Mar 31

Miles Davis – Collectors’ Items (Rudy Van Gelder Remaster) (1956/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 43:32 minutes | 429 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital Booklet | © Prestige Records
Recorded: January 30, 1953 (#1-4) WOR Studios, New York City and March 16, 1956 (#5-7) at Van Gelder Studio in Hackensack, NJ
Remastered: 2008, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Any 1950s Miles Davis recording could easily be called a “collector’s item,” but these selections have special claims to this description. The first four offer Charlie Parker in his only recordings in support of Miles, who had begun his disc career as Bird’s sideman. The last four feature a unique Davis/Mingus encounter. In between is Miles just before launching his first great Quintet, heading two groups loaded with top talent of the “post-bop” period.

This set lives up to its title by including such interesting sessions as the 1953 date on which Miles Davis welcomed the two tenors of Sonny Rollins and Charlie Parker; other meetings with Rollins in 1951 and 1956; and a moody 1955 date with bassist Charles Mingus, trombone, vibes, and drums (a young Elvin Jones). Highlights include “No Line,” “Vierd Blues,” “In Your Own Sweet Way,” “Nature Boy,” and “There’s No You.” It’s classic if often overlooked music from a variety of immortal jazzmen. ~~AllMusic Review by Scott Yanow

1 The Serpent’s Tooth (Take 1) 7:04
2 The Serpent’s Tooth (Take 2) 6:20
3 ‘Round Midnight 7:07
4 Compulsion 5:47
5 No Line 5:43
6 Vierd Blues 6:55
7 In Your Own Sweet Way 4:37

January 30, 1953 session:
Miles Davis – trumpet
Sonny Rollins – tenor saxophone
Charlie Parker aka “Charlie Chan” – tenor saxophone
Walter Bishop – piano
Percy Heath – bass
Philly Joe Jones – drums
March 16, 1956 session:
Miles Davis – trumpet
Sonny Rollins – tenor saxophone
Tommy Flanagan – piano
Paul Chambers – bass
Art Taylor – drums

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Mar 31

Miles Davis – Steamin’ With The Miles Davis Quintet (1961/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 40:07 minutes | 1,92 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: PonoMusic | © Concord/Prestige

Although chronologically the last to be issued, this collection includes some of the best performances from the tapes which would produce the albums Cookin’, Relaxin’, Workin’, and ultimately, Steamin’. A primary consideration of these fruitful sessions is the caliber of musicians — Miles Davis (trumpet), Red Garland (piano), John Coltrane (tenor sax), and Philly Joe Jones (drums) — who were basically doing their stage act in the studio. As actively performing musicians, the material they are most intimate with would be their live repertoire. Likewise, what more obvious place than a studio is there to capture every inescapable audible nuance of the combo’s musical group mind. The end results are consistently astonishing. At the center of Steamin’, as with most outings by this band, are the group improvisations which consist of solo upon solo of arguably the sweetest and otherwise most swinging interactions known to have existed between musicians. “Surrey With the Fringe on Top” is passed between the mates like an old joke. Garland compliments threads started by Davis and Coltrane as their seamless interaction yields a stream of strikingly lyrical passages. There are two well-placed nods to fellow bop pioneers Charlie Parker and Dizzy Gillespie on a revision of their “Salt Peanuts.” Philly Joe Jones’ mimicking cymbal speak — which replicates Gillespie’s original vocals — is nothing short of genius. This rendition is definitely as crazy and unpredictable here as the original. Thelonious Monk also gets kudos on “Well, You Needn’t.” This quintet makes short work of the intricacies of the arrangement, adding the double horn lead on the choruses and ultimately redefining this jazz standard. Although there is no original material on Steamin’, it may best represent the ability of the Miles Davis quintet to take standards and rebuild them to suit their qualifications.


