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Carrie Newcomer – The Slender Thread (2015) [DSF Stereo DSD64/2.82MHz]

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Carrie Newcomer – The Slender Thread (2015)
DSF Stereo DSD64/2.82MHz  | Time – 49:45 minutes | 1,97 GB | Genre: Folk, Rock
Source: ISO SACD | © Stockfisch Records

Once upon a time there was a singer from a far-off country who was fair of face and sang with the voice of an angel. Her name was Newcomer, although she possessed a rich store of artistic experience. The master troubadours of Stockfisch heard of this wonderful songstress, and because in a fairy-tale nothing is impossible, they waved their wands and whisked her over the wide, wide ocean to ultimately land in the fabled acoustic cavern of Northeim. There they enhanced her golden voice with lutes, flutes and other fabulous instruments …
The wonderful thing is: this is not a fairy tale, or more correctly, for the poets, dreamers, and connaisseurs (actually for all of us), this is a fairy-tale come true! With its warm, catchy tunes and mellow, autumnal glow, The Slender Thread, Newcomer’s debut album on Stockfisch, can easily become a habit …
One can’t help getting the impression – Carrie Newcomer has a gift for happiness. For the artist herself, incidentally, her songs are old friends – they stand for her friendship with life, people and not least with music. The Slender Thread beckons with the promise of a good friend in the making – or perhaps a whole group of good friends in these songs and melodies that are sure to get stuck in your head.
Despite all harmony – more reflective themes are touched upon too. But in such a way that her gift of happiness is contagious: it rubs off on us too!

Tracklist:
1 I Believe 4:31
2 There Is A Tree 4:42
3 Geodes 3:33
4 The Slender Thread 3:33
5 Cedar Rapids 10 a.m. 3:39
6 If Not Now 3:51
7 Sparrow 3:00
8 The Wind Does Not Understand Glass 3:53
9 Longing 3:52
10 The Gathering Of Spirits 3:56
11 Haunted 3:08
12 The Weight Of Water 4:11
13 Bare To The Bone 3:58

Personnel:
Carrie Newcomer – lead and harmony vocals, acoustic guitar
Gary Walters – piano, marimba
Ian Melrose – guitar, percussion
Jean Kelly – Irish harp
Lutz Möller – keyboards
Jens Kommnick – tin-whistle, ocarina, mandola
Manfred Leuchter – accordion
Beo Brockhausen – hang
Lea Morris – backing vocals
Sven von Samson – percussion
Hans-Jörg Maucksch – fretless bass

Download:

https://subyshare.com/aoojsfn9zmmw/CarrieNewc0merTheSlenderThread2015DSD64.part1.rar.html
https://subyshare.com/nl6wtb3wtnoy/CarrieNewc0merTheSlenderThread2015DSD64.part2.rar.html
https://subyshare.com/6y08wf3atgl2/CarrieNewc0merTheSlenderThread2015DSD64.part3.rar.html

SACD ISO

http://hdmusic.pw/carrie-newcomer-the-slender-thread-2015-ps3-iso-flac/


Chantal Chamberland – Autobiography (2016) [DSF Stereo DSD64/2.82MHz]

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Chantal Chamberland – Autobiography (2016)
DSF Stereo DSD64/2.82MHz  | Time – 54:30 minutes | 2,15 GB | Genre: Jazz
Source: ISO SACD | © Evolution Media Ltd.

The Hamilton Music Award winner Chantal Chamberland releases her ‘Best of’ compilation album, Autobiography. Her trademark smoky, sultry jazz vocal is perfectly expressed in a wonderful diversity of genres, moving from sultry and soulful to bluesy and brassy with graceful ease.

Her previous success with Soirée, hitting #1 on the HMV Hong Kong Jazz Charts cements her role as one of the nest female interpreters of jazz today. The Best of compilation has all of Chantal’s nest tracks in one, featuring tracks La Mer, Besame Mucho, Hit The Road Jack, Fever, You Are My Hero and more. Together with an all-new recording, Chantal’s take on Ed Sheeran’s heart-warming hit, Thinking Out Loud, performed with touch of tender affection and charm.

Tracklist:
1 Feeling Good 4:05
2 Thinking Out Loud 4:29
3 La Mer 3:50
4 How Deep Is Your Love 3:54
5 Hit the Road Jack 4:11
6 Besame Mucho 4:33
7 Time After Time 4:06
8 Je l’aime À mourir 3:27
9 Fever 4:53
10 You’re My Hero 5:14
11 At Seventeen 5:24
12 Les Champs-Èlysées 2:47
13 Crazy 3:28

Personnel:
Chantal Chamberland – Guitar, Vocals
Robi Botos – Fender Rhodes, Piano
Eric Boucher, John Kenyon – Piano
Bob Doige – Cello, Flugelhorn, Guitar, Mellotron, Shaker, Trumpet
Amy King – Vocals (Background)
Dan Lockwood – Drums
Mark McIntyre, Marc Rogers – Bass
Mark McLean – Drums, Percussion
Steve Pelletier – Bass (Acoustic), Bass (Electric)
Rob Piltch – Guitar
Sal Rosselli – Guitar, Saxophone
Paul White – Sax (Alto)

Download:

https://subyshare.com/9a85pr0iam0b/ChantalChamberlandAut0bi0graphy2016DSD64.part1.rar.html
https://subyshare.com/euwbau0h0tma/ChantalChamberlandAut0bi0graphy2016DSD64.part2.rar.html
https://subyshare.com/cmt6vkj5elbr/ChantalChamberlandAut0bi0graphy2016DSD64.part3.rar.html

Frederic Chopin – Waltzes – Ikuyo Nakamichi (2016) [DSF Stereo DSD64/2.82MHz]

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Frederic Chopin – Waltzes – Ikuyo Nakamichi (2016)
DSF Stereo DSD64/2.82MHz  | Time – 01:45:57 minutes | 4,18 GB | Genre: Classical
Source: ISO SACD | © RCA Red Seal
Recorded: 2015年5月26日~29日、サントミューゼ 上田市交流文化芸術センター小ホール

◎長年のショパンへの取り組みが結実した新録音
現代日本を代表する人気ピアニスト、仲道郁代による2年ぶりの新譜は、ショパンのワルツ集です。ショパンは、仲道にとって、モーツァルト、ベートーヴェン、シューマンと並ぶ自らのレパートリーの中心的作曲家であり、演奏会でその多くを演奏するかたわら、これまでにも2曲の協奏曲(1990年と2010年の2種類 )をはじめ、即興曲4曲(1989年 )、バラード4曲(1990年 )、前奏曲(1991年録音 )、夜想曲全集(1989~92年 )、ピアノ・ソナタ第3番(1993年 )、スケルツォ4曲(1993年 )と、ピアニストとしてのキャリアの初期10年のうちに主要曲を集中的に録音しています。最近では、ショパンの生涯と音楽を、演奏、映像とエピソードを交えながら立体的なコンテクストの中で紹介するシリーズ『ショパン鍵盤のミステリー』を企画し、各地で公演し好評を博しています(2016年7月からは、東京Hakujuホールで開催予定 )。また2007年にはワルシャワ~パリ~ノアンなど、ショパンが残した足跡を辿るNHK制作のドキュメンタリー『ピアノの詩人 ショパンのミステリー』にも出演し、さらに同番組は2010年のショパン・アニヴァーサリーに際して、『仲道郁代 ショパンのミステリー 特別編』として追加制作・再放映されています。また同じ2010年には、『NHK趣味工房シリーズ〔あなたもアーティスト〕 仲道郁代のピアノ初心者にも弾けるショパン』に講師として出演、さらにCD付きのMOOK『CDでわかる ショパン鍵盤のミステリー』(ナツメ社 )も上梓するなど、ショパンの音楽への探求には大きな情熱を持って取り組んできています。

◎生前に出版された8曲を中心とする17曲のワルツ
ショパンのワルツは、ショパンのピアノ作品の中でも最も人気の高い作品。一部の最有名曲を除き、仲道はこれまで積極的には取り組んできませんでした。しかしここ数年ショパンについての研究を深めていく中で、ショパンのワルツの本質は、「華麗な円舞曲」などの題名の陰に隠された、「作曲者自らの魂の告白」であることに思い至り、華やかさよりも陰影の深さに寄り添った解釈で、これまでとは一味違うショパンのワルツ像を描き上げています。当アルバムは、最新の成果を反映させたナショナル・エディションに準拠し、ショパンの生前に作品番号を付されて出版された8曲を中心とする、最も有名な17曲を収録しています。
◎2013年製スタインウェイと1842年製プレイエルを聴き比べる究極の醍醐味
しかも今回のアルバムはショパンのワルツ集なのに2枚組!それは、1842年製プレイエル、2013年製スタインウェイという2つの楽器で弾いた、17曲のワルツの演奏を2種類収録しているからです。作曲家が想定した楽器で、作品を弾くことによって、現代の楽器では失われてしまったり、これまでは気付かなかった微妙なニュアンスの移り変わりを感じ取り、作曲者が一つ一つの音符に込めた思いをより明確な形でくみ取ることができる、というピリオド楽器を使った演奏への興味は20世紀半ばから本格化しました。仲道は2007年にヨーロッパ各地のショパンの足跡を訪れた際に1848年製のプレイエルに触れて以来、時代による鍵盤楽器や演奏様式の変遷に大きな興味を抱き、自らもピリオド楽器数種を身近に置いて、作曲者が耳にしていた楽器の響きや感触に直接接することで、個々の作品への理解をこれまでとは異なった角度で深めてきています。モダン・ピアノとピリオド楽器を一つの演奏会で弾き比べるという演奏会も行なっており、当アルバムはそうした仲道の取り組みの一端を形にしたものともいえるでしょう。1842年というショパンが生きた時代の空気の中で製作されたプレイエルの肌理細やかで親密なソノリティ、アコースティック鍵盤楽器の進化の頂点である2013年製スタインウェイ・コンサードグランドの多彩なニュアンスと、仲道はそれぞれの楽器の特性を最大限に生かして絶妙に弾き分けています。
◎新ホール・サントミューゼでの初録音
録音は、2014年にオープンしたばかりで、オープン前から仲道がレジデント・アーティスト的な役割を担ってきた長野県上田市のサントミューゼ(上田市交流文化芸術センター )の小ホールにおける4日間のセッションで行なわれました。今回が同ホールでのCD初録音となります。プロデュースは、1998年の「ロマンティック・メロディ」以来、仲道の録音を手掛けてきたフィリップ・トラウゴットで、DSDレコーディングによるSA-CDハイブリッドとして発売いたします。

