Apr 10

Green Day – ¡Uno! (2012)
FLAC (tracks) 24 bit/96 kHz | Time – 41:49 minutes | 966 MB | Genre: Rock
Official Digital Download – Source: HDTracks.com | Front cover | © Reprise

Chart History/Awards
Uno! reached #2 on the Billboard 200.
Uno! reached #2 on Billboard‘s Top Rock Albums.
Uno! was a 96/24 multi-track digital session mixed through an analog desk with analog EQ and analog effects. It was delivered to Ted Jensen at Sterling Sound in NYC as 96K digital mixes and mastered at 96/24.

Uno! is the highly-anticipated ninth studio album by American punk rock legends, Green Day. It is the first installment of a new series that will be released through January 2013. This punk-pop effort finds the trio producing their most cohesive record to date, incorporating engaging hooks, pulsating rhythms and crisp sounds. Billie Joe Armstrong belts with furious precision. Uno!includes standouts “Let Yourself Go,” “Stay The Night” and “Angel Blue.” The album packs all the punch one has come to expect from Green Day.

Green Day’s new millennium elevation to Very Important Band is so complete that when they decided to return to their frivolous punk roots they couldn’t do it in a small way. They started to knock out a bunch of garage punk tunes and wound up with not one but three collections of punk-pop: a trilogy entitled ¡Uno!, ¡Dos!, ¡Tré!, each released within a couple months of one another. For as many passing references to the Clash as there are on ¡Uno! — musical and lyrical, with the opening “Nuclear Family” alluding to the riff of “Safe European Home” and “Rusty James” talking about the “last gang in town” — this is no Sandinista!, as it finds Green Day shrinking their world, not expanding it. This is all power pop and three-chord rockers, the tempo insistent and the hooks spiky and sharp; the only time things let up is at the end with “Oh Love,” an arena filler so indebted to the Who that Billie Joe Armstrong winds up referencing “Love Reign O’er Me.” Even then, the sound is big, crisp, and clean, as it is throughout ¡Uno!, and that clarity undercuts some of the punkiness of Green Day’s intentions. Compared to their busman’s holiday Foxboro Hot Tubs, ¡Uno! seems well-pressed and tidy, every note and every rhythm in its right place, and while that inspired recklessness is missed, this brisk, cheerful collection of pop is a relief after the operatic ambitions of 21st Century Breakdown. The hooks fly furiously, the attack is precise — so precise that the mock dance-rock of “Kill the DJ” almost plays like a Xerox of Franz Ferdinand (it also is the one explicitly political song here, as if the trio members wanted to hide their intentions) — and the hooks, in both the melodies and riffs, are so huge, they gleefully bludgeon doubters into blissful submission. It’s the work not of punks but of road warriors eager to have a new batch of crowd-pleasers out on tour.

Tracklist:
01 – Nuclear Family
02 – Stay The Night
03 – Carpe Diem
04 – Let Yourself Go
05 – Kill The DJ
06 – Fell For You
07 – Loss Of Control
08 – Troublemaker
09 – Angel Blue
10 – Sweet 16
11 – Rusty James
12 – Oh Love

About the Mastering: Uno! was a 96/24 multi-track digital session mixed through an analog desk with analog EQ and analog effects. It was delivered to Ted Jensen at Sterling Sound in NYC as 96K digital mixes and mastered at 96/24.

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Apr 10

A Festival of Fucik – Royal Scottish National Orchestra, Neeme Jarvi (2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:19:42 minutes | 1,43 GB | Genre: Classical
Official Digital Download – Source: theclassicalshop.net | © Chandos Records
Recorded: Royal Concert Hall, Glasgow; 16 and 17 February 2015

Thirty years after having recorded Dvořák’s complete Symphonies on Chandos, the Royal Scottish National Orchestra and its laureate conductor Neeme Järvi tackle another romantic Czech composer: Julius Fučík, famous for his more than 400 polkas, marches, and waltzes, some of the best of which are featured here.
Fučík studied violin in his early years, switching later to the bassoon, with a subsidiary in percussion and timpani. Playing in Austrian regiments, he gained invaluable experience of writing for military band and became a very prolific composer of marches. The most famous of these is of course Entry of the Gladiators, completed in 1899 and performed throughout the world ever since.

