May 10

Hammock – Everything And Nothing (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 94:21 minutes | 1 GB | Genres: Alternative,Electronic, Ambient
Studio Master, Official Digital Download | Artwork: Front cover | Hammock Music

Hammock returns with Everything and Nothing, the Nashville duos first full-length album since 2013s critically-acclaimed Oblivion Hymns. With Everything and Nothing, Hammock has entered oblivion a place of personal struggle, doubt, and change and come out the other side; hopeful. The experience is meticulously woven into each song, shared with listeners through intricate melodies, compelling beats, and solemn vocals. In some ways, Everything and Nothing is the spiritual successor to the bands 2006 breakout album Raising Your Voice… Trying to Stop an Echo. It recalls the same mastery of sound and storytelling, destined to spark every listeners imagination.

01 – Turn Away and Return
02 – Clarity
03 – Glassy Blue
04 – Dissonance
05 – Marathon Boy
06 – We Could Have Been Beautiful Again
07 – Everything and Nothing
08 – She Was in the Field Counting Stars
09 – Burning Down the Fascination
10 – Wasted We Stared at the Ceiling
11 – Reverence
12 – I Will Become the Ground You Walk On
13 – We Were So Young
14 – You Walk Around… Shining Like the Sun
15 – Unspoken
16 – Before You Float Away into Nothing
17 – There Is Only This [Bonus Track]
18 – Lights Will Draw You Back [Bonus Track]
19 – Devil Wind [Bonus Track]
20 – Start Over Again [Bonus Track]

Produced and recorded by Marc Byrd and Andrew Thompson.
Mixed by Peter Katis at Tarquin Studios, Bridgeport, CT .
Mastered by Greg Calbi at Sterling Sound, NYC.

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May 10

Franz Joseph Haydn – Haydn Concertos – Riccardo Minasi, Il Pomo d’Oro, Maxim Emelyanychev (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 02:05:35 minutes | 2,42 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Warner Classics/Erato
Recording: 7–26.II.2014, Villa San Fermo, Lonigo, Italy

The period-instrument orchestra Il Pomo d’Oro, founded in 2012, has rapidly built a substantial international reputation. It now boasts two chief conductors: Riccardo Minasi, the Italian violinist and musicologist, and Maxim Emelyanychev, the young Russian-born harpsichordist and fortepianist.

Conducted by Minasi, Il Pomo d’Oro appears on two recent Erato releases: Handel’s sparkling opera Partenope and Giovincello, the collection of Baroque and Classical cello concertos with Edgar Moreau as soloist. Though Minasi was born in Rome, Il Pomo d’Oro has a particularly strong association with Venice, so it was appropriate that conductor and orchestra accompanied countertenor Max-Emmanuel Cencic in his recital Venezia – Opera arias of the Serenissima, released in early 2013. (Minasi also conducted Joyce DiDonato’s album Stella de Napoli, though there he was in charge of the Orchestre de l’Opéra de Lyon.)

Haydn’s Cello Concerto in C major featured on Giovincello alongside works by other composers, but here the album is entirely devoted to works by the groundbreaking, prolific, long-lived and influential Austrian composer. He wrote numerous concertos for solo instruments and combinations of instruments; perhaps most famous of all is his trumpet concerto in E flat, but this collection focuses on concertos he wrote for violin (played here by Minasi), keyboard (Emelyanychev, here playing harpischord), and horn, (the Austrian horn-player Johannes Hinterholzer). The concertos are complemented by his Symphony No 83 (known as “The Hen”, because of the ‘clucking’ figures on the strings in its second movement) and his Keyboard Fantasia Hob.XVII:4.
When Minasi and Il Pomo d’Oro appeared at London’s Wigmore Hall in 2014, the Guardian wrote: “Il Pomo d’Oro is a wonderful ensemble, and Minasi an outstanding musician … Minasi gave us concertos …, dancing as he played, communicating his joy in music-making to us and to his ensemble, and bringing the house down with his virtuosity.”