Tracklist:
Frédéric Chopin (1810-1849)
17 Waltzes
Disc#1
1. Waltz in F Major WN18, KK IVa-12 2’20
2. Waltz in B Minor WN19, Op. 69, No. 2 2’26
3. Waltz in B-flat Major WN20, Op. 70, No. 3 2’23
4. Waltz in A-flat Major WN28, KK IVa-13 1’16
5. Waltz in E Minor WN29, KK IVa-15 3’02
6. Waltz in E-flat Major Op. 18 ‘Grande valse brillante’ 5’52
7. Waltz in G-flat Major, WN42, Op. 70, No. 1 2’03
8. Waltz in A-flat Major WN47, Op. 69, No. 1 ‘L’adieu’ 3’04
9. Waltz in A-flat Major Op. 34, No. 1 ‘Valse brillante’ 5’28
10. Waltz in A Minor Op. 34. No. 2 ‘Valse brillante’ 5’05
11. Waltz in F Major Op. 34, No. 3 ‘Valse brillante’ 2’31
12. Waltz in A-flat Major Op. 42 4’11
13. Waltz in F Minor WN55, Op. 70, No. 2 1’42
14. Waltz in D-flat Major Op. 64, No. 1 ‘Minute’ 1’53
15. Waltz in C-sharp Minor Op. 64, No. 2 3’47
16. Waltz in A-flat Major Op. 64, No. 3 3’11
17. Waltz in A Minor WN63, KK IVb-11 2’09
Disc#2
1. Waltz in F Major WN18, KK IVa-12 2’21
2. Waltz in B Minor WN19, Op. 69, No. 2 2’27
3. Waltz in B-flat Major WN20, Op. 70, No. 3 2’31
4. Waltz in A-flat Major WN28, KK IVa-13 1’16
5. Waltz in E Minor WN29, KK IVa-15 3’01
6. Waltz in E-flat Major Op. 18 ‘Grande valse brillante’ 5’50
7. Waltz in G-flat Major, WN42, Op. 70, No. 1 1’55
8. Waltz in A-flat Major WN47, Op. 69, No. 1 ‘L’adieu’ 3’11
9. Waltz in A-flat Major Op. 34, No. 1 ‘Valse brillante’ 5’30
10. Waltz in A Minor Op. 34. No. 2 ‘Valse brillante’ 5’25
11. Waltz in F Major Op. 34, No. 3 ‘Valse brillante’ 2’31
12. Waltz in A-flat Major Op. 42 4’16
13. Waltz in F Minor WN55, Op. 70, No. 2 1’48
14. Waltz in D-flat Major Op. 64, No. 1 ‘Minute’ 1’58
15. Waltz in C-sharp Minor Op. 64, No. 2 3’54
16. Waltz in A-flat Major Op. 64, No. 3 3’25
17. Waltz in A Minor WN63, KK IVb-11 2’14

Personnel:
Ikuyo Nakamichi, piano
Disc#1: Pleyel, 1842, 80 keys, serial number 9387
Disc#2: Steinway D-274, 2013, serial number 595450

Download:

https://subyshare.com/rlysw9npepf5/Ch0pinWaltzesIkuy0Nakamichi2016DSD64.part1.rar.html
https://subyshare.com/tbkxjw1il8c8/Ch0pinWaltzesIkuy0Nakamichi2016DSD64.part2.rar.html
https://subyshare.com/azrqwwehx5uc/Ch0pinWaltzesIkuy0Nakamichi2016DSD64.part3.rar.html
https://subyshare.com/6vz7kz0xmbu4/Ch0pinWaltzesIkuy0Nakamichi2016DSD64.part4.rar.html
https://subyshare.com/cjzqfat0nfyy/Ch0pinWaltzesIkuy0Nakamichi2016DSD64.part5.rar.html

Antonin Dvorak – Cello Concerto, Symphonic Variations – Pieter Wispelwey, Budapest Festival Orchestra, Ivan Fischer (2007) [DSF Stereo DSD64/2.82MHz]

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Antonin Dvorak – Cello Concerto, Symphonic Variations – Pieter Wispelwey, Budapest Festival Orchestra, Ivan Fischer (2007)
DSF Stereo DSD64/2.82MHz  | Time – 01:02:38 minutes | 2,49 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. | Recorded: December 2006, Palace of Arts, Budapest

Dvorak’s career was a worldwide success. He wrote his cello concerto in New York, it was rehearsed in Prague and premiered in London. Always full of tender feelings for his home country he lived an international life. He avoided speaking German though when possible and would never accept a job in Vienna. His cello concerto would become hugely popular all over the world and has occupied a significant place in the gallery of 19th century masterpieces. It took him four months to write but that reflects a freshness, a rise and shine attitude rather than the neurotic speed of city life. No teutonic bombast (Berlin), no Mahlerian pathos (Vienna), but healthy abundance of energy. Dreams but no Freud, profundity but no Angst. The orchestra is large and powerful, but this most symphonic of cello concertos doesnt become a David and Goliath freak show. The tuttis can be seen as the background for a journey. The landscapes, by night or day, under moon or sunlight are sometimes awesome but never hostile and occasionally the hero revels in a heart-warming village party. There is also room for reflection and intimacy; the solo cello is beautifully supported both in song and prayer. (…) –Pieter Wispelwey

This fine recording of Dvorák’s Cello Concerto by Dutch cellist Pieter Wispelwey with Hungarian conductor Iván Fischer leading the Budapest Festival Orchestra is as generous, honest, and compelling as the music itself. Wispelwey has a rich, ringing tone that can ride over orchestral tutti fortes yet still sound fully present in intimate pianissimos. He also has an elegant technique that can accomplish anything the work asks without calling undue attention to itself. These qualities allow him to lean into the work’s powerful drama and aching lyricism without dividing his attention. The commanding Fischer leads the rich-toned Budapest Festival Orchestra in an accompaniment as musically interesting and dramatically significant as the solo part. As a coupling, Fischer and the Budapest Festival Orchestra turn in a performance of Dvorák’s infrequently programmed Symphonic Variations; it is as shapely as the venerable István Kertész account with the London Symphony. Recorded at a concert in Budapest’s Palace of Arts in 2006, Channel Classics’ super audio digital sound is extremely vivid and immediate. Though one might reasonably argue the considerable merits of the Casals/Szell or Rostropovich/Karajan recordings, for combination of performance and sound, this Wispelwey/Fischer recording could be the only one anyone would ever need. –AllMusic Review by James Leonard

Tracklist:
Antonín Dvořák (1841-1904)
Cello Concerto in B minor, B. 191, Op. 104
1 Allegro 15:15
2 Adagio ma non troppo 11:46
3 Finale. Allegro moderato 13:27
Symphonic Variations for orchestra (on “I am a Fiddler” B. 66/3), B. 70, Op. 78
4 Thema 0:37
5 Variation 1 0:30
6 Variation 2 0:31
7 Variation 3 0:29
8 Variation 4 0:32
9 Variation 5 0:21
10 Variation 6 0:45
11 Variation 7 0:30
12 Variation 8 0:46
13 Variation 9 0:26
14 Variation 10 0:24
15 Variation 11 0:51
16 Variation 12 0:44
17 Variation 13 0:25
18 Variation 14 0:53
19 Variation 15 0:54
20 Variation 16 0:16
21 Variation 17 0:45
22 Variation 18 0:45
23 Variation 19 0:38
24 Variation 20 0:18
25 Variation 21 0:19
26 Variation 22 0:32
27 Variation 23 0:40
28 Variation 24 2:10
29 Variation 25 0:28
30 Variation 26 0:39
31 Variation 27 0:35
32 Finale 4:29

Personnel:
Pieter Wispelwey, cello #1-3
Budapest Festival Orchestra
Iván Fischer, conductor

Download:

https://subyshare.com/9vuq27nup8ik/Dv0kCell0C0ncert0Symph0nicVariati0nsPieterWispelweyBF0IvnFischer2007DSD64.part1.rar.html
https://subyshare.com/3jjov8sm9hfi/Dv0kCell0C0ncert0Symph0nicVariati0nsPieterWispelweyBF0IvnFischer2007DSD64.part2.rar.html
https://subyshare.com/n1e8sbgd5z9e/Dv0kCell0C0ncert0Symph0nicVariati0nsPieterWispelweyBF0IvnFischer2007DSD64.part3.rar.html

Antonin Dvorak – Symphonies Nos. 8 & 9 ‘From the New World’– Budapest Festival Orchestra, Ivan Fischer (2010) [DSF Stereo DSD64/2.82MHz]

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Antonin Dvorak – Symphonies Nos. 8 & 9 ‘From the New World’ – Budapest Festival Orchestra, Ivan Fischer (2010)
DSF Stereo DSD64/2.82MHz  | Time – 01:18:18 minutes | 3,09 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. | Booklet, Front Cover
Recorded: 29 February – 3 March 2000, Italian Institute, Budapest

