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
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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
http://www.datafile.com/d/TVRJMk9USTFPVGMF9/TchaikovskyWorksforviolinorch3straJuliaFisch3rRussianNationalOrchJakovKr3izb3rg20069624.part2.rar
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:

http://www.datafile.com/d/TVRJMk9USTJORE0F9/VinciL3onardoCaton3inUticaIlPomodOroRiccardoMinasi20159624.part1.rar
http://www.datafile.com/d/TVRJMk9USTJORFUF9/VinciL3onardoCaton3inUticaIlPomodOroRiccardoMinasi20159624.part2.rar
http://www.datafile.com/d/TVRJMk9USTJOVFEF9/VinciL3onardoCaton3inUticaIlPomodOroRiccardoMinasi20159624.part3.rar
http://www.datafile.com/d/TVRJMk9USTJOVE0F9/VinciL3onardoCaton3inUticaIlPomodOroRiccardoMinasi20159624.part4.rar
http://www.datafile.com/d/TVRJMk9USTJOalEF9/VinciL3onardoCaton3inUticaIlPomodOroRiccardoMinasi20159624.part5.rar
http://www.datafile.com/d/TVRJMk9USTJOak0F9/VinciL3onardoCaton3inUticaIlPomodOroRiccardoMinasi20159624.part6.rar
http://www.datafile.com/d/TVRJMk9USTJOekEF9/VinciL3onardoCaton3inUticaIlPomodOroRiccardoMinasi20159624.part7.rar
or
http://rapidgator.net/file/00c7a83023b409873c9259952a4f48c9/VinciL3onardoCaton3inUticaIlPomodOroRiccardoMinasi20159624.part1.rar.html
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Release Name: David_Chesky-Joy_and_Sorrow-WEB-2015-ANGER
Artist: David Chesky
Album: Joy & Sorrow
Genre: Classical
Year: 2015
Tracks: 8
Duration: 01:10:51
Size: 162.2 MB

Tracklist:

1. David Chesky – Dora’s Dance – 5:18 (320 kbps , 12.13 MB)
2. David Chesky – Concerto for Violin and Orchestra No. 3, "The Klezmer Concerto" – Movement 1 – 10:32 (320 kbps , 24.11 MB)
3. David Chesky – Concerto for Violin and Orchestra No. 3, "The Klezmer Concerto" – Movement 2 – 6:54 (320 kbps , 15.8 MB)
4. David Chesky – Concerto for Violin and Orchestra No. 3, "The Klezmer Concerto" – Movement 3 – 4:15 (320 kbps , 9.73 MB)
5. David Chesky – The Wiener Psalm – 15:30 (320 kbps , 35.48 MB)
6. David Chesky – Betty’s March – 6:13 (320 kbps , 14.23 MB)
7. David Chesky – The Fiddle Maker – 6:51 (320 kbps , 15.68 MB)
8. David Chesky – Arbeit Macht Frei – 15:18 (320 kbps , 35.02 MB)

Download Links :

http://www.datafile.com/d/TVRJNE1EUTBNakkF9/David_Chesky-Joy_and_Sorrow-WEB-2015-ANGER.rar

or

http://rapidgator.net/file/812812d068a7dec76f51e59108ef5d63/David_Chesky-Joy_and_Sorrow-WEB-2015-ANGER.rar.html

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
http://rapidgator.net/file/d5ddba23c542217deebd2ff675c4bf1a/Arnld4ScttishDancesSymphnyN.3LndnPhilharmnicMalclmArnld195919224.part1.rar.html
http://rapidgator.net/file/824d8711ab311750ca3695dc15a86f4b/Arnld4ScttishDancesSymphnyN.3LndnPhilharmnicMalclmArnld195919224.part2.rar.html
http://rapidgator.net/file/098da6512e96a287587784500d9f7922/Arnld4ScttishDancesSymphnyN.3LndnPhilharmnicMalclmArnld195919224.part3.rar.html

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

Download:

http://www.datafile.com/d/TVRJNE1qTTRNalUF9/BeethvenSymphniesNs.18LndnSymphnyrchestraJsefKrips196019224.part1.rar
http://www.datafile.com/d/TVRJNE1qTTRNalEF9/BeethvenSymphniesNs.18LndnSymphnyrchestraJsefKrips196019224.part2.rar
http://www.datafile.com/d/TVRJNE1qTTRNamcF9/BeethvenSymphniesNs.18LndnSymphnyrchestraJsefKrips196019224.part3.rar
or
http://rapidgator.net/file/ad3689680a6ed4c73b442d4a3dc4eb52/BeethvenSymphniesNs.18LndnSymphnyrchestraJsefKrips196019224.part1.rar.html
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.