01. Surrey With The Fringe On Top (9:06)
02. Salt Peanuts (6:10)
03. Something I Dreamed Last Night (6:16)
04. Diane (7:51)
05. Well, You Needn’t (6:22)
06. When I Fall In Love (4:23)

Miles Davis – trumpet
John Coltrane – tenor saxophone (1, 2, 4, 5)
Red Garland – piano
Paul Chambers – bass
Philly Joe Jones – drums

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Mar 31

Miles Davis – Bags’ Groove (Rudy Van Gelder Remaster) (1957/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 46:14 minutes | 525 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital Booklet | © Prestige Records
Recorded: June 29 & December 24, 1954 at Van Gelder Studio, Hackensack, HJ
Remastered: 2007, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Bag’s Groove was recorded in 1954 for Prestige Records but was not released until 1957. Most of the album was recorded on June 29, 1954, but the title track was recorded at one session on December 24 of the same year. Several of the tracks on the album were written by Sonny Rollins and would go on to become jazz standards in their own right.

There are a multitude of reasons why Bags’ Groove remains a cornerstone of the post-bop genre. Of course there will always be the lure of the urban myth surrounding the Christmas Eve 1954 session — featuring Thelonious Monk — which is documented on the two takes of the title track. There are obviously more tangible elements, such as Davis’ practically telepathic runs with Sonny Rollins (tenor sax). Or Horace Silver’s (piano) uncanny ability to provide a stream of chord progressions that supply a second inconspicuous lead without ever overpowering. Indeed, Davis’ choice of former Dizzy Gillespie Orchestra and concurrent Modern Jazz Quartet members Milt Jackson (vibes), Kenny Clarke (drums), and Percy Heath (bass) is obviously well-informed. This combo became synonymous with the ability to tastefully improvise and provide bluesy bop lines in varied settings. The up-tempo and Latin-infused syncopation featured during the opening of “Airegin” flows into lines and minor-chord phrasings that would reappear several years later throughout Davis’ Sketches of Spain epic. The fun and slightly maniacally toned “Oleo” features one of Heath’s most impressive displays on Bags’ Groove. His staccato accompaniment exhibits the effortless nature with which these jazz giants are able to incorporate round after round of solos onto the larger unit. Bags’ Groove belongs as a cornerstone of all jazz collections. Likewise, the neophyte as well as the seasoned jazz enthusiast will find much to discover and rediscover throughout the disc. [Some reissues include both historic takes of “Bags’ Groove” as well as one additional rendering of the pop standard “But Not for Me.”] ~~AllMusic Review by Lindsay Planer

1 Bags’ Groove (Take 1) 11:10
2 Bags’ Groove (Take 2) 9:19
3 Airegin 4:59
4 Oleo 5:12
5 But Not For Me (Take 2) 4:37
6 Doxy 4:53
7 But Not For Me (Take 1) 5:40

Miles Davis – trumpet
Sonny Rollins – tenor saxophone
Horace Silver – piano
Percy Heath – bass
Kenny Clarke – drums
On “Bags’ Groove”:
Miles Davis – trumpet
Milt Jackson – vibraphone
Thelonious Monk – piano
Percy Heath – bass
Kenny Clarke – drums

“I was the engineer on the recording sessions and I also made the masters for the original LP issues of these albums. Since the advent of the CD, other people have been making the masters. Mastering is the final step in the process of creating the sound of the finished product. Now, thanks to the folks at the Concord Music Group who have given me the opportunity to remaster these albums, I can present my versions of the music on CD using modern technology. I remember the sessions well, I remember how the musicians wanted to sound, and I remember their reactions to the playbacks. Today, I feel strongly that I am their messenger.”
-Rudy Van Gelder