This pair of symphonies was written solely to satisfy Dvořák’s own poetic muse. In the keys of G major and its relative minor, E minor, they can be regarded as representing two sides of the same coin. The Eighth, composed in Dvořák’s summer residence at Vysoká deep in the Bohemian countryside, is indisputably “From the Old World” and rooted in Central Europe — “a work singing of the joy of green pastures, of summer evenings, of the melancholy of blue forests, of the defiant merry-making of the Czech peasants”, to quote the conductor Václav Talich, while the Ninth, composed in the claustrophobic surroundings of New York and intended as a greeting “From the New World”, is steeped in the composer’s “unappeasable yearning for his native soil”

As orchestras and conductors have been demonstrating for more than a century, you don’t have to be Bohemian to play Dvorák. All you need is profound musicality, a deep love of life, and an overwhelming urge to communicate. These are all qualities that Ivan Fischer and the Budapest Festival Orchestra demonstrate in full in this 2000 Channel Classics recording of the composer’s Eighth and Ninth symphonies. In these performances, one hears not only edge-of-the-chair excitement from the Hungarian musicians, one hears joy, happiness, and good old-fashioned fun. Listen to the rollicking horn trills in the Eighth’s Finale, the thundering timpani in the Ninth’s Scherzo; the interplay between winds, strings, and brass in the coda of the Eighth’s Scherzo; the lush string tone in the Ninth’s Largo; the headlong rush of the Eighth’s opening Allegro con brio; or the awesome power of the Ninth’s closing Allegro con fuoco. Although there are dozens of great recordings of both these works, these performances deserve to be heard by anyone who loves life, love, and joy. While the digital sound is a bit thin, it is also very clear, very clean, and very, very colorful. –AllMusic Review by James Leonard

Tracklist:
Antonín Dvořák (1841-1904)
Symphony no. 9 in E minor, op. 95 ‘From the New World’
1 Adagio – Allegro molto 11.25
2 Largo 11.21
3 Scherzo: Molto vivace 7.21
4 Allegro con fuoco 10.55
Symphony no. 8 in G major, op. 88
5 Allegro con brio 10.09
6 Adagio 10.31
7 Allegretto grazioso – Molto vivace 5.42
8 Allegro ma non troppo 10.28

Personnel:
Budapest Festival Orchestra
Iván Fischer, conductor

Download:

https://subyshare.com/4j6s57sygjhl/Dv0kSymph0niesN0s.89Fr0mtheNewW0rldBF0IvnFischer2010DSD64.part1.rar.html
https://subyshare.com/kmzg3wxwdm4u/Dv0kSymph0niesN0s.89Fr0mtheNewW0rldBF0IvnFischer2010DSD64.part2.rar.html
https://subyshare.com/lp1bflb1k4nt/Dv0kSymph0niesN0s.89Fr0mtheNewW0rldBF0IvnFischer2010DSD64.part3.rar.html
https://subyshare.com/42hkoj5kbgyh/Dv0kSymph0niesN0s.89Fr0mtheNewW0rldBF0IvnFischer2010DSD64.part4.rar.html

SACD ISO

http://hdmusic.pw/ivan-fischer-budapest-festival-orchestra-dvorak-symphonies-8-9-2010-ps3-iso-flac/

Emi Fujita – Camomile Best Audio 2 (2016) [DSF Stereo DSD64/2.82MHz]

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Emi Fujita – Camomile Best Audio 2 (2016)
DSF Stereo DSD64/2.82MHz  | Time – 55:14 minutes | 2,18 GB | Genre: Pop
Source: ISO SACD | © Pony Canyon/Forward Music | Front Cover

Emi Fujita new audiophile album“Camomile Best Audio 2”, brings you her absolute fantastic version of Your Song, In My Life, Both Sides Now, Danny Boy, Imagine and many more.

2007年にリリースされ、当時オーディオファンの間で話題となった藤田恵美の洋楽カヴァーアルバム『camomile Best Audio』の第二弾。今作はシリーズ1に入りきらなかった選りすぐりの楽曲と国内未発表曲を含む全13曲を収録し、その全曲をミックスし直した。2チャンネルステレオでも、フロント壁全面を天井まで音楽で埋めつくすことに成功したほか、マルチチャンネルサラウンドも一段と大きな範囲に立体音を作り出した。ハイレゾ時代にふさわしいハイブリッドSA-CD盤 (CDとしても再生可能)である。

Tracklist:
1. The Rose 3:28
2. Your Song 4:38
3. In My Life 3:08
4. Smile 3:34
5. Once in a Very Blue Moon 4:20
6. Runaway 4:05
7. Home, Sweet Home 4:49
8. Both Sides Now 4:34
9. Down by the Salley Gardens 4:10
10. Danny Boy 4:47
11. Father by Thy Hand 5:00
12. From a Distance 4:21
13. Imagine 4:00

Download:

https://subyshare.com/bk4cmyhphk05/EmiFujitaCam0mileBestAudi022016DSD64.part1.rar.html
https://subyshare.com/06id2y0hc4ln/EmiFujitaCam0mileBestAudi022016DSD64.part2.rar.html
https://subyshare.com/wdfj0iumjzof/EmiFujitaCam0mileBestAudi022016DSD64.part3.rar.html

Fiona Joy Hawkins – Blue Dream (2008) [DSF Stereo DSD64/2.82MHz]

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Fiona Joy Hawkins – Blue Dream (2008)
DSF Stereo DSD64/2.82MHz  | Time – 01:09:12 minutes | 2,73 GB | Genre: New Age
Source: ISO SACD | © Little Hartley Music | Front Cover
Recorded by Will Ackerman for Imaginary Road Studios on a Steinway B; Mastered by Bob Ludwig, Gateway Mastering

Fiona’s Blue Dream album was the most ambitious project of my entire career and resulted in one of the most remarkable collaborations this genre has ever known. Blue Dream is unique and I’m as proud of it as anything I’ve ever worked on in my 35 year career of Grammy Awards and gold /platinum records. – Will Ackerman, founder Windham Hill Records

It’s a long way from Australia to Vermont – about 10,000 miles to be more precise, but the journey was worth it for pianist/composer Fiona Joy Hawkins to have her album recorded and produced by the legendary Windham Hill Records founder Will Ackerman. As it turned out, the experience was equally rewarding for him as well. In Will’s own words: “ ‘Blue Dream’ began as the most ambitious project of my entire career and resulted in one of the most remarkable collaborations this genre has ever known. ‘Blue Dream’ is unique and I’m as proud of it (and Fiona) as anything I’ve ever worked on in my 35 year career of Grammy Awards and gold and platinum records.” That is lofty praise indeed coming from someone who has worked with some of the most talented instrumentalists in contemporary music. There were no shortage of them on this album either which included T-Bone Wolk from Hall and Oates, post-Dylan singer-songwriter Luka Bloom, cellist Eugene Friesen of the Paul Winter Consort, Jeff Haynes from the Pat Metheny Group, and many others too numerous to mention.
However, not one to be overshadowed by the talent surrounding her, the spotlight deservedly belongs to Fiona. Classically trained, she became enamored with the piano at an early age, and in particular by Ravel’s Bolero. Later influences included composers such as Chopin and Mendelssohn as well as modern pianists like George Winston and Michael Nyman. Her music, which has been described as “transcultural instrumental,” incorporates elements of classical, jazz, new age, and world music. It is a combination that listeners obviously find appealing as she has over 43 Awards and nominations across 9 countries. In fact this album “Blue Dream” achieved the highest ranking in the history of the NAR International Radio Charts and won the ZMR Album of the Year, Best Piano Album, and Best Contemporary Instrumental Album awards.
The CD extends well over an hour and its 22 tracks are interestingly arranged between full length songs and shorter “interludes,” some only a minute or two and serve as an aural sorbet between the courses. However, while the album is divided as just described, it is actually created as a continuous musical flow and crystallizes beautifully as one complete body of work. Listening to it from beginning to end takes the listener on a journey, somewhat like a film score. Within this flow, the listener will find an incredible diversity of instruments, influences, and themes, sometimes in the context of one composition, all centered around Fiona’s elegant and expressive piano playing. One of my favorite pieces, “Song Phonique” starts out with introspective solo piano and within the arc of its’ arrangement evolves into a driving rhythmic section before coming full circle to reprise the piano it began with. Although “Blue Dream” is primarily an instrumental album, there are definitely vocals, both male and female, however they tend to be more ambient and function almost as instruments in the mix rather than providing lyrical content.
And speaking of instrumentation, a wide spectrum is reflected including didgeridoo, guitars, mandolin, English horn, percussion, bass, cello, flugelhorn, keyboards, flute, saxophone, and more. These certainly provide a full palate of musical colors, which is only appropriate since Fiona also includes painting among her artistic endeavors. According to her: “Colors, ideas and emotions all have corresponding sounds. I believe in the power of music as a source of inspiration and a way of reaching people, and I can transfer a musical quality through my art to the canvas.” And similarly, “she has always been interested in creating music that evokes images and emotions and tells a story.“
With 22 tracks, it would be challenging to find space for an in-depth description of each piece, but in addition to the aforementioned “Song Phonique”, some of the high points for me were the soulful “Standing Up,” the lush piano, heavenly vocals and later electric guitar flourishes on “Contemplating,” and for a change up- the world music influenced “Samite’s Interlude” which featured a totally different kind of “piano” – the kalimba or African thumb piano. The emotional depth of Fiona’s keyboard artistry is exquisitely illustrated on “Somewhere” which brings the album to a dramatic and heartfelt conclusion. These examples, along with all the incredible music on this CD, show why this album has resonated so strongly with critics and listeners alike and why it has received numerous awards and international recognition. Listening to it uninterrupted from start to finish is a powerful musical experience and one which producer/arranger T-Bone Wolk described as “ an unforgettable magic carpet ride into the heavens.” There is a lot of magic here in the way all the various, and sometimes unlikely, combination of elements and musicians intertwine to weave a dream you won’t want to wake up from.