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. 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
http://rapidgator.net/file/4ea0fb00d13bda03ed848bbc1f56ce76/BeethvenSymphnyN.3LndnSymphnyrchestraJsefKrips196019224.part1.rar.html
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
http://www.datafile.com/d/TVRJNE1qTTRNelkF9/BeethvenSymphnyN.3SimnBlivarSymphnyrchGustavDudamel20129624.part2.rar
or
http://rapidgator.net/file/c616b41c4ac63e07e668fd73df6fd55e/BeethvenSymphnyN.3SimnBlivarSymphnyrchGustavDudamel20129624.part1.rar.html
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
http://www.datafile.com/d/TVRJNE1qTTRORE0F9/BerlizSymphniefantastiqueLAPhilGustavDudamel20139624.part2.rar
or
http://rapidgator.net/file/8e8ad4da22860783131593a442cea23a/BerlizSymphniefantastiqueLAPhilGustavDudamel20139624.part1.rar.html
http://rapidgator.net/file/a9dd97bffa165bd35cdd786cf918adf5/BerlizSymphniefantastiqueLAPhilGustavDudamel20139624.part2.rar.html

Release Name: Frank_Peter_Zimmermann-Mozart_Violin_Concertos_Nos._1_3_4-CD-2015-VOiCE
Artist: Frank Peter Zimmermann
Album: Mozart Violin Concertos Nos. 1, 3, 4
Genre: Classical
Year: 2015
Tracks: 11
Duration: 01:17:20
Size: 123.47 MB

Tracklist:

1. Frank Peter Zimmermann – Violin Concerto No. 1 In B Flat Major K207 I. Allegro Moderato – 7:46 (224 kbps , 12.45 MB)
2. Frank Peter Zimmermann – Violin Concerto No. 1 II. Adagio – 7:16 (222 kbps , 11.56 MB)
3. Frank Peter Zimmermann – Violin Concerto No. 1 III. Presto – 5:44 (222 kbps , 9.1 MB)
4. Frank Peter Zimmermann – Adagio In E Major K261 – 6:56 (218 kbps , 10.8 MB)
5. Frank Peter Zimmermann – Rondo In C Major K373 – 5:32 (220 kbps , 8.72 MB)
6. Frank Peter Zimmermann – Violin Concerto No. 3 In G Major K 216 I. Allegro – 8:39 (224 kbps , 13.89 MB)
7. Frank Peter Zimmermann – Violin Concerto No. 3 II. Adagio – 7:44 (221 kbps , 12.25 MB)
8. Frank Peter Zimmermann – Violin Concerto No. 3 III. Rondeau. Allegro – 6:05 (221 kbps , 9.63 MB)
9. Frank Peter Zimmermann – Violin Concerto No. 4 In D Major K218 I. Allegro – 8:48 (225 kbps , 14.15 MB)
10. Frank Peter Zimmermann – Violin Concerto No. 4 II. Andante Cantabile – 6:00 (224 kbps , 9.61 MB)
11. Frank Peter Zimmermann – Violin Concerto No. 4 III. Rondeau. Andante Grazioso – 7:01 (225 kbps , 11.31 MB)

Download Links :

http://www.datafile.com/d/TVRJNE5UazVOakkF9/Frank_Peter_Zimmermann-Mozart_Violin_Concertos_Nos._1_3_4-CD-2015-VOiCE.rar

or

http://rapidgator.net/file/777265f0e78fad4a5823e87233efd676/Frank_Peter_Zimmermann-Mozart_Violin_Concertos_Nos._1_3_4-CD-2015-VOiCE.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:

http://www.datafile.com/d/TVRJNE1qTTVNREUF9/BrahmsPianCncertsFantasienEmilGilelsBerlinerPhilharmnikerEugenJchum1972769624.part1.rar
http://www.datafile.com/d/TVRJNE1qTTVNRE0F9/BrahmsPianCncertsFantasienEmilGilelsBerlinerPhilharmnikerEugenJchum1972769624.part2.rar
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Antonio Caldara – Trio Sonatas – Amandine Beyer, Leila Schayegh (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 1:12:48 minutes | 1,38 GB | Genre: Classical
Official Digital Download – Source: Qobuz | @ Glossa
Recorded: in St. Gerold (Voralberg, Austria) on 5-7 May 2014

wo former students of the Schola Cantorum in Basel, both now captivating audiences each with their individual violinistic artistry, Amandine Beyer and Leila Schayegh, join forces for a new SCB recording devoted to the trio sonata music of Antonio Caldara, and issued with Glossa.

