:06
14. 7. Capriccio In D Minor 02:16

Johannes Brahms (1833-1897):
Concerto for Piano and Orchestra no. 1 in D minor, op. 15
Concerto for Piano and Orchestra no. 2 in B flat major, op. 83
Fantasias, op. 116

Emil Gilels, piano
Berlin Philharmonic
Eugen Jochum, conductor

Producer: Günther Breest
Recording engineer: Klaus Scheibe

Download:

Vanessa Benelli Mosell – [R]evolution (2015) [Qobuz 24-96]

Francesco Maria Veracini – Complete Sonate Accademiche – Trio Settecento (2015) [CedilleRecords 24-96]

Franz Xaver Scharwenka – Complete Piano Concertos – Alexander Markovich, Estonian National Symphony Orchestra, Neeme Jarvi (2014) [24-48]

Franz Schubert – Complete Works for Violin and Piano, Vol. 1 – Julia Fischer, Martin Helmchen (2009) [24-96]

Franz Schubert – Complete Works for Violin and Piano, Vol. 2 – Julia Fischer, Martin Helmchen (2010) [24-96]

Franz Schubert – Moments Musicaux – Valery Afanassiev (2012) [HRA 24-44.1]

Franz Schubert –‘The Great’ C Major Symphony, D. 944 – Orchestra Mozart, Claudio Abbado (2015) [Qobuz 24-96]

Dmitry Shostakovich – Cantatas – Estonian National Symphony Orchestra, Paavo Jarvi (2015) [HDTracks 24-48]

Dmitri Shostakovich – Symphony No. 7 in C Major ‘Leningrad’ , Op. 60 – Russian National Orchestra, Paavo Jarvi (2015) [Qobuz 24-96]

Wolfgang Amadeus Mozart – The last three symphonies nos. 39, 40, 41 K. 543, 550, 551 – Orchestra of the Eighteenth Century, Frans Bruggen (2014) [Qobuz24-44.1]

Peter Ilyich Tchaikovsky – Works for violin & orchestra – Julia Fischer, Yakov Kreizberg, Russian National Orchestra (2006) [24-96]

Leonardo Vinci – Catone in Utica – Il Pomo d’Oro, Riccardo Minasi (2015) [prestoclassical 24-96]

Andreas Ottensamer – Brahms. The Hungarian Connection (2015) [HRA 24-96]

Malcolm Arnold – 4 Scottish Dances & Symphony No. 3 – London Philharmonic Orchestra, Malcolm Arnold (1959/2013) [HDTracks 24-96]

London Symphony Orchestra, Josef Krips – Beethoven – Symphonies Nos. 1 & 8 (1960/2013) [HDTracks 24-192]

London Symphony Orchestra, Josef Krips – Beethoven – Symphony No. 3 (1960/2013) [HDTracks 24-192]

Simon Bolivar Symphony Orchestra of Venezuela, Gustavo Dudamel – Beethoven – Symphony No.3 ‘Eroica'; Overtures (2012) [HDTracks 24-96]

Hector Berlioz – Symphonie fantastique – Los Angeles Philharmonic, Gustavo Dudamel (2013) [HRA 24-96]

Magdalena Kozena, Jonas Kaufmann, Berliner Philharmoniker, Sir Simon Rattle – Georges Bizet – Carmen (2012) [HDTracks 24-44.1]

Emil Gilels, Berliner Philharmoniker, Eugen Jochum – Brahms – Piano Concertos Nos. 1 & 2; 7 Fantasien op. 116 (1972/76/2015) [HDTracks 24-96]