Tracklist:
1 Freedom 1:51
2 Feeling Sunshine 2:53
3 From the Outside 4:32
4 Sapphire Interlude 1:42
5 Standing Up 6:32
6 Cerulean Interlude 0:25
7 Blue Dream 3:12
8 Lilac Interlude 0:39
9 Contemplating 6:31
10 Sunrise At Ularu 2:44
11 Samite’s Interlude 2:44
12 Song Phonique 6:26
13 Indigo Interlude 0:53
14 The Void 3:42
15 Turquoise Interlude 2:20
16 Voice of Angels 2:23
17 Cobalt Interlude 1:27
18 Prelude to a Painting 2:51
19 The Midnight Interlude 4:33
20 Moving On 5:15
21 Azure Interlude 0:20
22 Somewhere 3:54

Personnel:
Fiona Joy – Composer, Mandolin, Piano, Vocals
Philip Aaberg – Composer, Keyboards, Orchestration
Will Ackerman – Audio Production, Chimes, Composer, Drum, Engineer, Guitar (Acoustic), Guitar (Electric), Mandolin, Mixing, Piano
Luka Bloom – Piano, Vocals
Noah Chase – Mandolin, Piano, Vocals
Eugene Friesen – Cello
Patrick Gorman – Drums
Dan Greenspan – Double Bass
Jill Haley – Horn (English)
Jeff Haynes – Bata, Conga Drum, Drum, Drums, Flugelhorn, Horn (English), Percussion, Piano, Shaker, Shekere, Tamtam, Udo Drum, Violin
Derrik Jordan – Djembe, Percussion, Shaker
Lilith – Vocals
Samite Mulondo – Bamboo Flute, Kalimba, Translation, Vocals
Noah Wilding – Vocals
Sapphron Obois – Sax (Soprano)
Jeff Oster – Flugelhorn
Heather Rankin – Piano, Vocals
Steve Schuch – Violin
Marc Shulman – Flugelhorn, Guitar (Bass), Guitar (Electric)
T-Bone Wolk – Guitar (Bass)

Download:

https://subyshare.com/4omwgpfw9ran/Fi0naJ0yHawkinsBlueDream2008DSD64.part1.rar.html
https://subyshare.com/97sq7dmas3ry/Fi0naJ0yHawkinsBlueDream2008DSD64.part2.rar.html
https://subyshare.com/niv7djm4w1t0/Fi0naJ0yHawkinsBlueDream2008DSD64.part3.rar.html

SACD

http://hdmusic.pw/fiona-joy-hawkins-blue-dream-2008-ps3-iso-flac/

Grace Mahya – The Look Of Love (2006) [DSF Stereo DSD64/2.82MHz]

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Grace Mahya – The Look Of Love (2006)
DSF Stereo DSD64/2.82MHz  | Time – 52:12 minutes | 2,06 GB | Genre: Jazz
Source: ISO SACD | © Village Music Inc. | Front Cover, Booklet
Recorded at Sony Music Studios Tokyo in July, 2006

幼少よりクラシック音楽に傾倒し、幾多の音楽留学やコンテストを総嘗めにしてきた、話題の超大型新人アーチスト”グレース・マーヤ”が遂にメジャーデビュー! 4カ国語を自在に操り、ルーツミュージックに大きく影響を受けたジャジィーでブルージィーな圧倒的Voiceと驚愕のPiano Playで全国各地でライブ活動を展開。今デビューアルバムでは珠玉のスタンダード曲をグレース・マーヤの卓越したハートフルなヴォーカルとピアノに、現代最高峰のミュージシャンの参加によるコンテンポラリー&スタイリッシュなサウンドが加わり、極上なSplendid Soundに仕上がっている。今、日本で一番輝いている小沼ようすけ(Gt)も参加のリードトラック、バート・バカラックの名曲「The Look Of Love」の完成度は時代を超える気持ち良過ぎるSmooth Soundで、まさに必聴!!! デジパック仕様。歌詞・対訳付き。

Tracklist:
1: The look of love 4’51
2: My favorite things 4’44
3: The boulevard of broken dreams 4’48
4: Tennessee waltz 4’41
5: Ribbon in the sky 4’38
6: Danny boy 4’11
7: Caravan 4’55
8: La chanson d´orphee 4’48
9: Sixteen tons 4’19
10: My way 6’15
11: You are so beautiful 4’02

Personnel:
Grace Mahya, vocals, piano
河野啓三, keyboards
坂東慧, drums
須藤満, bass
小沼ようすけ, 越田太郎丸, guitar
宮崎隆睦, sax
仙道さおり, Mamadou Lo, percussion

Download:

https://subyshare.com/b62n7ia9s9g5/GraceMahyaTheL00k0fL0ve2006DSD64.part1.rar.html
https://subyshare.com/07c7s34e4w4e/GraceMahyaTheL00k0fL0ve2006DSD64.part2.rar.html
https://subyshare.com/ot9s38zvkvzv/GraceMahyaTheL00k0fL0ve2006DSD64.part3.rar.html


Jimmy Smith – The Cat (1964) [Japanese Limited SHM-SACD 2014] {PS3 ISO + FLAC + DSF}

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Jimmy Smith – The Cat (1964) [Japanese Limited SHM-SACD 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 32:57 minutes | Scans included | 1,35 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 678 MB
or DSF Stereo DSD64/2.82MHz | 1.31 GB
Genre: Jazz

Compared to his earlier Blue Note recordings, organist Jimmy Smith’s outings for Verve are not as strong from a jazz standpoint. Certainly his renditions of the “Theme from Joy House,” “The Cat” and the “Main Title from The Carpetbaggers” are not all that significant. However, this disc has some tasteful arrangements for the big band by Lalo Schifrin and some good playing by the great organist on a variety of other blues-oriented material. Also the combination of organ with a big band is sometimes quite appealing, making this album worth picking up despite its commercial tracks.

Tracklist:
01. Theme From “Joy House”
02. The Cat (From “Joy House”)
03. Basin Street Blues
04. Main Title Form “The Carpetbaggers”
05. Chicago Serenade
06. St. Louis Blues
07. Delon’s Blues
08. Blues In The Night

ISO

https://subyshare.com/eg09ozkob1b3/JimmySmithTheCat1964Japan2014SHMSACDIS0.part1.rar.html
https://subyshare.com/wui70pygzgps/JimmySmithTheCat1964Japan2014SHMSACDIS0.part2.rar.html

FLAC

https://subyshare.com/hz38tdl60598/JimmySmithTheCat1964Japan2014FLAC2488.2.rar.html

DSF

https://subyshare.com/caymtlg0grtt/JimmySmithTheCat1964DSD64.part1.rar.html
https://subyshare.com/bti2d1arrkzt/JimmySmithTheCat1964DSD64.part2.rar.html

Wolfgang Amadeus Mozart – Sinfonia Concertante; Joseph Haydn – Violin Concerti 1 & 4 – Rachel Podger, Pavlo Beznosiuk, Orchestra of the Age of Enlightenment (2009) [DSF Stereo DSD64/2.82MHz]

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Wolfgang Amadeus Mozart – Sinfonia Concertante; Joseph Haydn – Violin Concerti 1 & 4 – Rachel Podger, Pavlo Beznosiuk, Orchestra of the Age of Enlightenment (2009)
DSF Stereo DSD64/2.82MHz  | Time – 01:08:06 minutes | 2,68 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. | Front Cover, Booklet
Recorded: Haydn: March 2009, Mozart: July 2009, All Saints’ Vicarage, East Finchley, London

It was a joy and an honour to record Mozart’s Sinfonia Concertante – such a beautifully crafted masterpiece with those memorable, elegant and distinctive themes in the first movement and both soloists weaving in and out of symphonic textures, the remarkable poignancy of the second movement with its dramatic dialogue which is then dispersed by sheer delight and comic playfulness in the Presto.Delving into these moods was personally enriching and helped me gain a little bit more insight into Mozart’s genius and being. Pavlo and I had the extreme good fortune to play a Strad each! Generously loaned to us by the Royal Academy of Music for this project, we savoured every minute of having these esteemed and valuable instruments in our hands! ‘Mine’ is a proud instrument which demands careful negotiation and warming before it will expose it’s beautiful colours. An amazing experience in itself to play an instrument like this, it was even more of an event when the two Strads met and ‘spoke’ to each other with a feeling of being acquainted, perhaps not for the first time…
Violinist Rachel Podger has secured a name for herself as a master interpreter and performer of all things Baroque and early Classical. Her recent recordings of the complete Mozart violin sonatas thrust her career forward from her already prestigious beginnings as a member of the Palladian Ensemble and Florilegium. This Channel Classics album finds Podger in front of the innovative Orchestra of the Age of Enlightenment performing two Haydn concertos written during his time in the employ of the Esterházy family, as well as the instantly recognizable Mozart Sinfonia Concertante. Written for Luigi Tomasini, the concertmaster of the Esterházy Court Chapel, the two concertos are filled with dazzling pyrotechnic displays and soulful, sustained melodies, characteristics that play to Podger’s strengths. Any hints of stuffiness or rigidity conjured up when thinking of period instrument performances are at once dispelled with Podger’s vitally enthusiastic but well-controlled approach to her instrument. The Orchestra of the Age of Enlightenment likewise focuses on spontaneity, vibrancy, and beauty of tone. Joined by violist Pavlo Beznosiuk, the Mozart Sinfonia Concertante is treated with similar energy and excitement. A change of instrument, bow, and strings results in a warmer, more hushed tone from Podger that provides a nice contrast to the brightness heard in the Haydn. Keen listeners will also notice that the viola is tuned a half-step higher than usual, which was indicated in Mozart’s original score. The result here is a brighter, more clearly projecting instrument.