Though he is known now (as for much of his life) primarily as a composer of oratorios and operas, the Venetian Caldara made his name penning early examples of the trio sonata form; his Opp. 1 and 2 sets were published in 1693 and 1699 respectively. Caldara’s Op. 1 Trio Sonatas are characterized by their contrasting use of fast and slow movements, those from the second set by their incorporation of dances. Yet Caldara’s melodic gift – which was to serve him so well in his musical posts in various Italian states, in Barcelona, and as vice-Kapellmeister at the Imperial Court in Vienna – is already evident in Beyer and Schayegh’s selection from his instrumental publications; the composer was also already noted as a virtuoso of the cello – and he also played the violin and keyboard, and the awareness of all these instruments is greatly evident in these trio sonatas.

The continuo team here is made up of Jonathan Pesek, cello, Jörg-Andreas Bötticher, harpsichord and organ, and Matthias Spaeter, liuto attiorbato. Beyer and Schayegh both were taught at the SCB by Chiara Banchini and are continuing their connection with the school as teaching successors to Banchini.

Tracklist:
Antonio Caldara (c1670-1736)
Trio Sonatas
Sonata quarta in B flat major (op. 1/4)
01 | Grave 2:29
02 | Allegro 2:15
03 | Adagio 2:41
04 | Allegro 1:25
Sonata quarta in G minor (op. 2/4)
05 | Allemanda. Largo 3:28
06 | Corrente. Allegro 1:48
07 | Giga. Allegro 1:33
08 | Gavotta. Allegro 0:52
Sonata duodecima in D minor (op. 1/12)
09 | Adagio – Presto – Adagio 2:27
10 | Allegro assai 3:16
11 | Adagio 2:03
12 | Allegro 1:28
Sonata undecima in E major (op. 2/11)
13 | Preludio. Adagio 3:14
14 | Allemanda. Allegro 1:39
15 | Sarabanda. Largo 2:47
16 | Giga. Allegro 1:31
Sonata quinta in E minor (op. 1/5)
17 | Grave 2:45
18 | Vivace 1:44
19 | Adagio 2:27
20 | Vivace 1:08
Sonata ottava in F major (op. 2/8)
21 | Preludio. Presto 1:35
22 | Allemanda. Allegro 1:54
23 | Corrente. Allegro 1:46
24 | Tempo di sarabanda. Largo 3:30
Sonata sesta in C minor (op. 1/6)
25 | Grave 2:44
26 | Presto 2:08
27 | Adagio 2:06
28 | Allegro 1:56
Sonata seconda in B flat major (op. 2/2)
29 | Preludio. Largo 1:54
30 | Allemanda. Allegro 1:12
31 | Corrente. Allegro spiritoso 2:13
32 | Gavotta. Allegro 0:54
33 | Chiacona in B flat major (op. 2/12) 4:46

Personnel:
Amandine Beyer (Violine)
Leila Schayegh (Violine)
Jörg-Andreas Bötticher (Cembalo/Orgel)
Jonathan Pesek (Violoncello)
Matthias Spaeter (liuto attiorbato)

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Carolyn Sampson, Ex Cathedra, Jeffrey Skidmore – A French Baroque Diva (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 72:55 minutes | 1,36 GB | Genre: Classical
Studio Master, Official Digital Download | Artwork: Digital booklet | Source: Hyperion

This album featuring Carolyn Sampson and Ex Cathedra showcases works written for the foremost soprano of the French Baroque, Marie Fel. Voltaire called her his “adorable nightingale”. Fel held an entire generation spellbound at the Paris Opera and at Louis XV’s court during one of the most glorious periods of French music. She inspired some of Rameau’s finest music and introduced a whole new level of virtuosity and expression into the French singing tradition. Her long, triumphant career is traced through this fascinating recording.