Full of energetic, effervescent Bohemian crossrhythms, tuneful brass melodies (often now associated with a circus atmosphere), but also more lyrical expressions, this album is a festival in itself.

“Järvi and the Royal Scottish National Orchestra deliver this excellently recorded anthology with great enthusiasm, throwing themselves into these brightly coloured scores without a hint of condescension or irony…this is a highly enjoyable reminder of the delights of Romanticism’s popular side.” –BBC Music magazine

“Nicely crafted and highly enjoyable music, played with all the life and fizz it requires by Järvi and his Scottish-based colleagues. What he lacks in memorable melody he makes up for with swagger, immense charm and foot-tapping brio – and, my goodness, this career bandmaster certainly knew how to orchestrate. The sound picture is a Chandos spectacular.”—Gramophone

Tracklist:
Julius Ernst Wilhelm Fučík (1872 – 1916)
1. Marinarella, Op. 215 11:00
2. Onkel Teddy (Uncle Teddy), Op. 239 (version for orchestra) 4:54
Donausagen, Op. 233
3. Andantino 3:05
4. I. Tempo di valse 1:47
5. II. Con dolcezza 1:51
6. III. 1:25
7. Coda 2:10
8. Die lustigen Dorfschmiede (The Merry Blacksmiths), Op. 218 2:37
9. Der alte Brummbar (The Old Grumbler), Op. 210 5:02
10. Einzug der Gladiatoren (The Entry of the Gladiators), Op. 68, “Triumph March” 2:39
11. Miramare, Op. 247 7:50
12. Florentiner Marsch (Florentine March), Op. 214, “Grande marcia Italiana” 5:22
13. Wintersturme (Winter Storms), Op. 184 (arr. P. Stanek for orchestra) 9:23
14. Hercegovac, Op. 235 2:59
15. Regimentskinder (Children of the Regiment), Op. 169 3:03
Ballettratten, Op. 226
16. Allegretto 1:25
17. I. Tempo di valse 1:48
18. II. Meno con delicatezza 1:23
19. III. Meno mosso 1:36
20. Coda 1:54
21. The Mississippi River, Op. 160 (161) 2:47
22. Unter der Admiralsflagge (Under the Admiral’s Flag), Op. 82 3:46

Personnel:
Royal Scottish National Orchestra
Neeme Järvi, conductor

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Apr 10

Beethoven: Piano Sonata No. 17 ‘Tempest’ / Schumann: Fantasy – Sviatoslav Richter (1961/2012)
FLAC (tracks) 24 bit/96kHz | Time – 55:42 minutes | 1,06 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: HDTracks | © EMI Classics

Sviatoslav Richter is acknowledged as one of the great pianists of the twentieth century, known for his virtuoso technique and rich insight. This record features his reading of works by Beethoven and Schumann. His interpretations breathe a new vitality that attacks with power and precision. These inspired performances will leave listeners awestruck.

Tracklist:
Ludwig van Beethoven (1770-1827)
Piano Sonata No. 17 in D Minor, Op.31 No.2 ‘Tempest’
1 I. Largo – Allegro 9:24
2 II. Adagio 7:17
3 III. Allegretto 7:02
Robert Schumann (1810-1856)
Fantasy in C Major Op. 17
4 I. Durchaus phantastisch und leidenschaftlich vorzutragen 13:58
5 II. Massig (durchaus energisch) 6:47
6 III. Langsam getragen (durchweg leise zu halten) 11:14
Personnel:
Sviatoslav Richter, piano

About the Mastering
Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI’s archive in London and comparing different sources and any previous CD reissues. We consult each recording’s job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.
In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.
Simon Gibson, January 2012

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Apr 10

Ludwig van Beethoven – Symphonies Nos. 4 & 7 – Academy of St Martin in the Fields, Joshua Bell (2013)
FLAC (tracks) 24 bit/96kHz | Time – 01:12:14 minutes | 1,23 GB | Genre: Classical
Official Digital Download – Source: Qobuz | Digital Booklet | © Sony Music Entertainment

Beethoven: Symphonies 4 & 7 is Joshua Bell’s debut recording as Music Director of the Academy of St. Martin in the Fields. Bell is a GRAMMY® Award-winning artist and this monumental release marks the first American and first person to hold the title of Music Director since Sir Neville Marriner formed the ensemble back in 1958. Bell is found both conducting and performing from the concertmaster chair. It is truly a display of virtuosity and has already garnered praise from The Washington Post.