Tracklist:

Franz Joseph Haydn (1732-1809)
Violin Concerto in G Major HobVIIa:4
1 Allegro moderato 8.15
2 Adagio 6.41
3 Allegro 3.36

Wolfgang Amadeus Mozart (1756-1791)
Sinfonia Concertante KV364
4 Allegro maestoso 13.17
5 Andante 9.55
6 Presto 6.12

Franz Joseph Haydn (1732-1809)
Violin Concerto in C Major HobVIIa:1
7 Allegro moderato 9.51
8 Adagio 5.15
9 Presto 4.02

Personnel:
Rachel Podger, violin
Pavlo Beznosiuk, viola #4-6
Orchestra of the Age of Enlightenment

Download:

https://subyshare.com/4jrqrgnt7ozf/M0zartSinf0niaC0ncertanteHaydnVi0linC0ncerti14RachelP0dgerPavl0Bezn0siuk2009DSD64.part1.rar.html
https://subyshare.com/y51ww0ln1rg3/M0zartSinf0niaC0ncertanteHaydnVi0linC0ncerti14RachelP0dgerPavl0Bezn0siuk2009DSD64.part2.rar.html
https://subyshare.com/mj7gsbf9x84a/M0zartSinf0niaC0ncertanteHaydnVi0linC0ncerti14RachelP0dgerPavl0Bezn0siuk2009DSD64.part3.rar.html

SACD ISO

http://hdmusic.pw/rachel-podger-pavlo-beznosiuk-mozart-sinfonia-concertante-haydn-violin-concerti-1-4-2009-ps3-iso-flac/

FLAC 24-96

http://hdmusic.pw/rachel-podger-mozart-sinfonia-concertante-haydn-violin-concerti-1-4-2009-official-digital-download-24bit96khz/

Wolfgang Amadeus Mozart, Michael Haydn – Duo Sonatas – Rachel Podger, Jane Rogers (2011) [DSF Stereo DSD64/2.82MHz]

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Wolfgang Amadeus Mozart, Michael Haydn – Duo Sonatas – Rachel Podger, Jane Rogers (2011)
DSF Stereo DSD64/2.82MHz  | Time – 01:12:51 minutes | 2,87 GB | Genre: Classical
Source: ISO SACD | © Channel Classics Records B.V. | Front Cover, Booklet
Recorded: May 2011, All Saints Church, East Finchley, London

The Duos for Violin and Viola by Mozart have long been favourite pieces of ours – pieces we’d take out and play when there wasn’t a keyboard player or cellist to hand, or busk as teenagers to earn extra pocket money. Back then, the audience’s response clearly indicated how appealing these pieces were as our takings always doubled when we played them!These works never cease to amaze – Mozart uses the two instruments so effectively and with such exquisite craftsmanship that he never leaves one wondering where the rest of the string quartet might have gone….They are also hugely engaging to play and so endlesslyrich and interesting that the appeal to the listener is guaranteed. Mozart’s reference to other genres is always fascinating. In this case the writing is dramatic, operatic even (the violin taking the role as soprano diva (!) and the viola as the heroic tenor?!). One could perhaps go as far to say that these duos are distillations of the art of chamber music as in the Haydn quartets, but more naturally recreational and less self-conscious.For a violist they are about as exposed as you can be; hitherto very few sonatas or concerti had been written for solo viola – and the accompaniment would seldom have been as scant as a single violin. The conversational and imitative nature of the writing allows for freedom andcharacterization, and it was refreshing and rewarding to be as spontaneous as possible in the recording sessions. It was also a diverting and enjoyable experience to record two of the Michael Haydn duos, previously unknown to us both. The character of these pieces is often reminiscentof Austrian folkmusic and it really seems as if you can hear the yodelling vernacular bouncing off the mountains in timely echoes. The challenges in these works are quite different to those of his friend Wolfgang – the demands placed on the violinist are obvious as the writing is busy,yet in need of a casual fluidity, whereas the violist has the task of being constantly inventive with material which is largely accompanimental (melody and bass, in effect). Who knows?Maybe Wolfgang and Michael tried these out during Mozart’s visit to Salzburg when he helped his friend complete a set of six Sonatas in 1783.Rachel & JaneDuos for Violin and Viola

The duo sonata for violin and viola, lodged between the intellectual dialogue of the string quartet and the entertainment value of chamber genres intended for everyday use, was not a common type of composition during the Classical period. Franz Joseph Haydn wrote a few, and the works here by Mozart and Michael Haydn may have been connected in their circumstances of composition. This is a fine recording of the two Mozart duos. British historical-instrument specialists Rachel Podger on violin and Jane Rogers on viola, playing respectively a Pesarinius violin of 1739 and a modern copy of a Guarneri instrument, give the lie to the idea that Baroque specialists tend to give stilted performances of Classical-era music. Of course, the tough, dense Mozart duos, filled with ingenious ways of suggesting a full string quartet, are well suited to the crisper, meatier sounds of historical instruments. The warm buzz of Rogers’ viola sounds terrific in the complicated chordal work Mozart makes her perform. The pair conveys the witty rigor of the variation finale of the Duo for violin and viola in B flat major, K. 424, and Podger has a fine lyric touch in the incongruously operatic slow-movement melodies. The two Michael Haydn duos are both less interesting and less convincingly played, but for an audience of the 18th century as well as ours, they would have represented a relaxing break from the intellectual work of Mozart. The transcription of one of Mozart’s short horn duets, K. 487, makes an unusual and charming finale. Strongly recommended for the way these performances fill out our imagined sound world of these neglected Mozart works. –AllMusic Review by James Manheim
Tracklist:

Wolfgang Amadeus Mozart (1756-1791)
Duo for violin and viola in G major, KV 423
1 Allegro 7.12
2 Adagio 3.46
3 Rondeau 5.19

Michael Haydn (1737-1806)
Duo for violin and viola No. 1 in C major, MH 335 (P127)
4 Allegro 6.06
5 Adagio 4.19
6 Rondo con spirito 4.25

Wolfgang Amadeus Mozart (1756-1791)
Duo for violin and viola in B flat major, KV 424
7 Adagio 1.15
8 Allegro 7.14
9 Andante cantabile 3.16
10 Andante grazioso 8.38

Michael Haydn (1737-1806)
Duo for violin and viola No. 2 in D major, MH 336 (P128)
11 Allegro 6.29
12 Adagio 4.14
13 Allegro non troppo 7.37
Wolfgang Amadeus Mozart (1756-1791)
Menuetto (from 12 Duos for Horn, KV 487)
14 Allegro 1.58

Personnel:
Rachel Podger, violin
Jane Rogers, viola

Download:

https://subyshare.com/r4kwf25e7zgd/M0zartW.A.HaydnM.Du0S0natasRachelP0dgerJaneR0gers2011DSD64.part1.rar.html
https://subyshare.com/1qe03jx2t6fl/M0zartW.A.HaydnM.Du0S0natasRachelP0dgerJaneR0gers2011DSD64.part2.rar.html
https://subyshare.com/cr9c95kofzi9/M0zartW.A.HaydnM.Du0S0natasRachelP0dgerJaneR0gers2011DSD64.part3.rar.html

FLAC 24-96

http://hdmusic.pw/rachel-podger-jane-rogers-w-a-mozart-m-haydn-duo-sonatas-2011-official-digital-download-24bit192khz/

Blood, Sweat & Tears – Blood, Sweat & Tears (1968) [Audio Fidelity 2015] {PS3 ISO + FLAC}

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Blood, Sweat & Tears – Blood, Sweat & Tears (1968) [Audio Fidelity 2015]
PS3 Rip | SACD ISO | DSD64 2.0 & DST64 4.0 > 1-bit/2.8224 MHz | 44:50 minutes | Scans included | 3,39 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 45:53 mins | Scans included | 914 MB
Features 2.0 Stereo and 5.0 multichannel surround sound | Audio Fidelity # AFZ5 198

The difference between Blood, Sweat & Tears and the group’s preceding long-player, Child Is Father to the Man, is the difference between a monumental seller and a record that was “merely” a huge critical success. Arguably, the Blood, Sweat & Tears that made this self-titled second album — consisting of five of the eight original members and four newcomers, including singer David Clayton-Thomas — was really a different group from the one that made Child Is Father to the Man, which was done largely under the direction of singer/songwriter/keyboard player/arranger Al Kooper. They had certain similarities to the original: the musical mixture of classical, jazz, and rock elements was still apparent, and the interplay between the horns and the keyboards was still occurring, even if those instruments were being played by different people. Kooper was even still present as an arranger on two tracks, notably the initial hit “You’ve Made Me So Very Happy.” But the second BS&T, under the aegis of producer James William Guercio, was a less adventurous unit, and, as fronted by Clayton-Thomas, a far more commercial one. Not only did the album contain three songs that neared the top of the charts as singles — “Happy,” “Spinning Wheel,” and “And When I Die” — but the whole album, including an arrangement of “God Bless the Child” and the radical rewrite of Traffic’s “Smiling Phases,” was wonderfully accessible. It was a repertoire to build a career on, and Blood, Sweat & Tears did exactly that, although they never came close to equaling this album.