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Mar 31

Miles Davis – Workin’ With The Miles Davis Quintet (Rudy Van Gelder Remaster) (1959/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 42:24 minutes | 478 MB | Genre: Jazz
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Digital Booklet | © Prestige Records
Recorded: May 11 and October 26 (#7), 1956 at Rudy Van Gelder Studio, Hackensack, NJ
Remastered: 2006, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Workin’ with the Miles Davis Quintet is an album recorded in 1956 by Miles Davis. Two sessions on May 11, 1956 and October 26 in the same year resulted in four albums—this one, Relaxin’ with the Miles Davis Quintet, Steamin’ with the Miles Davis Quintet and Cookin’ with the Miles Davis Quintet. Track 2 is a composition written for Davis by Eddie Vinson (see Blue Haze for more details). “Trane’s Blues” (also known as “Vierd Blues”, a tongue-in-cheek reference to Blue Note founder Francis Wolff’s heavily accented verdict on it), also credited to Davis, is in fact a John Coltrane composition (originally titled “John Paul Jones”, and from an earlier session led by bassist Paul Chambers; before the closing statement of theme, Coltrane and Davis play a bit of Charlie Parker’s “The Hymn”). Paul Chambers plays a cello bassline on “Half Nelson”.

Workin’ is the third in a series of four featuring the classic Miles Davis Quintet: Davis (trumpet), John Coltrane (tenor sax), Red Garland (piano), and Philly Joe Jones (drums). Like its predecessors Cookin’ and Relaxin’, Workin’ is the product of not one — as mythology would claim — but two massively productive recording sessions in May and October of 1956, respectively. Contradicting the standard methodology of preparing fresh material for upcoming albums, Davis and company used their far more intimate knowledge of the tunes the quintet was performing live to inform their studio recordings. As was often the case with Davis, the antithesis of the norm is the rule. Armed with some staggering original compositions, pop standards, show tunes, and the occasional jazz cover, Workin’ is the quintessence of group participation. Davis, as well as Coltrane, actually contributes compositions as well as mesmerizing performances to the album. The band’s interaction on “Four” extends the assertion that suggests this quintet plays with the consistency of a single, albeit ten-armed, musician. One needs listen no further than the stream of solos from Davis, Coltrane, Garland, and Jones, with Paul Chambers chasing along with his rhythmic metronome. Beneath the smouldering bop of “Trane’s Blues” are some challenging chord progressions that are tossed from musician to musician with deceptive ease. Chambers’ solo stands as one of his defining contributions to this band. In sly acknowledgement to the live shows from which these studio recording sessions were inspired, Davis concludes both sets (read: album sides) with “The Theme” — a brief and mostly improvised tune — indicating to patrons that the tab must be settled. In this case, settling the tab might include checking out Steamin’, the final Miles Davis Quintet recording to have been culled from these historic sessions. ~~AllMusic Review by Lindsay Planer

1. It Never Entered My Mind 05:25
2. Four 07:15
3. In Your Own Sweet Way 05:46
4. The Theme (Take 1) 02:01
5. Trane’s Blues 08:35
6. Ahmad’s Blues 07:26
7. Half Nelson 04:47
8. The Theme (Take 2) 01:02

Miles Davis, trumpet
John Coltrane, tenor saxophone
Red Garland, piano
Paul Chambers, double bass
Philly Joe Jones, drums

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Mar 31

Misc – Misc (2016)
FLAC (tracks) 24 bit/88,2 kHz | Time – 40:11 minutes | 763 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | © Bonsound Records

Modern jazz with a twist, based on a cohesive group effort rather than on personal virtuosity; that’s what the members of Misc (formerly known as Trio Jérôme Beaulieu) are going for. Jérôme Beaulieu, Philippe Leduc and William Côté created the band in 2011 shortly after their studies at University of Montreal. Since then, they have been using audio sampling and a variety of percussions, effects and prepared instruments to broaden the usual jazz trio’s set of textures and moods. The group lifted off quickly, winning both Montreal’s « Jazz en Rafale » and Festi-Jazz de Rimouski’s Grand Prize in their first year of existence. A first album entitled L’Homme Sur La Lune (Man on the Moon) hit the shelves in spring 2012 and got nominated for an Opus Prize (Jazz album of the Year). Radio-Canada’s 2013-2014 Jazz Revelation now launch their second group effort, Chercher l’Équilibre (Searching for Balance) in the midst of a year filled with projects!

The new album is the result of a true collaboration between the three musicians. In a more elaborate way than the two previous albums, they each contributed to the rythmic, melodic and harmonic arrangements to create an unique sound that sets this trio apart from the rest.