In France, Emmanuelle Giuliani of La Croix had to following to say about Maxim Emelyanychev: “He can do anything with his ten fingers … Rapid, rippling figurations and thrumming chords; from a barely-sketched caress to undulating, legato lines. Beyond his peerless technique one is struck by the lively, passionate spirit of a man of the theatre.”


Franz Joseph Haydn (1732–1809)

Violin Concerto in G major, Hob.VIIa:4
1 I. Allegro moderato 8.23
2 II. Adagio 7.02
3 III. Allegro 3.41

Horn Concerto in D major, Hob.VIId:3
4 I. Allegro 5.50
5 II. Adagio 8.06
6 III. Allegro 3.37

Keyboard Concerto in G major, Hob.XVIII:4
7 I. Allegro 9.20
8 II. Adagio 6.02
9 III. Finale: Rondo (Presto) 4.37

Symphony in G minor, Hob.I:83 “La Poule”
10 I. Allegro spiritoso 7.54
11 II. Andante 8.43
12 III. Menuet: Allegretto 4.21
13 IV. Finale: Vivace 3.51
14 Fantasia in C major, Hob.XVII:4 5.42

Keyboard Concerto in D major, Hob.XVIII:11
15 I. Vivace 8.15
16 II. Un poco adagio 6.40
17 III. Rondo all’Ungarese: Allegro assai 4.22

Concerto for violin and harpsichord in F major, Hob.XVIII:6
18 I. Allegro moderato 7.22
19 II. Largo 7.57
20 III. Presto 3.43

Il Pomo d’Oro
Riccardo Minasi, violin, conductor
Maxim Emelyanychev, harpsichord, conductor
Johannes Hinterholzer, horn (#4-6)

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May 10

Haydn & Scarlatti – Chiaro E Scuro – Olivier Cave (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 01:17:36 minutes | 1,17 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Aeon/Outhere Music France
Recorded: 4-6/01/2015, Sendesaal, Bremen

An original programme with which the Swiss pianist Olivier Cavé succeeds in summarizing two universes that might, however, a priori appear remote: Domenico Scarlatti vs. Joseph Haydn. In the same album, Olivier Cavé confronts two complementary visions of the keyboard. ‘With this project, I wanted to connect these two composers,’ he tells us, ‘for, when playing Haydn, I always had the feeling that he was familiar with Scarlatti’s music.’ For these two composers, the keyboard is the alphabet of a distinctive language; in a style both playful and mischievous, they composed with a bantering humour, unlimited amusement, unfailing virtuosity and a perfect sense of description. Paradoxically, the two composers meet in their slow movements, of unparalleled simplicity and amazing naturalness that give this music, generations apart, very great lyrical depth. This recording shows to what degree the impact of Scarlatti’s music on Haydn’s keyboard compositions is undeniable. For this project, Olivier Cavé has relied on the learned advice of the American musicologist Elaine Sisman.

The booklet for this release on France’s Outhere label devotes considerable space to trying to demonstrate that Joseph Haydn might have known the keyboard sonatas of Domenico Scarlatti. The argument isn’t implausible-several of the paths lead through the opera librettist Pietro Metastasio, who threw work the young Haydn’s way and apparently had a collection of Scarlatti pieces-but it’s at least partly irrelevant. There may be a “shared artistic sensibility” between Scarlatti and Haydn, based on a certain bent toward the unexpected, but in terms of technical structure the analogy doesn’t hold up: Scarlatti uses two-part texture because that was a common way of writing keyboard music in the Baroque, while Haydn uses it because he was writing technically simple music for pianists of modest means, including himself. The Scarlatti sonatas interspersed among the multi-movement Haydn pieces on the album come off not as manifestations of a shared sensibility but as brilliant virtuoso pieces juxtaposed with placid, even if inventive, Classical ones. All this said, the performances by French pianist Olivier Cavé are sharp, and the contrast is an unusual one, effectively carrying something of the great shift from Baroque to Classical sensibilities. The Haydn sonatas are early pieces (one called a Divertimento, another a Partita), and Cavé is among the pianists who are finding striking things in the keyboard music of the first part of Haydn’s career by applying a modicum of seriousness to the music. The excellent studio sound from the Bremen Sendesaal is a major attraction. Recommended for sheer novelty and for some great music that’s not so often played. –AllMusic Review by James Manheim