Both the music and especially the central figure on this release by British soprano Carolyn Sampson will be largely unfamiliar to most listeners, for the vocal music of the French Baroque has received many fewer contextual studies on recordings than its English and Italian counterparts. Marie Fel was the star singer of mid-18th century Paris, a Bordeaux native who was discovered by an agent of the Paris Opera when she was 20. Roughly as Senesino was to Handel, she was an inspiration to Rameau, and many other composers wrote for her as well. Sampson tries to penetrate Fel’s musicality, and the album is not just a compilation of works associated with her. She sings a sacred aria (Joseph Hector Fiocco’s Laudate pueri, track 12) with the ornamentation Fel herself wrote out, and she even ventures into the Occitan language, which Fel spoke natively, for the extremely unusual Gasouillats auzeléts by Jean-Joseph Cassanéa de Mondonville (track 11). Speakers of Occitan are invited to judge her pronunciation (an English translation is included), but even those with no particular interest in the history of singing will be struck by the variety of Fel’s repertoire, which ranged from the older Lully style of French opera to the bright simplicity of Jean-Jacques Rousseau’s Salve regina of 1752 (not a common item either). Sampson’s voice is not absolutely comfortable when forced to do acrobatics at the top of its range, but for the most part she lives up to d’Aquin’s description of Fel’s instrument as “always lovely, always seductive.” Her range is matched by that of the instrumental group Ex Cathedra under Jeffrey Skidmore, which is called upon to deliver a variety of theatrical effects. Highly recommended.

Tracklist:
01 – Philomèle – Prologue Scene 1: Ah! quand reviendront nos beaux jours?
02 – Exsurgat Deus, S71 – Movement 5: Regna terrae
03 – Te Deum laudamus, S32 – Movement 01: Sinfonie
04 – Te Deum laudamus, S32 – Movement 08: Tu rex gloriae
05 – Te Deum laudamus, S32 – Movement 09: Tu ad liberandum suscepturus hominem
06 – Salve regina – Part 1: Salve regina, salve mater
07 – Salve regina – Part 2: Ad te clamamus, exsules, filii Evae
08 – Salve regina – Part 3: O clemens, o pia
09 – Castor et Pollux – Act 1 Scenes 2-3: Un tendre intérêt vous appelle – Tristes apprêts
10 – Platée – Act 3 Scene 4: Amour, lance tes traits
11 – Daphnis et Alcimadure – Act 1 Scene 2: Gasouillats auzeléts
12 – Laudate pueri – Part 1: Laudate pueri
13 – Laudate pueri – Part 3: A solis ortu
14 – Laudate pueri – Part 4: Alleluia
15 – Venite, exsultemus – Movement 4: Venite, adoremus
16 – La lyre enchantée – No 1: Accordez vos sons et vos pas
17 – La lyre enchantée – No 2: Gavotte: Lyre enchanteresse
18 – La lyre enchantée – No 3: Écoutons … D’un doux frémissement
19 – La lyre enchantée – No 4: Vole, Amour, prête-moi tes armes
20 – La lyre enchantée – No 5: Contredanse
21 – Cantate Domino, S72 – Movement 5: Viderunt omnes termini terrae
22 – Venite, exsultemus – Movement 6: Hodie si vocem

Produced by Adrian Peacock. Engineered by David Hinitt.
Recorded in June 2013 at All Hallows, Gospel Oak, London, U.K.

Musicians:
Carolyn Sampson – soprano
Ex Cathedra – Conducted by Jeffrey Skidmore

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Jan Lisiecki – Chopin – Etudes (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 01:00:15 minutes | 895 MB | Genre: Classical
Official Digital Download – Source: highresaudio.com | @ Deutsche Grammophon
Recorded: January 2013, The Royal Conservatory Of Music, Toronto, Canada

The incredible Jan Lisiecki performs both cycles of Chopin’s virtuosic Études. This is the second Deutsche Grammophon release from the young Canadian pianist, and his first-ever studio recital album
Chopin’s Études are among the most challenging and evocative pieces of all the works in the piano repertoire. Jan Lisiecki has just finished recording the Études in the famous Koerner Hall of the Music Conservatory in Toronto. The Royal Conservatory has been involved in the training of many notable artists such as the pianists Glenn Gould and Oscar Peterson

Jan Lisiecki’s 2013 Deutsche Grammophon album of Frédéric Chopin’s two sets of Études, Opp. 10 and 25, is certainly a bold demonstration of youthful vitality and dynamic virtuosity, but it is also a highly personal interpretation that is surprisingly Romantic in character, if not idiosyncratically so. There’s never a worry that he’ll miss a note or execute a passage ineptly, for Lisiecki is a fine player who can handle any difficulty these intricate study pieces hold in store. Yet there is always a slight feeling of impending recklessness, as if Lisiecki could turn the music on its head at any moment. Nothing is staid, everything is in motion. After several decades of pianists playing Chopin close to the vest, with a rhythmic regularity and evenness of phrasing that emphasize the Classical impulse, along comes Lisiecki with his flexible dynamics, playful rhythmic teasing, and impulsive expressions, characteristics that are perhaps more suggestive of Liszt’s extroverted style than Chopin’s introversion. Lisiecki knows that his audience wants bravado and a degree of flamboyance, and these qualities come across fully in his playing here. Deutsche Grammophon’s sound is exemplary, with superb clarity and depth. –AllMusic Review by Blair Sanderson