All three artists set the foundations of Misc during a residency at the Equivocal Manor in Burgundy (France). Pianist Jérôme Beaulieu, lover of the great outdoors, contributes majestic melodies to the project. Drummer William Côté adds a subtle, spirited rhythm while double bassist Philippe Leduc brings out the playfulness of each track.

Over the last 3 years, Misc has been the house band for the Slamontréal night at O Patro Vys. These experimental sessions, in collaboration with spoken word artists, shaped some of the songs on the album, like Les années molles.

The trio have also re-interpreted the work of some of their favourite artists, including Blonde Redhead, James Blake and Daniel Bélanger. The musicians had a lot of fun breathing a new kind of life into these three distinct songs. Misc’s music often combines the worlds of both original compositions and covers.

Misc holds a place in the Jazz scene because of the vital role that improvisation occupies in their music. However, this does not stop them from drawing on influences from pop and rock genres.This clearly mark a step towards a new generation of jazz musicians for whom catchy, strong melodies and rhythms expand musical boundaries while rooting the music in the present. Therefore this album, much like the live performances of Misc, strives to create an energetic and active dialogue between the listener and the music.

1 La fin 00:08:18
2 Messenger 00:04:58
3 Unlucky 00:08:01
4 Respirer dans l’eau 00:05:29
5 Les années molles 00:07:51
6 Overgrown 00:05:34

Jérôme Beaulieu, piano
Philippe Leduc, bass
William Côté, drums

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Mar 31

Felix Mendelssohn Bartholdy – Lieder ohne Worte, Books 5-8 – Ronald Brautigam (2016)
FLAC (tracks) 24 bit/96kHz | Time – 01:13:33 minutes | 1,1 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: eClassical | Digital Booklet | © BIS Records
Recorded: August 2014 at Österåker Church, Sweden

Ronald Brautigam, piano During the early 19th century a number of composers began to write in new genres inspired by literature: Chopin’s Ballades, Schumann’s Novelletten and, later, Liszt’s symphonic poems are all examples of this Romantic urge to create works that transcend the divide between the arts. In 1828 Felix Mendelssohn invented a genre of his own, when he presented his sister Fanny with a ‘song without words’ for her birthday. He went on to compose a large number of such Lieder ohne Worte and published no less than six sets of six pieces each. These became immensely popular with amateur and professional pianists, as well as with their respective audiences. Mendelssohn’s death in 1847 did not affect the huge demand for the pieces, and the publisher Simrock soon issued another two sets, compiled from pieces that the composer had set aside for later publication. Mendelssohn himself supplied a few of the songs with more or less descriptive subtitles, but his aim was not to tell an existing story in music instead of words, but rather to communicate something that could only be conveyed through music. To Mendelssohn, music was more exact than language – in his own words: ‘the music I love expresses ideas that are not too vague to be captured in words, but on the contrary too precise.’ When Ronald Brautigam’s recording of Books 1-4 was released in 2012, the reviewer in International Record Review wrote: ‘One could scarcely hope for performances more vivid or poetic than these.’ This second volume includes the last four published sets of Lieder ohne Worte, as well as a number of other piano miniatures. Brautigam performs them on the same instrument as on the previous disc, a copy by Paul McNulty after a piano from 1830 by Ignaz Pleyel, preserved at Musée de la musique in Paris.