Tracklist:
01. Variations On A Theme By Erik Satie (1st and 2nd Movements – Adapted from ‘Trois Gymnopedies’)
02. Smiling Phases
03. Sometimes In Winter
04. More And More
05. And When I Die
06. God Bless The Child
07. Spinning Wheel
08. You’ve Made Me So Very Happy
09. Blues, Pt. 2
10. Variation On A Theme by Erik Satie (1st Movement-Adapted from ‘Trois Gymnopedies’)

4.0 Analog to Hi-Def DSD Digital transfer by Gus Skinas at Super Audio Center, Boulder, CO.
Stereo SACD Mastering by Steve Hoffman.

ISO

https://subyshare.com/3zxqzj6rrmzk/Bl00dSweatTearsBl00dSweatTears1968Audi0Fidelity2015SACDIS0.part1.rar.html
https://subyshare.com/tu2pr4z3jzu3/Bl00dSweatTearsBl00dSweatTears1968Audi0Fidelity2015SACDIS0.part2.rar.html
https://subyshare.com/xcgjwjlylqpm/Bl00dSweatTearsBl00dSweatTears1968Audi0Fidelity2015SACDIS0.part3.rar.html
https://subyshare.com/rath16ejldwo/Bl00dSweatTearsBl00dSweatTears1968Audi0Fidelity2015SACDIS0.part4.rar.html

FLAC

https://subyshare.com/gchkw2o7gxgy/Bl00dSweatTearsBl00dSweatTears1968Audi0Fidelity2015FLACStere02488.2.rar.html

Blood, Sweat & Tears – Child Is Father To The Man (1968) [Audio Fidelity 2014] {PS3 ISO + FLAC}

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Blood, Sweat & Tears – Child Is Father To The Man (1968) [Audio Fidelity 2014]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 49:28 minutes | Scans included | 3,11 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 946 MB

Child Is Father to the Man is keyboard player/singer/arranger Al Kooper’s finest work, an album on which he moves the folk-blues-rock amalgamation of the Blues Project into even wider pastures, taking in classical and jazz elements (including strings and horns), all without losing the pop essence that makes the hybrid work. This is one of the great albums of the eclectic post-Sgt. Pepper era of the late ’60s, a time when you could borrow styles from Greenwich Village contemporary folk to San Francisco acid rock and mix them into what seemed to have the potential to become a new American musical form. It’s Kooper’s bluesy songs, such as “I Love You More Than You’ll Ever Know” and “I Can’t Quit Her,” and his singing that are the primary focus, but the album is an aural delight; listen to the way the bass guitar interacts with the horns on “My Days Are Numbered” or the charming arrangement and Steve Katz’s vocal on Tim Buckley’s “Morning Glory.” Then Kooper sings Harry Nilsson’s “Without Her” over a delicate, jazzy backing with flügelhorn/alto saxophone interplay by Randy Brecker and Fred Lipsius. This is the sound of a group of virtuosos enjoying itself in the newly open possibilities of pop music. Maybe it couldn’t have lasted; anyway, it didn’t.

Tracklist:
01. Overture
02. I Love You More Than You’ll Ever Know
03. Morning Glory
04. My Days Are Numbered
05. Without Her
06. Just One Smile
07. I Can’t Quit Her
08. Meagan’s Gypsy Eyes
09. Somethin’ Goin’ On
10. House in the Country
11. The Modern Adventures of Plato, Diogenes and Freud
12. So Much Love/Underture

ISO

https://subyshare.com/bepxs3kax2xn/Bl00dSweatTearsChildIsFatherT0TheMan1968Audi0Fidelity2014SACDIS0.part1.rar.html
https://subyshare.com/igri8l7hdqk6/Bl00dSweatTearsChildIsFatherT0TheMan1968Audi0Fidelity2014SACDIS0.part2.rar.html
https://subyshare.com/p5akqn3hb60q/Bl00dSweatTearsChildIsFatherT0TheMan1968Audi0Fidelity2014SACDIS0.part3.rar.html
https://subyshare.com/tdzjskpdurvj/Bl00dSweatTearsChildIsFatherT0TheMan1968Audi0Fidelity2014SACDIS0.part4.rar.html

FLAC

https://subyshare.com/h5k7deqjzel1/Bl00dSweatTearsChildIsFatherT0TheMan1968Audi0Fidelity2014FLACStere02488.2.rar.html

Blind Faith – Blind Faith (1969) [Japanese Limited SHM-SACD 2010 # UIGY-9031] {PS3 ISO + FLAC}

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Blind Faith – Blind Faith (1969) [Japanese Limited SHM-SACD 2010 # UIGY-9031]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 42:07 minutes | Scans included | 1,7 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 831 MB
Genre: Rock

Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players) and the latest DSD mastering in 2010 based on Japanese analogue master tapes. DSD Transferred by Hitoshi Takiguchi.

Blind Faith’s first and last album, more than 30 years old and counting, remains one of the jewels of the Eric Clapton, Steve Winwood, and Ginger Baker catalogs, despite the crash-and-burn history of the band itself, which scarcely lasted six months. As much a follow-up to Traffic’s self-titled second album as it is to Cream’s final output, it merges the soulful blues of the former with the heavy riffing and outsized song lengths of the latter for a very compelling sound unique to this band. Not all of it works — between the virtuoso electric blues of “Had to Cry Today,” the acoustic-textured “Can’t Find My Way Home,” the soaring “Presence of the Lord” (Eric Clapton’s one contribution here as a songwriter, and the first great song he ever authored) and “Sea of Joy,” the band doesn’t do much with the Buddy Holly song “Well All Right”; and Ginger Baker’s “Do What You Like” was a little weak to take up 15 minutes of space on an LP that might have been better used for a shorter drum solo and more songs. Unfortunately, the group was never that together as a band and evidently had just the 42 minutes of new music here ready to tour behind.

Tracklist:
01 – Had To Cry Today
02 – Can’t Find My Way Home
03 – Well All Right
04 – Presence Of The Load
05 – Sea Of Joy
06 – Do What You Like

DSD transferred from Japanese original analogue master tapes by Hitoshi Takiguchi (Universal Mastering Studios).

ISO

https://subyshare.com/ti2z8seu6lsx/BlindFaithBlindFaith1969Japan2010SHMSACDIS0.part1.rar.html
https://subyshare.com/lzke7gbeu4xy/BlindFaithBlindFaith1969Japan2010SHMSACDIS0.part2.rar.html

FLAC

https://subyshare.com/u2l6ng7yh135/BlindFaithBlindFaith1969Japan2010FLAC2488.2.rar.html

Cream – Disraeli Gears (1967) [Japanese Limited SHM-SACD 2013 # UIGY-9534] {PS3 ISO + FLAC}

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Cream – Disraeli Gears (1967) [Japanese Limited SHM-SACD 2013 # UIGY-9534]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 82:38 minutes | Scans included | 2,48 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,61 GB
Features Original Stereo and Mono Album with several Bonus Tracks

Cream teamed up with producer Felix Pappalardi for their second album, Disraeli Gears, a move that helped push the power trio toward psychedelia and also helped give the album a thematic coherence missing from the debut. This, of course, means that Cream get further away from the pure blues improvisatory troupe they were intended to be, but it does get them to be who they truly are: a massive, innovative power trio. The blues still courses throughout Disraeli Gears — the swirling kaleidoscopic “Strange Brew” is built upon a riff lifted from Albert King — but it’s filtered into saturated colors, as it is on “Sunshine of Your Love,” or it’s slowed down and blurred out, as it is on the ominous murk of “Tales of Brave Ulysses.” It’s a pure psychedelic move that’s spurred along by Jack Bruce’s flourishing collaboration with Pete Brown. Together, this pair steers the album away from recycled blues-rock and toward its eccentric British core, for with the fuzzy freakout “Swlabr,” the music hall flourishes of “Dance the Night Away,” the swinging “Take It Back,” and of course, the old music hall song “Mother’s Lament,” this is a very British record. Even so, this crossed the ocean and also became a major hit in America, because regardless of how whimsical certain segments are, Cream are still a heavy rock trio and Disraeli Gears is a quintessential heavy rock album of the ’60s. Yes, its psychedelic trappings tie it forever to 1967, but the imagination of the arrangements, the strength of the compositions, and especially the force of the musicianship make this album transcend its time as well.

Tracklist:
01. Strange Brew (Stereo)
02. Sunshine Of Your Love (Stereo)
03. World Of Pain (Stereo)
04. Dance The Night Away (Stereo)
05. Blue Condition (Stereo)
06. Tales Of Brave Ulysses (Stereo)
07. SWLABR (Stereo)
08. We’re Going Wrong (Stereo)
09. Outside Woman Blues (Stereo)
10. Take It Back (Stereo)
11. Mother’s Lament (Stereo)
12. Lawdy Mama (Version 1 – Stereo)
13. Lawdy Mama (Version 2 – Stereo)
14. Blue Condition (Alternate version – Stereo)
15. Strange Brew (Mono)
16. Sunshine Of Your Love (Mono)
17. World Of Pain (Mono)
18. Dance The Night Away (Mono)
19. Blue Condition (Mono)
20. Tales Of Brave Ulysses (Mono)
21. SWLABR (Mono)
22. We’re Going Wrong (Mono)
23. Outside Woman Blues (Mono)
24. Take It Back (Mono)
25. Mother’s Lament (Mono)
26. Lawdy Mama (Version 1 – Mono)
27. Lawdy Mama (Version 2 – Mono)
28. Blue Condition (Alternate version – Mono)

DSD flat transferred from analogue master tapes by Seth Foster at Sterling Sound, New York, in 2013.
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2013.