Joseph Haydn (1732-1809)
Sonata in D major, Hob XVI – 37
1. I. Allegro con brio 05:49
2. II. Largo e sostenuto 03:50
3. III. Finale. Presto ma non troppo 03:06

Domenico Scarlatti (1685-1757)
4. Keyboard Sonata in G Major, Kk. 425 02:54

Joseph Haydn (1732-1809)
Partita in G major, Hob XVI – 6
5. I. Allegro 05:13
6. II. Menuetto 04:27
7. III. Adagio 03:48
8. IV. Finale. Allegro molto 02:28

Domenico Scarlatti (1685-1757)
9. Keyboard Sonata in E Major, Kk. 495 04:00

Joseph Haydn (1732-1809)
Divertimento in C major, Hob XVI – 10
10. I. Moderato 03:07
11. II. Menuet – Trio 02:56
12. III. Finale. Presto 02:41

Domenico Scarlatti (1685-1757)
13. Keyboard Sonata in G Major, Kk. 432 02:03

Joseph Haydn (1732-1809)
Sonata in F major, Hob XVI – 23
14. I. Allegro 04:24
15. II. Adagio 05:44
16. III. Finale. Presto 03:33

Domenico Scarlatti (1685-1757)
17. Keyboard Sonata in A Major, Kk. 342 02:11

Joseph Haydn (1732-1809)
Sonata in D major, Hob XVI – 24
18. I. Allegro 04:13
19. II. Adagio 03:46
20. III. Finale. Presto 02:06

Domenico Scarlatti (1685-1757)
21. Keyboard Sonata in B-Flat Minor, Kk. 128 05:17

Olivier Cavé, piano

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May 10

Hooverphonic – In Wonderland (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 34:16 minutes | 719 MB | Genre: Pop
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Front cover | Label Columbia

Belgian Pop/Ambient/Electronic group Hooverphonic release their latest album, In Wonderland. On this album you will hear multiple vocals, both male and female, with various timbres that give each song its own character. Yet another eclectic album from national pride Hooverphonic, with melancholy strings as common theme, that again succeeds in coming at us moody, innovative and creatively unfettered.

01 – In Wonderland
02 – I Like the Way I Dance
03 – Badaboum
04 – Cocaine Kids
05 – Deep Forest
06 – Thin Line
07 – Hiding in a Song
08 – Praise Be
09 – God’s Gift
10 – Moving

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May 10

Gustav Holst – The Planets – London Philharmonic Orchestra, Sir Adrian Boult (1978/2012)
FLAC (tracks) 24-bit/96 kHz | Time – 48:25 minutes | 876 MB | Genre: Classical
Studio Master, Official Digital Download – Source: HDTracks | @ Warner Classics/Erato

Conductor: Sir Adrian Boult
Orchestra: London Philharmonic Orchestra

Sir Adrian Boult was among the greatest interpreters of Holst’s suite “The Planets.” The work has long been a staple of the international orchestral repertoire. In his illustrious career, Boult has recorded Holst’s masterpiece five times; this being the final version and his most definitive. Boult leads the London Philharmonic Orchestra through this affectionate reading.