“there’s a winning fluidity to the collaboration. Bell’s semi-historical approach involves sheer textures and blistering speeds, sweetened here and there with soloistic vibrato. The Seventh could do with more mist and awe but the dances are tightly and brightly pointed.” –The Independent

“These are splendidly alert performances, responding to every nuance in the music, and they made me listen to Beethoven with fresh ears. Particularly impressive is the pianissimo playing Bell obtains from the orchestra…This recording is a real pleasure.” –BBC Music Magazine

“Bell’s interpretative reach isn’t long but nothing is out of place. Readers who like music ‘played straight’ may be very satisfied” –Gramophone

Tracklist:
Ludwig van Beethoven (1770-1827)

Symphony No. 4 in B Flat Major, Op. 60
1. I. Adagio – Allegro vivace 11:16
2. II. Adagio 09:25
3. III. Allegro molto e vivace 05:36
4. IV. Allegro ma non troppo 06:38

Symphony No. 7 in A major, Op. 92
5. I. Poco sostenuto – Vivace 14:18
6. II. Allegretto 08:07
7. III. Presto – Assai meno presto (trio) 08:17
8. IV. Allegro con brio 08:41

Personnel:
Academy of St Martin in the Fields
Joshua Bell, conductor, violin

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Apr 10

Ludwig van Beethoven – Symphonies Nos.1 & 3 – Wiener Philharmoniker, Wilhelm Furtwangler (1952/2012)
FLAC (tracks) 24 bit/96kHz | Time – 1:17:57 minutes | 794 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: HDTracks | © EMI Classics
Recorded: 24, 26-28.IX.1952, Musikvereinsaal, Vienna, Austria

Esteemed conductor Wilhelm Furtwangler and the Vienna Philharmonic Orchestra delivers a definitive reading of Beethoven’s Symphonies No. 1 & 3. Performing on authentic instruments, the musicians play with sensitivity and skill. Furtwangler, a Beethovenian, brings a sense of excitement and first-class direction. With its impeccable sound quality, this is a worthwhile listen!

Tracklist:
Ludwig van Beethoven (1770-1827)
Symphony No. 1 in C, Op.21
1 I. Adagio molto – Allegro con brio 7:54
2 II. Andante cantabile con moto 7:23
3 III. Menuetto (Allegro molto e vivace) 3:52
4 IV. Adagio – Allegro molto e vivace 6:25
Symphony No. 3 in E Flat, Op.55 ‘Eroica’
5 I. Allegro con brio 16:11
6 II. Marcia funebre (Adagio assai) 17:23
7 III. Scherzo (Allegro vivace) 6:31
8 IV. Allegro molto – Poco andante – Presto 12:18

Personnel:
Wiener Philharmoniker
Wilhelm Furtwängler, conductor

About the Mastering
Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI’s archive in London and comparing different sources and any previous CD reissues. We consult each recording’s job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.
In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.
Simon Gibson, January 2012

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Apr 10

Johannes Brahms – Ein Deutsches Requiem – Elisabeth Schwarzkopf, Dietrich Fischer-Dieskau, Philharmonia Orchestra, Otto Klemperer (1961/2012)
FLAC (tracks) 24 bit/96kHz | Time – 1:08:54 minutes | 1.34 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: HDTracks | © Warner Classics/Erato
Recorded: 1961, Kingsway Hall, London

Otto Klemperer was one of the greatest conductors of the 20th century and built a renowned reputation for his monumental performances. Leading the Philharmonia Orchestra & Chorus, Klemperer delivers one of the greatest recordings of Brahms’ Ein Deutsches Requiem. At the height of their powers, the ensemble was able to combine the rugged spirituality and lyrical aspects of this score. Soprano Elisabeth Schwarzkopf and baritone Dietrich Fischer-Dieskau were in peak form adding stunning solo contributions. This audiophile download is essential for any music lover’s collection.