Tracklist:
Frédéric Chopin (1810 – 1849)
12 Etudes, Op.10
1. No.1 In C 02:04
2. No.2 In A Minor 01:30
3. No.3 In E 03:54
4. No.4 In C Sharp Minor 02:11
5. No.5 In G Flat 01:41
6. No.6 In E Flat Minor 03:16
7. No.7 In C 01:37
8. No.8 In F 02:33
9. No.9 In F Minor 02:04
10. No.10 In A Flat 02:17
11. No.11 In E Flat 02:37
12. No.12 In C Minor 02:46
12 Etudes, Op.25
13. No.1 In A Flat 02:25
14. No.2 In F Minor 01:27
15. No.3 In F 01:58
16. No.4 In A Minor 01:52
17. No.5 In E Minor 03:25
18. No.6 In G Sharp Minor 02:07
19. No.7 In C Sharp Minor 05:57
20. No.8 In D Flat 01:07
21. No.9 In G Flat 00:56
22. No.10 In B Minor 03:51
23. No.11 In A Minor 03:38
24. No.12 In C Minor 02:51

Personnel:
Jan Lisiecki, piano

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http://www.datafile.com/d/TVRJNU1UZ3lNek0F9/ChpintudesJanLisiecki20139624.part1.rar
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Aaron Copland – Symphony No. 3 – London Symphony Orchestra, Aaron Copland (1958/2013)
FLAC (tracks) 24 bit/192 kHz | Time – 40:20 minutes | 1,43 GB | Genre: Classical
Official Digital Download – Source: HDTracks | @ Everest Records
Recorded: Walthamstow Assembly Hall, London, November 1958

Aaron Copland composed his Third Symphony on a commission from the Koussevitzky Music Foundation. He formulated initial plans for it in 1943, but actual work on the symphony was not begun until August, 1944, while he was staying in a little village in Mexico. The symphony was completed on September 29, 1946, barely in time for its premiere by Serge Koussevitzky and the Boston Symphony Orchestra on October 18 of that year. The score bears a dedication “To the memory of my dear friend Natalie Koussevitzky.”

For the Boston premiere of the Third Symphony, Copland provided the following annotation:

“Inevitably the writing of a symphony brings with it the question of what it is meant to express. I suppose if I forced myself I could invent an ideological basis for my symphony. But if I did, I’d be bluffing – or, at any rate, adding something ex post facto, something that might or might not be true, but which played no role at the moment of creation. Harold Clurman put my meaning well when he wrote recently that music is a reflection of and response to specific worlds of men; it is play, it is speech, it is unconscious result and conscious statement all at the same time.’ Anything more specific than that in relation to so-called absolute music is suspect. In other words – to use a well worn phrase – I prefer to let the music ‘speak for itself.’

One aspect of the Symphony ought to be pointed out: it contains no folk or popular material. During the late twenties it was customary to pigeon-hole me as a composer of symphonic jazz, with emphasis on the jazz. More recently I have been catalogued as a folklorist and purveyor of Americana. Any reference to jazz or folk material in this work is purely unconscious.”

In the light of the foregoing statement, it would seem, upon listening to the symphony, that it is full of unconscious references, not necessarily to jazz or folk material but most certainly to that characteristically American quality of Copland’s melodic line which predominates his ballet and film scores.

After all, his Short Symphony – which he considers his Second – and his Third Symphony were separated by a span of some thirteen years, during which period Copland wrote the orchestral music by which he is best known today: El Salon Mexico; An Outdoor Overture; Quiet City; A Lincoln Portrait; Danzón Cubano; music for the films Of Mice and Men and Our Town, and the ballets Billy the Kid, Rodeo and Appalachian Spring. The last-named work, in fact, immediately preceded the Third Symphony, and it is the spirit rather than the letter of this ballet score that is most predominant in certain pages of the symphony.

The Third Symphony, which received an award from the New York Music Critics Circle as the best new American orchestral work performed in New York during the 1946-47 season, is scored for a rather large orchestra. It comprises three flutes, piccolo, two oboes, English horn, two clarinets, E flat clarinet, bass clarinet, two bassoons, contra-bassoon, four horns, four trumpets, three trombones, tuba, kettledrums, assorted percussion, celesta, piano, two harps and strings.