ISO

https://subyshare.com/zl30eihqf4m2/CreamDisraeliGears1967Japan2013SHMSACDISO.part1.rar.html
https://subyshare.com/tmmgmjyh9q6c/CreamDisraeliGears1967Japan2013SHMSACDISO.part2.rar.html
https://subyshare.com/oe8nn0uf07c0/CreamDisraeliGears1967Japan2013SHMSACDISO.part3.rar.html
https://subyshare.com/saerc5b72sd9/CreamDisraeliGears1967Japan2013SHMSACDISO.part4.rar.html

FLAC

https://subyshare.com/17c1v4xq0eom/CreamDisraeliGears1967Japan2013FLAC2488.2.part1.rar.html
https://subyshare.com/4bi6hkpj2hk3/CreamDisraeliGears1967Japan2013FLAC2488.2.part2.rar.html


Cream – Fresh Cream (1966) [Japanese Limited SHM-SACD 2013 # UIGY-9539] {PS3 ISO + FLAC}

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Cream – Fresh Cream (1966) [Japanese Limited SHM-SACD 2013 # UIGY-9539]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 108:50 minutes | Scans included | 3,25 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 2,04 GB
Features Original Stereo and Mono Album with several Bonus Tracks

Fresh Cream represents so many different firsts, it’s difficult to keep count. Cream, of course, was the first supergroup, but their first album not only gave birth to the power trio, it also was instrumental in the birth of heavy metal and the birth of jam rock. That’s a lot of weight for one record and, like a lot of pioneering records, Fresh Cream doesn’t seem quite as mighty as what would come later, both from the group and its acolytes. In retrospect, the moments on the LP that are a bit unformed — in particular, the halting waltz of “Dreaming” never achieves the sweet ethereal atmosphere it aspires to — stand out more than the innovations, which have been so thoroughly assimilated into the vocabulary of rock & roll, but Fresh Cream was a remarkable shift forward in rock upon its 1966 release and it remains quite potent. Certainly at this early stage the trio was still grounded heavily in blues, only fitting given guitarist Eric Clapton’s stint in John Mayall’s Bluesbreakers, which is where he first played with bassist Jack Bruce, but Cream never had the purist bent of Mayall, and not just because they dabbled heavily in psychedelia. The rhythm section of Bruce and Ginger Baker had a distinct jazzy bent to their beat; this isn’t hard and pure, it’s spongy and elastic, giving the musicians plenty of room to roam. This fluidity is most apparent on the blues covers that take up nearly half the record, especially on “Spoonful,” where the swirling instrumental interplay, echo, fuzz tones, and overwhelming volume constitute true psychedelic music, and also points strongly toward the guitar worship of heavy metal. Almost all the second side of Fresh Cream is devoted to this, closing with Baker’s showcase “Toad,” but for as hard and restless as this half of the album is, there is some lightness on the first portion of the record where Bruce reveals himself as an inventive psychedelic pop songwriter with the tense, colorful “N.S.U.” and the hook- and harmony-laden “I Feel Free.” Cream shows as much force and mastery on these tighter, poppier tunes as they do on the free-flowing jams, yet they show a clear bias toward the long-form blues numbers, which makes sense: they formed to be able to pursue this freedom, which they do so without restraint. If at times that does make the album indulgent or lopsided, this is nevertheless where Cream was feeling their way forward, creating their heavy psychedelic jazz-blues and, in the process, opening the door to all kinds of serious rock music that may have happened without Fresh Cream, but it just would not have happened in the same fashion as it did with this record as precedent.

Tracklist:
01. N.S.U. (Stereo)
02. Sleepy Time Time (Stereo)
03. Dreaming (Stereo)
04. Sweet Wine (Stereo)
05. Spoonful (Stereo)
06. Cat’s Squirrel (Stereo)
07. Four Until Late (Stereo)
08. Rollin’ And Tumblin’ (Stereo)
09. I’m So Glad (Mono)
10. Toad (Stereo)
11. Wrapping Paper (Stereo)
12. I Feel Free (Stereo)
13. The Coffee Song (Stereo)
14. N.S.U. (Mono)
15. Sleepy Time Time (Mono)
16. Dreaming (Mono)
17. Sweet Wine (Mono)
18. Spoonful (Mono)
19. Cat’s Squirrel (Mono)
20. Four Until Late (Mono)
21. Rollin’ And Tumblin’ (Mono)
22. I’m So Glad (Mono)
23. Toad (Mono)
24. Wrapping Paper (Mono)
25. I Feel Free (Mono)
26. The Coffee Song (Mono)
27. Wrapping Paper (French EP version)
28. Sweet Wine (French EP version)
29. I’m So Glad (French EP version)
30. Cat’s Squirrel (French EP version)
31. Rollin’ And Tumblin’ (French EP version)
32. Four Until Late (French EP version)

DSD flat transferred from analogue master tapes by Seth Foster at Sterling Sound, New York, in 2013.
Tracks “14-18″ DSD flat transferred from analogue master tapes by Richard Whittaker at FX Copyroom, London, in 2013.
Edited in DSD by Manabu Matsumura at Universal Music Studios, Tokyo, in 2013.

ISO

https://subyshare.com/1os6oswtqjvq/CreamFreshCream1966Japan2013SHMSACDISO.part1.rar.html
https://subyshare.com/b87vwphe49yf/CreamFreshCream1966Japan2013SHMSACDISO.part2.rar.html
https://subyshare.com/3sw9vcx4d1m1/CreamFreshCream1966Japan2013SHMSACDISO.part3.rar.html
https://subyshare.com/vy38gcz6sdef/CreamFreshCream1966Japan2013SHMSACDISO.part4.rar.html
https://subyshare.com/wqxwtjdic8xs/CreamFreshCream1966Japan2013SHMSACDISO.part5.rar.html

FLAC

https://subyshare.com/g24rfdp4ncjv/CreamFreshCream1966Japan2013FLAC2488.2.part1.rar.html
https://subyshare.com/njoskj69m6a7/CreamFreshCream1966Japan2013FLAC2488.2.part2.rar.html
https://subyshare.com/i4pfg29gmmkl/CreamFreshCream1966Japan2013FLAC2488.2.part3.rar.html

Love – Forever Changes (1967) [MFSL 2014] {PS3 ISO + FLAC}

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Love – Forever Changes (1967) [MFSL 2014]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 42:32 minutes | Scans included | 1,73 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 802 MB
Mobile Fidelity Sound Lab # 2131

Love’s Forever Changes made only a minor dent on the charts when it was first released in 1967, but years later it became recognized as one of the finest and most haunting albums to come out of the Summer of Love, which doubtless has as much to do with the disc’s themes and tone as the music, beautiful as it is. Sharp electric guitars dominated most of Love’s first two albums, and they make occasional appearances here on tunes like “A House Is Not a Motel” and “Live and Let Live,” but most of Forever Changes is built around interwoven acoustic guitar textures and subtle orchestrations, with strings and horns both reinforcing and punctuating the melodies. The punky edge of Love’s early work gave way to a more gentle, contemplative, and organic sound on Forever Changes, but while Arthur Lee and Bryan MacLean wrote some of their most enduring songs for the album, the lovely melodies and inspired arrangements can’t disguise an air of malaise that permeates the sessions. A certain amount of this reflects the angst of a group undergoing some severe internal strife, but Forever Changes is also an album that heralds the last days of a golden age and anticipates the growing ugliness that would dominate the counterculture in 1968 and 1969; images of violence and war haunt “A House Is Not a Motel,” the street scenes of “Maybe the People Would Be the Times or Between Clark and Hillsdale” reflects a jaded mindset that flower power could not ease, the twin specters of race and international strife rise to the surface of “The Red Telephone,” romance becomes cynicism in “Bummer in the Summer,” the promise of the psychedelic experience decays into hard drug abuse in “Live and Let Live,” and even gentle numbers like “Andmoreagain” and “Old Man” sound elegiac, as if the ghosts of Chicago and Altamont were visible over the horizon as Love looked back to brief moments of warmth. Forever Changes is inarguably Love’s masterpiece and an album of enduring beauty, but it’s also one of the few major works of its era that saw the dark clouds looming on the cultural horizon, and the result was music that was as prescient as it was compelling.

Tracklist:
01. Alone Again Or
02. A House Is Not A Motel
03. Andmoreagain
04. The Daily Planet
05. Old Man
06. The Red Telephone
07. Maybe The People Would Be The Times Or Between Clark And Hilldale
08. Live And Let Live
09. The Good Humor Man He Sees Everything Like This
10. Bummer In The Summer
11. You Set The Scene

Mastered by Rob LoVerde at Mobile Fidelity Sound Lab, Sebastopol, CA.

ISO

https://subyshare.com/dwuq6yyc76cq/L0veF0reverChanges1967MFSL2014SACDIS0.part1.rar.html
https://subyshare.com/nt9b8gz90pdi/L0veF0reverChanges1967MFSL2014SACDIS0.part2.rar.html

FLAC

https://subyshare.com/bou6a0xfazuk/L0veF0reverChanges1967MFSL2014FLAC2488.2.rar.html

Pink Floyd – The Dark Side Of The Moon (1973) [Reissue 2003] {2.0 & 5.1} PS3 ISO + FLAC

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Pink Floyd – The Dark Side Of The Moon (1973) [Reissue 2003] {2.0 & 5.1}
PS3 Rip | ISO | SACD DSD64 2.0 & DST64 5.1 > 1-bit/2.8224 MHz | 43:00 minutes | Scans included | 3,89 GB
or FLAC 2.0 (converted with foobar2000 to tracks) 24bit/88,2 kHz | 42:57 minutes | Scans included | 828 MB
30th anniversary edition | Features 2.0 Stereo and 5.1 multichannel surround.