It doesn’t take long, listening to this recording of Brahms’ Ein deutsches Requiem with Otto Klemperer leading the Philharmonia Orchestra and Chorus, to understand its iconic status as one of the outstanding recordings of the work. In the opening measures of the first movement, “Selig sind, die da Leid tragen,” Klemperer creates an ethereally transparent texture that blossoms throughout the movement into a mood of luminous serenity. That quality is even more pronounced in the transcendent tranquility of the fourth movement, “Wie Lieblich sind deine Wohnungen.” In the second movement, “Den alles Fleisch, es ist wie Gras,” Klemperer cuts loose in the build up to the apocalyptic second choral statement of the theme, which has an overwhelmingly ominous power, a power that he summons again in the forceful sixth movement, “Denn wir haben keine bleibende Stadt.” Klemperer handles the composers’ tricky tempos shifts with complete assurance, so that they seem entirely inevitable. Throughout, Klemperer demonstrates his profound understanding of the musical and emotional richness and complexity of Brahms’ masterpiece. The orchestra and chorus respond to his leadership with complete attentiveness and deliver nuanced and passionate performances. Baritone Dietrich Fischer-Dieskau’s investment in the music is evident in his warm tone, shapely phrasing, and the dramatic urgency of his performance. Soprano Elizabeth Schwartzkopf’s voice did not have all the bloom and flexibility of its prime, but she brings a floating lightness to her solo, “Ihr habt nun Traurigkeit.” Produced by Walter Legge and engineered by Douglas Larter, the recording was state-of- the-art when it was recorded in 1961, and the 1997 digital remastering brings it to a standard that should satisfy most listeners. The sound is transparent in the quieter moments, and round and rich in the fuller sections, and always clear and clean. This recording is a must-have for fans of Brahms’ Requiem and of outstanding choral performances. –AllMusic Review by Stephen Eddins

Tracklist:
Johannes Brahms (1833–1897)
Ein deutsches Requiem Op.45
1 Selig sind, die da Leid tragen 10:00
2 Denn alles Fleisch es ist wie Gras 14:30
3 Herr, lehre doch mich 9:50
4 Wie lieblich sind deine Wohnungen 5:46
5 Ihr habt nun Traurigkeit 6:52
6 Denn wir haben hie keine bleibende Statt 11:43
7 Selig sind die Toten, die in dem Herren sterben 10:13

Personnel:
Elisabeth Schwarzkopf, soprano
Dietrich Fischer-Dieskau, baritone
Ralph Downes, organ
Philharmonia Chorus
Reinhold Schmid, choir master
Philharmonia Orchestra
Otto Klemperer, conductor

About the Mastering
Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI’s archive in London and comparing different sources and any previous CD reissues. We consult each recording’s job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.
In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.
Simon Gibson, January 2012

Continue reading »

Apr 10

Johannes Brahms – Ein deutsches Requiem – Berliner Philharmoniker, Sir Simon Rattle (2007/2014)
FLAC (tracks) 24 bit/44,1kHz | Time – 1:07:06 minutes | 582 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: HDTracks | © Warner Classics International
Recorded: 26–29.X.2006, Philharmonie, Berlin

The German Requiem is Brahms’ largest single composition and a pivotal work in his own creative life. It bears little relation to the Messa da Requiem of Catholic liturgy. Less a requiem for the dead, it is more an act of consolation for the bereaved. Brahms told Karl Reinthaler, the choirmaster (and trained theologian) who helped prepare the work’s premiere in Bremen in 1868: ‘I could easily dispense with the word “German” and replace it with “Human”.’ Like Heinrich Schütz in his 1636 burial mass, Musikalische Exequien, Brahms sets German- language texts drawn from the Bible. Many are familiar from Protestant funeral rites used in Germany and elsewhere; the emphasis, however, is very much Brahms’s own.

Some of the music used in the German Requiem can be traced back to 1854, when Brahms launched an ambitious plan to write a four- movement symphony in D minor. This eventually became his First Piano Concerto, though he also set aside certain material, including a slow Scherzo in the form of a sarabande. The basis of the second-movement funeral march in theGerman Requiem (‘For all flesh is as grass’), the sarabande was first used in 1858 in Brahms’s seven-movement, seven-minute Begräbnisgesang (‘Burial Song’), a graveside anthem of rare concentration and intensity scored for mixed chorus and wind band. Schumann’s death, and the grief of his widow, may have been the inspiration behind the piece.