In his notes for the Boston Symphony, already quoted, the composer gives a fairly detailed analysis of the Third Symphony, excerpts from which follow:

“I. Molto moderato: The opening movement, which is broad and expressive in character, opens and closes in the key of E major. (Formally it bears no relation to the sonata-allegro with which symphonies usually begin.) The themes – three in number – are plainly stated: the first in the strings, at the very start without introduction; the second in related mood in violas and oboes; the third, of a bolder nature, in the trombones and horns. The general form is that of an arch, in which the central portion is more animated, and the final section, an extended coda, presenting a broadened version of the opening material. Both first and third themes are referred to again in later movements of the Symphony.

“II. Allegro molto: The form of this movement stays closer to the normal symphonic procedure. It is the usual scherzo, with first part, trio, and return. A brass introduction leads to the main theme, which is stated three times in part I. … After the climax is reached, the trio follows without pause …. The re-capitulation of part I is not literal. The principal theme of the scherzo returns in a somewhat disguised form in the solo piano, leading … to a full restatement in the tutti orchestra. This is climaxed by a return to the lyrical trio theme, this time sung in canon and in fortissimo by the entire orchestra.

“III. Andantino quasi allegretto: The third movement is freest of all in formal structure. Although it is built up sectionally, the various sections are intended to emerge one from the other in continuous flow, somewhat in the manner of a closely-knit series of variations. The opening section, however, plays no role other than that of introducing the main body of the movement. High up in the unaccompanied first violins is heard a rhythmically transformed version of the third (trombone) theme of the first movement of the Symphony …. A new and more tonal theme is introduced in the solo flute. This is the melody that supplies the thematic substance for the sectional metamorphoses that follow. ….

“IV. Molto deliberato (Fanfare) =Allegro risoluto: The final movement follows without pause. It is the longest movement of the Symphony, and closest in structure to the customary sonata-allegro form. The opening fanfare is based on Fanfare for the Common Man, which I composed in 1942, at the invitation of Eugene Goossens for a series of wartime fanfares introduced under his direction by the Cincinnati Symphony …. The fanfare serves as preparation for the main body of the movement which follows. The components of the usual form are there: a first theme in animated sixteenth-note motion; a second theme broader and more songlike in character; a full-blown development and a refashioned return to the earlier material of the movement, leading to a peroration. One curious feature of the movement consists in the fact that the second theme is to be found imbedded in the development section instead of being in its customary place …. The Symphony concludes on a massive restatement of the opening phrase with which the entire work began.”

Tracklist:
Aaron Copland (1900-1990)
Symphony No. 3
1 I. Molto moderato 09:31
2 II. Allegro molto 08:14
3 III. Andantino quasi allegretto 09:55
4 IV. Molto deliberato (Fanfare) – Allegro risoluto 12:40

Personnel:
London Symphony Orchestra
Aaron Copland, Conductor

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Arvo Part – Musica Selecta – A Sequence By Manfred Eicher – 2CD – FLAC – 2015 – MAHOU

Release Name: Arvo_Part-Musica_Selecta-A_Sequence_By_Manfred_Eicher-2CD-FLAC-2015-MAHOU
Artist: Arvo Part
Album: Musica Selecta-A Sequence By Manfred Eicher
Genre: Classical
Year: 2015
Tracks: 10
Duration: 02:21:15
Size: 470.54 MB

Tracklist:

1. Arvo Part – Es Sang Vor Langen Jahren – 6:02 (439 kbps , 18.95 MB)
2. Arvo Part – F�lina – 10:43 (284 kbps , 21.74 MB)
3. Arvo Part – Mein Weg – 6:22 (580 kbps , 26.46 MB)
4. Arvo Part – Kanon Pokajanen – Ode VI – 8:21 (386 kbps , 23.09 MB)
5. Arvo Part – Silouans Song – 5:39 (416 kbps , 16.79 MB)
6. Arvo Part – Fratres – 11:30 (541 kbps , 44.46 MB)
7. Arvo Part – Alleluia-Tropus – 2:45 (437 kbps , 8.62 MB)
8. Arvo Part – Trisagion – 11:50 (526 kbps , 44.53 MB)
9. Arvo Part – Beatus Petronius – 5:16 (417 kbps , 15.67 MB)
10. Arvo Part – Wallfahrtslied / Pilgrim’s Song – 8:58 (537 kbps , 34.44 MB)
11. Arvo Part – Most Holy Mother Of God – 5:00 (348 kbps , 12.46 MB)
12. Arvo Part – Cantus In Memory Of Benjamin Britten – 5:08 (635 kbps , 23.3 MB)
13. Arvo Part – Magnificat – 6:43 (372 kbps , 17.9 MB)
14. Arvo Part – Festina Lente – 5:29 (578 kbps , 22.69 MB)
15. Arvo Part – Lamentate Fragile – 1:05 (315 kbps , 2.45 MB)
16. Arvo Part – Lamentate Pregando – 5:58 (396 kbps , 16.9 MB)
17. Arvo Part – Lamentate Solitudine – Stato D’animo – 5:31 (291 kbps , 11.49 MB)
18. Arvo Part – Stabat Mater – 24:04 (518 kbps , 89.13 MB)
19. Arvo Part – Da Pacem Domine – 4:58 (549 kbps , 19.47 MB)

Download Links :

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Claude Debussy – Iberia / Maurice Ravel – La Valse, Rhapsodie Espagnole – Rochester Philharmonic Orchestra, Theodore Bloomfield (1960/2013)
FLAC (tracks) 24-bit/192 kHz | Time – 46:54 minutes | 1,36 GB | Genre: Classical
Studio Master, Official Digital Download |  Source: HDTracks | © Everest Records
Recorded: Rochester, February 1960

With these three colorful French orchestral masterpieces, a brilliant American conductor – Theodore Bloomfield – and a great American orchestra – the Rochester Philharmonic – make their debuts on Everest Records. Thanks to the unsurpassed fidelity of Everest sound, it is possible to enjoy exact duplicates of the original live performances.