Felix Mendelssohn Bartholdy (1809–1847)
Sechs Lieder ohne Worte, Op. 62 (1844)
1. I. G major, Andante espressivo 2’00
2. II. B flat major, Allegro con fuoco 1’44
3. III. E minor, Andante maestoso (‘Trauermarsch’) 2’47
4. IV. G major, Allegro con anima 1’30
5. V. A minor, Andante con moto, ‘Venetianisches Gondellied’ 2’05
6. VI. A major, Allegretto grazioso (‘Frühlingslied’) 2’03
Sechs Lieder ohne Worte, Op. 67 (1845)
7. I. E flat major, Andante 2’31
8. II. F sharp minor, Allegro leggiero 1’42
9. III. B flat major, Andante tranquillo 2’26
10. IV. C major, Presto (‘Spinnerlied’) 1’45
11. V. B minor, Moderato 2’12
12. VI. E major, Allegretto non troppo 2’03
Sechs Lieder ohne Worte, Op. 85 (1850/51)
13. I. F major, Andante espressivo 2’30
14. II. A minor, Allegro agitato 0’58
15. III. E flat major, Presto 2’10
16. IV. D major, Andante sostenuto 2’28
17. V. A major, Allegretto 1’52
18. VI. B flat major, Allegretto con moto 1’46
Sechs Lieder ohne Worte, Op. 102 (1867/68)
19. I. E minor, Andante un poco agitato 2’50
20. II. D major, Adagio 2’16
21. III. C major, Presto, ‘Kinderstück’ 1’17
22. IV. G minor, Andante, un poco agitato 2’02
23. V. A major, Allegro vivace, ‘Kinderstück’ 1’05
24. VI. C major, Andante 1’41
Individual ‘Lieder ohne Worte’
25. A major, Allegretto non troppo, ‘Gondellied’, MWV U 136 (1837) 1’49
26. F major, ‘Ein Lied ohne Worte’, MWV U 150 (c. 1841) 1’56
27. D major, Allegro assai, ‘Lied’, MWV U 178 (1843) 2’24
28. D minor, Allegro vivace, ‘Reiter-Lied’, MWV U 187 (1846) 1’35
29. E flat major, Allegro molto, ‘Lied’, MWV U 82 2’36
Sechs Kinderstücke, Op. 72 (1847)
30. I. G major, Allegro non troppo 1’05
31. II. E flat major, Andante sostenuto 1’48
32. III. G major, Allegretto 0’55
33. IV. D major, Andante con moto 1’22
34. V. G minor, Allegro assai 1’46
35. IV. F major, Vivace 1’23
Aus dem Notenalbum für Eduard Benecke:
36. E flat major, Andante, MWV U 165 (1842) 1’47
37. F major, Sostenuto, MWV U 167 (1842) 2’21

Ronald Brautigam, piano

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Mar 31

Felix Mendelssohn Bartholdy – Lieder ohne Worte, Books 1-4 – Ronald Brautigam (2012)
FLAC (tracks) 24 bit/96kHz | Time – 01:09:19 minutes | 1,04 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: eClassical | Digital Booklet | © BIS Records
Recorded: August 2011 at Österåker Church, Sweden

If claims could be made for a certain composer to have invented a genre single-handedly, Felix Mendelssohn would be a strong candidate with his ‘Songs without Words’. The term itself can be traced back to 1828, and a letter in which Fanny Mendelssohn mention having received a ‘song without words’ as a birthday present from her brother.

Although Mendelssohn continued an existing tradition of writing short lyrical pieces for the piano, the concept of ‘wordless songs’ was new, and indeed the great majority of the Lieder ohne Worte display some sort of song-like structure (melody in the upper voice, an accompaniment that is predominantly chordal or arpeggiated, ABA-form).

Immediately popular with a wide audience, and soon a staple ingredient in domestic music-making all over Europe, the Lieder ohne Worte were also highly regarded by fellow composers, who imitated the style of Mendelssohn’s pieces, and sometimes adopted his title for them as well. One such admirer was Robert Schumann, who was captivated by the ‘Duett’ (Op. 38, No. 6), hearing in it: ‘lovers… conversing quietly, intimate­ly and confidently’. (The piece was in fact written for Cécile Jeanrenaud, who would later become Mendelssohn’s wife.)

Gathered on this disc are the first four books of the eight published collections of Lieder ohne Worte (two of which appeared posthumously) and an appendix consisting of five individual pieces which Mendelssohn never included in any collection but which nevertheless belong to the genre.