By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren’t that impressive by themselves, but when given the sonic backdrop of Floyd’s slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It’s dense with detail, but leisurely paced, creating its own dark, haunting world. Pink Floyd may have better albums than Dark Side of the Moon, but no other record defines them quite as well as this one.

Tracklist:
01. Speak To Me
02. Breathe
03. On The Run
04. Time
05. The Great Gig In The Sky
06. Money
07. Us And Them
08. Any Colour You Like
09. Brain Damage
10. Eclipse

5.1 surround mix by James Guthrie. Assistant engineer: Joel Plante.
5.1 and stereo mastering by Doug Sax and James Guthrie. Assisted by Joel Plante and Gus Skinas.
Mixed and mastered at das boot recording. DSD authoring for SACD by Gus Skinas.

ISO

https://subyshare.com/9esyo3n9w2l5/PinkFl0ydTheDarkSide0fTheM00n1973Reissue2003SACDIS0.part1.rar.html
https://subyshare.com/5zbr0j728shi/PinkFl0ydTheDarkSide0fTheM00n1973Reissue2003SACDIS0.part2.rar.html
https://subyshare.com/c2t8soulm2w8/PinkFl0ydTheDarkSide0fTheM00n1973Reissue2003SACDIS0.part3.rar.html
https://subyshare.com/438yhycynwoo/PinkFl0ydTheDarkSide0fTheM00n1973Reissue2003SACDIS0.part4.rar.html
https://subyshare.com/90n9dx7qcdvq/PinkFl0ydTheDarkSide0fTheM00n1973Reissue2003SACDIS0.part5.rar.html

FLAC

https://subyshare.com/zvcrzcfwqxco/PinkFl0ydTheDarkSide0fTheM00n1973Reissue2003FLAC2488.2.rar.html

Xuefei Yang – Romance de Amor (2006) [DSF Stereo DSD64/2.82MHz]

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Xuefei Yang – Romance de Amor (2006)
DSF Stereo DSD64/2.82MHz  | Time – 01:00:32 minutes | 2,39 GB | Genre: Classical
Source: ISO SACD | © EMI Classics | Front Cover

debut with this EMI disc Romance de Amor. The program consists of the usual classical guitar bonbons mixed in with popular numbers mixed in — the tango “La Cumparsita” and the Beatles’ “Michelle” and Paul Simon’s version of “El Condor Pasa” for example, and a couple of traditional Chinese songs, as well. The program, in and of itself, is not that interesting, but it doesn’t matter. Xue Fei Yang is an incredible guitarist — technically top drawer, warmly expressive in sound, and mind-bogglingly facile in her digital dexterity. Just listen to the attack on Rodrigo’s Zapateado; she is able to vary her touch on the strings with lightning speed and pinpoint accuracy.
Yang is a known quantity to guitarists; John Williams was once so impressed by her playing that he made her a gift of one his own guitars. She has previously recorded for the small, San Francisco-based label GSP, but perhaps this EMI CD will help her gain a wider audience. Romance de Amor also has terrific sound quality, and one might be surprised to learn that EMI in Hong Kong, rather than the usual crew in the Capitol Building in Los Angeles who have engineered Christopher Parkening’s recordings, made this one. Romance de Amor is a quality release; one could hope for literature that is more serious, but Xue Fei Yang is so amazing that she would probably sound good playing “Tubthumping.”

Tracklist:
1 Asturias 5:35
2 Romance de Amor 3:07
3 Recuerdos de La Alhambra 3:53
4 Zapateado 2:49
5 Michelle 3:02
6 Cavatina 3:31
7 Schindler’s List 2:48
8 El Colibri 1:07
9 El Condor Pasa 3:23
10 Seis por Derecho 3:05
11 Un Sueno en La Floresta 7:04
12 Etude No.7 2:07
13 La Cumparsita 2:43
14 I Believe 3:35
15 Sakura 6:02
16 Spring Breeze 3:56
17 Anak 2:40

Personnel:
Xuefei Yang, guitar

Download:

https://subyshare.com/adm89wex3lhc/XuefeiYangR0mancedeAm0r2006DSD64.part1.rar.html
https://subyshare.com/dkjixzo9a9uz/XuefeiYangR0mancedeAm0r2006DSD64.part2.rar.html
https://subyshare.com/of78tc21rc8b/XuefeiYangR0mancedeAm0r2006DSD64.part3.rar.html

Wanderer: Songs by Schumann, Killmayer & Mahler – Christoph Pregardien, Ensemble Kontraste (2011) [DSF Stereo DSD64/2.82MHz]

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Wanderer: Songs by Schumann, Killmayer & Mahler – Christoph Pregardien, Ensemble Kontraste (2011)
DSF Stereo DSD64/2.82MHz  | Time – 01:06:53 minutes | 2,64 GB | Genre: Classical
Source: ISO SACD | © Challenge Records / Northstar Recordings | Booklet, Front Cover
Recorded: Galaxy Studios, Mol, Belgium, 14-18 September 2010

Not even our contemporary inclination towards ‘authenticity’ and ‘loyalty to the composer’s intentions’ has been able to stop the trend of adapting scores for a different instrumentation than what the composer originally had in mind. The rapidly growing number of smallish ensembles with combinations of instruments for which very little music is available has even proved to be an added incentive in this direction, leading towards a new development within classical music. Not infrequently, a particular interest is shown in lieder which were originally written for solo voice with piano accompaniment. Sometimes the composers themselves put a small instrumental ensemble or even a complete symphony orchestra in the place of the original piano part, but it is not unusual for others to undertake this task.
One of the composers who adapted a piano score for a complete orchestra was Gustav Mahler (1860-1911), and the orchestration for his Lieder eines fahrenden Gesellen (Songs of a Wayfarer, written in 1883-1885) followed the piano version so quickly that the very first performance in 1886 immediately featured the orchestra. In 1920, Arnold Schoenberg created a new version for flute, clarinet, harmonium, piano, string quintet and percussion, and this instrumentation was taken by the ensemble KONTRASTE as the starting point for a project called Wanderer, in collaboration with the tenor Christoph Prégardien. It revolves around Mahler’s Lieder eines fahrenden Gesellen as well as sixteen lieder by Robert Schumann, which were arranged for this project by Marcus Reiβenberger. The idea was to retain the liveliness heard in the piano accompaniment while at the same time creating an instrumental colour palette that far surpassed it. A sort of intermezzo is formed by four lieder by contemporary composer Wilhelm Killmayer, who wrote his own instrumentation to fit in with the idiom used in the lieder of Mahler and Schumann. (from the linernotes written by Paul Korenhof)

Tracklist:
Robert Schumann (1810-1856)
Arrangements for small ensemble by Marcus Maria Reißenberger
[1] Frühlingsfahrt op. 45,2 (1840) 2:46
[2] Eintritt op. 82,1 (Waldszenen) instrumental 2:11
[3] In der Fremde op. 39,8 (1840) (from Liederkreis op. 39) 1:15
[4] Waldesgespräch op. 39,3 (1840) (from Liederkreis op. 39) 2:05
[5] Mondnacht op. 39,5 (1840) (from Liederkreis op. 39) 3:57
[6] Einsame Blumen op. 82 (Waldszenen) instrumental 2:05
[7] Trost im Gesang op. 142,1 1:56
[8] Sehnsucht nach der Waldgegend op. 35,5 (1840) 2:10
[9] Wanderung op. 35,7 (1840) 1:18
[10] Herberge op. 82 (Waldszenen) instrumental 2:33
[11] Es leuchtet meine Liebe op. 127,3 1:23
[12] Dein Angesicht op. 127,2 (1840) 1:53
[13] Lehn Deine Wang op. 142,2 (1840) 0:44
[14] Mein Wagen rollet langsam op. 142,4 (1840) 2:52
[15] Abschied op. 82 (Waldszenen) instrumental 2:32
[16] „Der Dichter spricht“ (Kinderszenen op. 15) 1:45
Wilhelm Killmayer (b.1927)
Arrangements for small ensemble by the composer
Four songs from “Hölderlin-Lieder II”
[17] In lieblicher Bläue 10:04
[18] Der Mensch 2:12
[19] Wie Wolken 1:33
[20] Griechenland 3:27
Gustav Mahler (1860-1911)
Arrangements for small ensemble by Arnold Schönberg
Lieder eines fahrenden Gesellen
[21] Wenn mein Schatz Hochzeit macht (1883-85) 3:35
[22] Ging heut morgen übers Feld (1883-85) 4:18
[23] Ich hab’ ein glühend Messer (1883-85) 2:53
[24] Die zwei blauen Augen von meinem Schatz (1883-85) 5:10

Personnel:
Christoph Prégardien tenor
Ensemble Kontraste:
Anke Trautmann flute
Günter Voit clarinet
Annedore Oberborbeck violin
Mathias Bock violin
Andreas Ticozzi viola
Cornelius Bönsch violoncello
Ruben Hoppe double bass
Stefan Danhof piano
Gunther Rost harmonium
Christian Wissel percussion

Download:

https://subyshare.com/v26c6zx1gegx/WandererS0ngsbySchumannKillmayerMahlerChrist0phPrgardienEnsembleK0ntraste2011DSD64.part1.rar.html
https://subyshare.com/85lq1am8vdom/WandererS0ngsbySchumannKillmayerMahlerChrist0phPrgardienEnsembleK0ntraste2011DSD64.part2.rar.html
https://subyshare.com/zpxpjgyos2mj/WandererS0ngsbySchumannKillmayerMahlerChrist0phPrgardienEnsembleK0ntraste2011DSD64.part3.rar.html

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