Debussy: Ibéria :: Ibéria is the second of Claude Debussy’s three Images pour Orchestre. The first of the Images – Gigues – was intended as a musical impression of England; the third – Rondes de Printemps – was meant to serve a similar role for France. The most popular of the three, Ibéria, as its name implies, evokes impressions of Spain. The eminent Spanish composer, Manuel de Falla, a recognized authority on the music of his native land, once declared that in Ibéria Debussy had captured the letter and spirit of Spanish music and had expressed it more vividly than had many a Spaniard. Yet in his entire lifetime, Debussy spent only a few hours in Spain, when he went to San Sebastian to watch a bullfight.
The three Images required about six years for completion. When Debussy first conceived them, they were to be for two pianos, in order to complement two earlier sets of Images for solo piano. But he later found that this medium would be inadequate for his purposes, so he decided to develop them into orchestral pieces. As it turned out, he never did orchestrate Gigues; that task he assigned to his pupil André Caplet. The first sketches for Ibéria date from 1906. At one point during its composition, Debussy wrote his publisher that he had in mind three different finales for Ibéria, and didn’t know whether to toss a coin in order to decide which to use or to sit down and devise a fourth ending. Ibéria finally had its first performance by the Orchestre des Concerts Colonne in Paris on February 20, 1910. The conductor on that occasion was the noted French composer, Gabriel Pierné, who once complained to Debussy that the score was too difficult for either the orchestra or the conductor.
This premiere may be said to have been quite successful, considering the fact that in those days Debussy was looked upon as an ultra-modern composer. His constituents in the audience were so vociferous in their demands for a repetition of the work that Pierné was about to signal the orchestra to play it again. It was then, however, that the anti-Debussy faction made itself heard. Its hissing protest caused the conductor to change his mind and proceed with the rest of the program. The three sections of Ibéria, which are played with out-out pause, bear these respective headings: In the Streets and Byways; Fragrances of the Night, and The Morning of a Festival Day. After the first performance, one French critic gave an appropriate description of the work, declaring that the music takes the listener right to Spain. “The bells of horses and mules are heard,” he wrote, “and the joyous sounds of wayfarers. The night falls; nature sleeps and is at rest until bells and aubades announce the dawn, and the world awakens to life.”
Ravel: La Valse :: Maurice Ravel composed his choreographic poem La Valse in 1920 at the suggestion of Sergei Diaghilev, who wished to have an “Apotheosis of the Waltz” to make into a ballet for his Russian troupe. When Ravel showed him the music, however, he did not find it to his liking, and told the composer so. As a result, a quarrel ensued, causing the permanent estrangement of the composer and the impresario. La Valse was first played in an arrangement for two pianos by Ravel and the Italian composer- conductor-pianist, Alfredo Casella, in Vienna in November, 1920. In its orchestral dress, it was first heard on December 12th of that year, at a concert of the Lamoureux Orchestra in Paris, conducted by Camille Chevillard. Ravel originally called this composition Wien (Vienna), and the score bears the indication, Movement of a Viennese Waltz. There are some who find much irony in this music, as if Ravel were painting a musical picture of nineteenth century Vienna as seen through the disillusioned eyes of the twentieth century. Included in the music is a traceable quotation from the Treasure Waltz from the younger Johann Strauss’ opera The Gypsy Baron. Casella described La Valse as “a sort of triptych: a. The Birth of the Waltz. (The poem begins with dull rumors, as in Rheingold, and from this chaos gradually takes form and development). b. The Waltz. c. The Apotheosis of the Waltz.” On the score is printed the following description, written by Ravel himself: “Whirling clouds give glimpses, through rifts, of couples waltzing. The clouds scatter, little by little. One sees an immense hall peopled with a twirling crowd. The scene is gradually illuminated. The light of the chandeliers bursts forth, fortissimo. An Imperial Court about 1855.”
Ravel: Rapsodie Espagnole :: There is a close kinship between Debussy’s Ibéria and Ravel’s Rapsodie Espagnole. Both are works in the Spanish idiom by French composers; both were written about the same time, and both received their initial performances within two years of one another, by the same orchestra and under similar circumstances. But whereas Debussy was a Frenchman through and through who barely set foot in Spain, Ravel was born only a short distance from the Spanish border, at Ciboure in the Basses-Pyréneés. Besides, his mother was a Basque. Tracing through the list of his compositions, one finds that among his very first works was a Habanera for two pianos, while among his very last was the Bolero. In between lie such Spanish-style compositions as the Alborada del Graciodo, the Vocalise en forme d’Habanera, the opera L’Heure Espagnole, and the Rapsodie Espagnole.
The Rapsodie Espagnole was Ravel’s first large orchestral work. It was written in one month during the summer of 1907, in the seclusion of a friend’s yacht, and was first performed at a Colonne Concert in Paris on March 15, 1908. Its reception was quite enthusiastic, but most of that enthusiasm is said to have emanated from the upper reaches of the auditorium. After the playing of the second movement – the Malaguena – one adherent, the noted French composer Florent Schmitt, shouted to Ravel from the balcony, “Play it once again for the people downstairs who have not understood it!” The movement was duly repeated. But when the applause at the end of the Rapsodie was not vociferous enough to suit Schmitt, he yelled, “If it had been something by Wagner you would have found it very beautiful!” Actually, the Rapsodie Espagnole is a suite in four brief movements. The first, entitled Prelude a la Nuit, is a languorous nocturne, the principal motif of which makes a fleeting reappearance in the second and fourth movements. The second section is the aforementioned Malaguena, a Spanish dance in triple meter, with an improvisatory English horn solo in the middle. The third movement is none other than that early Habanera for two pianos, first written in 1895 and enlarged and orchestrated for use in the Rapsodie. The suite then concludes with the lively Feria (The Fair), in which once again we hear a contrasting solo in the middle for English horn.
The Rochester Philharmonic Orchestra has been ranked among the major symphonic groups in America ever since it was founded in 1922. It is unique among the nation’s symphonic organizations in that it is supported by the world’s largest community music group, the Rochester Civic Music Association, which has more than 13,000 subscribers. During its history, the orchestra has had only five permanent conductors: Albert Coates, Sir Eugene Goossens, José Iturbi, Erich Leinsdorf, and now Theodore Bloomfield. Appointed musical director of the Rochester Philharmonic in March, 1958, Theodore Bloomfield is the first Americanborn permanent conductor in the orchestra’s history. He had already established an international reputation as conductor of the Portland (Oregon) Symphony Orchestra and guest conductor of leading orchestras throughout the United States and Europe. Bloomfield is noted for the brilliance and excitement of his Interpretations, which now come so vividly to life in Everest recordings. –Original Liner Notes

Tracklist:
Claude Debussy (1862-1918)
Iberia
1 I. Par les rues et par les chemins 07:08
2 II. Les parfums de la nuit 08:27
3 III. Rondes de printemps 04:27
Maurice Ravel (1875-1937)
4 La Valse 11:54
Rhapsodie espagnole
5 I. Prelude a la Nuit 04:21
6 II. Malaguena 02:01
7 III. Habanera 02:33
8 IV. Feria 06:03

Personnel:
Rochester Philharmonic Orchestra
Theodore Bloomfield, Conductor

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