One of today’s leading exponents on the fortepiano, Ronald Brautigam has released complete sets of the piano music by Mozart and Haydn, and is currently recording a highly regarded series of the solo piano works by Beethoven. For the present disc he has chosen to play on a replica by the renowned maker Paul McNulty of a Pleyel instrument built in 1830, and thus contemporary with the music performed on it.

Felix Mendelssohn Bartholdy (1809–1847)
Sechs Lieder ohne Worte, Op.19b (1832–33)
1. I. E major, Andante con moto 2’35
2. II. A minor, Andante espressivo 2’18
3. III. A major, Molto Allegro e vivace [‘Jägerlied’] 2’07
4. IV. A major, Moderato 1’52
5. V. F sharp minor, Piano agitato 2’34
6. VI. G minor, Andante sostenuto, ‘Venetianisches Gondellied’ 1’55
Sechs Lieder ohne Worte, Op.30 (1835)
7. I. E flat major, Andante espressivo 3’34
8. II. B flat minor, Allegro di molto 1’50
9. III. E major, Adagio non troppo 1’43
10. IV. B minor, Agitato e con fuoco 2’30
11. V. D major, Andante grazioso 2’39
12. VI. F sharp minor, Allegretto tranquillo 2’38
Sechs Lieder ohne Worte, Op.38 (1837)
13. I. E flat major, Con moto 2’00
14. II. C minor, Allegro non troppo 1’54
15. III. E major, Presto e molto vivace 1’51
16. IV. A major, Andante 2’12
17. V. A minor, Agitato 2’08
18. VI. A flat major, Andante con moto, ‘Duett’ 2’55
Sechs Lieder ohne Worte, Op.53 (1841)
19. I. A flat major, Andante con moto 2’43
20. II. E flat major, Allegro non troppo 2’25
21. III. G minor, Presto agitato 2’17
22. IV. F major, Adagio 2’03
23. V. A minor, Allegro con fuoco, ‘Volkslied’ 2’36
24. VI. A major, Molto Allegro vivace 2’23
Individual ‘Lieder ohne Worte’
25. E flat major, Espressivo & Allegro, MWV U 68 (1828) 2’06
26. A major, Andante, MWV U 76 (1830) 1’09
27. A minor, Andante, early version of Op.19b No.2 (1830) 2’07
28. F sharp minor, Allegro molto, MWV U 124 (1836) 2’10
29. A major [Allegretto], MWV U 138 (1837) 2’30

Ronald Brautigam, piano

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Mar 31

Mendelssohn & Bruch – Violin Concertos – Itzhak Perlman, London Symphony Orchestra, Andre Previn (2015)
FLAC (tracks) 24 bit/96kHz | Time – 00:53:58 minutes | 1,05 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Warner Classics
Recorded: Studio No.1, Abbey Road, London, 27 & 28 November 1972

Itzhak Perlman and André Previn have worked together in the recording studio on many occasions and on a wide-ranging repertoire. The latter has conducted the former in eleven works, their first joint production (Lalo’s Symphonie espagnole and Ravel’s Tzigane for RCA) dating back as far as 1968. All the albums that followed were made for EMI, beginning with this one, which they recorded in 1972. After that, they appeared together in orchestral works by Bartók (see volume 6), Goldmark and Sarasate (volume 17), Sibelius and Sinding (volume 21) and Conus and Korngold (volume 27). In addition, Previn moved to the keyboard to accompany Perlman on a number of rag and jazz albums (volumes 10 and 24) although, unlike Anne-Sophie Mutter and Gil Shaham (on DG), Perlman has never recorded Previn’s own sonatas or concertos.