The achievement of the German Requiem, its musical and dramatic reach, helped point the way forward to Brahms’s most cherished goal: the fashioning of a long-awaited first symphony. He nonetheless continued to write sacred music until the end of his life. Indeed, the late flowering of the ancient German Protestant Motet might be regarded as one of his most singular achievements.

Tracklist:
Johannes Brahms (1833–1897)
Ein deutsches Requiem Op.45
1. I. Selig sind, die da Leid tragen 09:56
2. II. Denn alles Fleisch es ist wie Gras 14:14
3. III. Herr, lehre doch mich 09:13
4. IV. Wie lieblich sind deine Wohnungen 04:54
5. V. Ihr habt nun Traurigkeit 07:35
6. VI. Denn wir haben hie keine bleibende Statt 10:44
7. VII. Selig sind die Toten 10:30

Personnel:
Dorothea Röschmann, soprano
Thomas Quasthoff, baritone
Rundfunkchor Berlin
Simon Halsey, chorus master
Berliner Philharmoniker
Sir Simon Rattle, conductor

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Apr 09

レーベル Lantis
配信開始日 2017.02.08
収録曲数 全2曲
販売データ ハイレゾ|FLAC|96.0kHz/24bit

http://mora.jp/package/43000033/A52201/

「ちょろゴンず」とは、アニメ作中に出てくるお騒がせドラゴンたちのこと!
トール(CV.桑原由気)、カンナ(CV.長縄まりあ)、エルマ(CV.高田憂希)、ルコア(CV.高橋未奈美)が担当!

※こちらの商品は、ハイレゾ音源(高音質音源、Hi-Res)商品です。

【タイアップ】
TVアニメ『小林さんちのメイドラゴン』ED主題歌

収録曲

1 – イシュカン・コミュニケーション 04:06
2 – A DAY IN THE DRAGON’S LIFE 03:05

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Apr 08

レーベル KING RECORDS
配信開始日 2017.03.29
収録曲数 全14曲
販売データ ハイレゾ|FLAC|96.0kHz/24bit

http://mora.jp/package/43000014/KIZC-370_F/

AKB48初のベスト・アルバム『0と1の間に』に続く、通算8枚目のアルバム。新しく生まれ変わったAKB48によるアルバムだが、高橋みなみのラスト・シングル「唇にBe My Baby」や、前田敦子を筆頭に卒業生5名が参加した「君はメロディー」も収録され、次世代メンバーだけでなくレジェンドメンバーの影も感じることができる1枚。また、連続テレビ小説『あさが来た』の主題歌「365日の紙飛行機」も収録。

収録曲

1. 唇にBe My Baby
2. 365日の紙飛行機
3. 君はメロディー
4. 翼はいらない
5. LOVE TRIP
6. しあわせを分けなさい
7. 光と影の日々
8. ハイテンション
9. あの日の自分
10. Get you!
11. 誕生日TANGO
12. コイントス
13. ひび割れた鏡
14. 過ち

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Apr 07

レーベル Sony Music Labels Inc.
配信開始日 2017.03.29
収録曲数 全26曲
販売データ ハイレゾ|FLAC|48.0kHz/24bit

http://mora.jp/package/43000001/4547366306026/

amazarashi 初のベストアルバム
数々の衝撃の名曲を生み出してきたamazarashiの初のベストアルバム。
2010年メジャーデビュー以降の表題楽曲を中心に、インディーズ時代にリリースした楽曲、青森限定で発売された幻の音源等、収録

収録曲

1 光、再考
2 つじつま合わせに生まれた僕等
3 夏を待っていました
4 無題
5 奇跡
6 ワンルーム叙事詩
7 さくら
8 この街で生きている
9 空っぽの空に潰される
10 美しき思い出
11 ラブソング
12 ナモナキヒト
13 ジュブナイル
14 性善説
15 終わりで始まり
16 冷凍睡眠
17 スターライト
18 ひろ
19 季節は次々死んでいく
20 スピードと摩擦
21 多数決
22 ライフイズビューティフル
23 僕が死のうと思ったのは
24 命にふさわしい
25 ヒーロー
26 つじつま合わせに生まれた僕等(2017)

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