Gustav Holst (1874-1934)
The Planets, Op.32
1 I. Mars, the Bringer of War (Allegro) 8:02
2 II. Venus, the Bringer of Peace (Adagio) 7:26
3 III. Mercury, the Winged Messenger (Vivace) 3:48
4 IV. Jupiter, the Bringer of Jollity (Allegro giocoso) 7:59
5 V. Saturn, the Bringer of Old Age (Adagio 8:22
6 VI. Uranus, the Magician (Allegro) 6:26
7 VII. Neptune, the Mystic (Andante) 6:22

London Philharmonic Orchestra
Sir Adrian Boult, 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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May 10

Hans Abrahamsen – Let Me Tell You – Barbara Hannigan, Symphonieorchester des Bayerischen Rundfunks, Andris Nelsons (2016)
FLAC (tracks) 24 bit/48 kHz | Time – 32:42 minutes | 330 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital booklet | © Winter & Winter

Composed in 2012-13, »let me tell« you is a half-hour dramatic monologue, voiced by a character who requires us to hear her. That character is not quite the Ophelia of Shakespeare’s Hamlet. She has the same words, her entire text being made up from words Ophelia speaks in the play, but she uses these words in different ways, and certainly to express herself differently.

She tells us of things to which there is little or no reference in the play, such as the nature of memory, or ‘a time…when we had no music’, or an explosive experience of love. And where Shakespeare’s Ophelia descends into madness and watery death, the protagonist of let me tell you comes to a different conclusion.

The words with which she has to recount her story – Ophelia’s words – are barely adequate to her, but she has to make them serve, and she does. Her utterance is at once constrained and resolute, fragile and decisive, and its nature is realized at the opening by an adaptation of a technique used by Monteverdi, of rebounding on one note. What was an ornament four hundred years ago becomes for her the means by which she can be at once hesitant and assertive.

Her entry into the piece comes early, but only after she has been summoned into a magical soundscape of piccolos, violin harmonics and celesta. The music – and this is true of the whole work – is at once familiar and strange, for the language of traditional tonality is present but fractured into new configurations. A high degree of consonance is coupled with harmonic states and progressions we have not heard before; the sense of a recognizable key comes only fleetingly; and melody here casts back to an ancient time of folk song – rather as Ophelia does in her derangement, or as Gertrude does in speaking of Ophelia’s drowning, when, drifting down the stream, she ‘chanted snatches of old tunes’.

There is familiarity and strangeness, too, in the rhythm. Generally the pulse is clear – it is picked out at the start in oscillating octaves from the celesta, passing later to other instruments – but the position of the strong beat is ambiguous. Time here simultaneously ticks and floats.

Such music, beginning right away, not only prepares the protagonist’s world but also foreshadows a crucial melodic element, to be associated with her words ‘Let me tell you’. These words come three times in the piece, defining its three parts, the first recollective, the second set in the present, the third carrying a promise of what will happen in the future.
Having stated the inadequacy of words, the protagonist goes on, in two further songs, to wonder about the reliability of memory before she comes to a specific recollection – ‘in limping time’, as the score has it – of that time without music. This makes her ponder on how music shifts and changes time, and we recognize that this music is doing so.
It achieves that at the opening of the second part by replaying and altering the opening of the first, to make a short introduction to the climactic fifth song, which plunges into the delirium of love.

The last part has an even shorter introduction, again going back to the beginning and taking it further, before arriving at the slow finale, marked adagissimo. Now microtonal tunings fold into the texture and, being derived from natural harmonics, begin to reroot the music in a glistening new world of resonance. We are in the snow, in a white landscape where the erasure of detail and contour is the renewal of possibility.

Ophelia is one of those imaginary figures whose existence goes on beyond the work that gave them birth. She has appeared in paintings and in novels, including the one, also called let me tell you, that was the source for this piece. Now she speaks again through a performer on stage, in a mode that is intimate and demands attention. Her words come back to her transformed, and she has gained, as she herself might say, ‘the powers of music’. –Paul Griffiths

Hans Abrahamsen (b.1952)
Let Me Tell You for soprano and orchestra (Text by Paul Griffiths)
Pt. I
1 Let Me Tell You How It Was 03:50
2 O but Memory Is Not One but Many 02:51
3 There Was a Time, I Remember 06:00
Pt. II
4 Let Me Tell You How It Is 02:03
5 Now I Do Not Mind 06:14
6 I Know You Are There 01:01
7 I Will Go out Now 10:43

Barbara Hannigan, soprano
Symphonieorchester des Bayerischen Rundfunks
Andris Nelsons, conductor

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