For decades, the coupling on an album of the Mendelssohn and Bruch violin concertos happened so often that it became virtually an unspoken rule. Even though the premiere of the Mendelssohn (1845) had taken place a generation earlier than that of the Bruch (1868), it began to seem as if they had been written with one another in mind! When we talk about “the” Mendelssohn Violin Concerto, we actually mean his second, the E minor, Op.64, because his first — a very early work only rediscovered many years later, by Yehudi Menuhin, in 1951 — has never really established itself in the repertoire. Similarly, we tend to speak of “the” Bruch Concerto, always with reference to his first work in the genre, the G minor, Op.26 — he in fact wrote two others, neither of which has ever achieved the same level of popularity. Here, Itzhak Perlman goes with the conventional flow, and sticks with the traditional pairing, as indeed he did, just as happily, eleven years later, when he re-recorded them with Bernard Haitink (volume 33). –Jean-Michel Molkhou


Felix Mendelssohn (1809–1847)
Violin Concerto in E minor, Op.64
1 I Allegro molto appassionato — 13.48
2 II Andante — 8.29
3 III Allegretto non troppo — Allegro molto vivace 6.41

Max Bruch (1838–1920)
Violin Concerto No.1 in G minor, Op.26
4 I Vorspiel: Allegro moderato — 8.33
5 II Adagio — 8.51
6 III Finale: Allegro energico 7.35

Itzhak Perlman, violin
London Symphony Orchestra
André Previn, conductor

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Mar 31

Mr. Handel’s Trumpeters: English Trumpet Music from Purcell to Handel – Barocktrompeten Ensemble Berlin, Johann Plietzsch (2015)
FLAC (tracks) 24-bit/88,2 kHz | Time – 00:57:53 minutes | 0,98 GB | Genre: Classical
Studio Master, Official Digital Download – Source: eClassical | Digital Booklet | © Raumklang
Recorded: Oktober, 2014 in der Lindenkirche, Berlin-Wilmersdorf

George Frideric Handel had an outstanding trumpeter in his orchestra: Valentine Snow. “Mr. Handel’s Trumpeter,” as he was later called, inspired Handel to write numerous tailor-made trumpet parts for him. In contrast to his contemporaries, Handel was interested less in virtuosity, than in mellifluous sound and dramatic effect, as reflected in the pieces on this CD. The point of departure for the recording is provided by the trumpet music of Purcell and his contemporaries, music that clearly displays Italian influence and formed the foundation for Handel’s compositions.

Johann Plietzsch lets his Baroque Trumpet Ensemble Berlin resound richly colored on this third Raumklang CD with eight trumpets, timpani, and basso continuo, perfectly balanced dramatically with the soft tones of the lute and organ.

Georg Friedrich Händel hatte in seinem Orchester einen außergewöhnlich begabten Trompeter – Valentine Snow. „Mr. Handel’s Trumpeter“, wie er später genannt wurde, inspirierte Händel zu zahlreichen Trompetenpartien, die er ihm auf den Leib schrieb. Im Gegensatz zu seinen Zeitgenossen setzte Händel dabei weniger auf Virtuosität, sondern mehr auf melodischen Klang und dramatische Effekte, wie auch die Stücke dieser CD widerspiegeln. Den zeitlichen Anfangspunkt der Aufnahme liefert die Trompetenmusik von Purcell und seinen Zeitgenossen, die ganz deutlich italienische Einflüsse aufweist und auf deren Grundlage Händels Kompositionen entstanden.

Farbenprächtig lässt Johann Plietzsch sein Barocktrompeten Ensemble Berlin auf dieser dritten Raumklang-CD erschallen mit acht Trompeten, Pauken und Basso Continuo, dramaturgisch perfekt abgestimmt mit leisen Zwischentönen von Laute und Orgel.


Henry Purcell (1659 – 1695)
Who can from joy refrain ?, Z. 342
1. I. Overture 02:30
2. II. Larghetto 01:12
3. III. March 01:22
4. IV. Adagio 00:49
5. V. Chaconne 03:51
6. Crown the altar, deck the shrine, Z. 321/6 02:28

Georg Friedrich Händel (1685-1759)
Suite aus: Watermusic, HWV 348-350
7. I. Overture 02:05
8. II. Hornpipe 03:14
9. III. Air 01:44
10. IV. Lentement 01:40
11. V. Minuet 01:03
12. VI. Air 01:34
13. VII. Bourée 01:07

John Dowland (1563-1626)
14. A Fancy 03:08

Godfrey Keller (ca. 1650-1704)
Royal Trumpet Suite
15. I. Allegro 00:55
16. II. Roundo 01:45
17. III. Menuett 01:08
18. IV. Fugue 01:40
19. V. Adagio 00:46
20. VI. Chaconne 03:30
21. VII. Aria 01:24

Georg Friedrich Händel (1685-1759)
22. Suite in F major, HWV 427 03:30

Jeremiah Clarke (ca. 1674-1707)
23. Trumpet Tune 00:56
24. Slow Air 01:00
25. Trumpet Tune da capo 01:03

John Shore (ca. 1662-1753)
26. Shore’s Trumpet 01:08
27. Marlborough’s Funeral March 01:24
28. Shore’s Trumpet da capo 01:14

Jeremiah Clarke (ca. 1674-1707)
29. The Serenade & Minuett 02:00
30. Rondo 00:59
31. Gigue 01:39

Nicola Mattheis (1650-1714)
32. Aria 02:08

Jeremiah Clarke (ca. 1674-1707)
33. Round-O: The Prince of Denmark’s March 01:57

Barocktrompeten Ensemble Berlin
Johann Plietzsch, conductor

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Mar 31

Nagual – Private Music (2012/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 00:57:02 minutes | 1,14 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: e-Onkyo | Front Cover | © Alfa Music
Recordings, Mix and Mastering: Artesuono Studio, Ud. All compositions by Nagùal (Giovanni Ancorato)

Credo valga la pena chiederci perché si ascolta musica e cosa ci si aspetta da questa esperienza. Personalmente, oltre al piacere estetico che si prova di fronte ad una composizione interessante, un buon arrangiamento o una improvvisazione ben riuscita, quello che mi aspetto dalla musica è che essa susciti emozioni, che tocchi le corde più profonde dell’anima e le faccia vibrare, che “muova” dentro. Attraverso l’alchimia di suoni e silenzi abbiamo accesso a spazi interiori profondi e possiamo sperimentare “moods” differenti a seconda del momento, del nostro stato d’animo e del tipo di musica ascoltata. Quando ciò accade si realizza la “magia” dell’ascolto, fenomeno misterioso e irrazionale, evento imponderabile, non programmabile, reale eppur elusivo. Immergendoci nei suoni, come nel mare, scompaiono i confini tra esterno ed interno e, sospinti dalle onde sonore, ci lasciamo trasportare dalla corrente musicale verso lidi sconosciuti. I brani presentati in questo cd rappresentano la sintesi delle esperienze musicali maturate nel corso della mia vita. La passione per il mondo dei suoni, sviluppatasi sin da quando ero bambino, mi ha spinto ad una continua ricerca di differenti stili musicali che ho approfondito anche attraverso viaggi in paesi lontani per scoprire le “fonti”. Poi, poco a poco e spesso faticosamente, ognuno trova la propria strada, il proprio centro, ed in esso si raccoglie. Considererei realizzato questo lavoro se la musica qui proposta riuscisse a far scoccare quella scintilla emozionale così preziosa ed ineffabile. –Nagùal

Nagùal, secondo la tradizione messicana, è il nome che indica l’animale in cui gli stregoni si trasformano durante i rituali religiosi o lo stregone che attua tale trasformazione.

1. Genesi 3:50
2. Mamma 4:55
3. Autunno 5:16
4. Ming ji 6:15
5. Nossa Bossa 3:15
6. Giobbe 5:00
7. Onde 4:50
8. Cantilena 4:54
9. The Outsider 5:09
10. Medicine Man 4:44
11. Aung San 4:09
12. Tudo Bem 5:14

Nagùal (Giovanni Ancorato), tenor & soprano sax
Paolo Vianello, piano
Marc Abrams, double bass
Tommaso Cappellato, drums
Special Guests:
Stefano Scutari, guitar (#2,5,7,9,11,12)
Luigi Vitale, vibraphone (#2,5,7,9,11)
Francesco Clera, percussion (#7,11)
Rosa Emilia Dias, vocal (#12)

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