May 19

レーベル Sony Music Labels Inc.
配信開始日 2016.12.30
収録曲数 全4曲
販売データ ハイレゾ|FLAC|96.0kHz/24bit

http://mora.jp/package/43000001/4547366302516/

ドラマ・アニメ・映画など映像の音楽“劇伴”を中心に活動する澤野弘之による新プロジェクト。

劇伴にボーカル楽曲を積極的に取り入れてきた澤野弘之が、よりボーカル楽曲に重点を置く形で展開する。

プロジェクト第一弾として「機動戦士ガンダムUC」にて楽曲提供及びプロデュースをしたシンガー”Aimer”とともに、

機動戦士ガンダムUC episode 7公開記念スペシャルライブ ”UnChild”を東京・大阪で実施。

SawanoHiroyuki[nZk]:Aimer名義でアルバム「UnChild」をリリースし、
オリコンCDアルバム週間ランキングにてTOP10入りを果たす。

収録曲

1 – e of s 96.0kHz/24bit SawanoHiroyuki[nZk]:mizuki 03:50
2 – ninelie 96.0kHz/24bit SawanoHiroyuki[nZk]:Aimer 05:06
3 – e of s (game edit) 96.0kHz/24bit SawanoHiroyuki[nZk]:mizuki 01:33
4 – ninelie (instrumental) 96.0kHz/24bit SawanoHiroyuki[nZk]:Aimer 05:03

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May 19

レーベル Sony Music Labels Inc.
配信開始日 2016.07.08
収録曲数 全2曲
販売データ ハイレゾ|FLAC|96.0kHz/24bit

http://mora.jp/package/43000001/4547557045994/

TVアニメ「機動戦士ガンダムユニコーン RE:0096」(毎週日曜あさ7:00~・テレビ朝日系列全国ネット)のオープニングテーマとエンディングテーマを収録した「Into the Sky EP」をリリースしたばかりのSawanoHiroyuki[nZk]が早くも新作をリリース!

表題曲「CRYst-Alise 」は2016年夏にサービスインを予定のスマートフォン向けRPGゲーム『ヴァルハイトライジング』のメインテーマに決定!ボーカルには「Into the Sky」に続いて新人ボーカリストTielle(チエル)を再び起用!澤野弘之らしさあふれる、ドラマティックで壮大なバラードに仕上がっています。

さらに、1st album「o1」に収録され、今作のカップリングにもなっている「Rise Above」は、『ヴァルハイトライジング』の挿入歌に起用されています。

※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】
CRYst-Alise・・・『ヴァルハイトライジング』メインテーマ
Rise Above・・・『ヴァルハイトライジング』挿入歌/バトルテーマ

収録曲

1 – CRYst-Alise 05:15
2 – Rise Above (game edit) 02:47

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May 19

Carl Philipp Emanuel Bach – Volume 2 – Ophelie Gaillard, Pulcinella Orchestra (2016)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:20:59 minutes | 1,47 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Aparté/Little Tribeca
Recorded: 7, 8, 9 et 10 septembre 2015 à Paris église luthérienne de Bon Secours

After the success of their first volume Ophélie Gaillard and Pulcinella propose a second disc devoted to Johann Sebastian Bach’s most talented and surprising son, Carl Philipp Emanuel (1714-1788). The Sinfonia in C major expresses multiple emotions, ranging from irrepressible suffering in the Adagio to joyous release and insouciance in the concluding Allegretto, tinged with near-Mozartian grace. The Cello Concerto in B flat reveals the influence of the waning Baroque era and Vivaldi in particular. The Sinfonia in E minor, nicknamed ‘Fandango’ and dating from his Berlin years, is commonly regarded as one of his finest symphonies. The particularly virtuosic Sonata for cello piccolo and keyboard shows to advantage the two soloists of this recording: Ophélie Gaillard and Francesco Corti, whose fieriness is further revealed in the Harpsichord Concerto in D minor.

Tracklist:

Carl Philipp Emanuel Bach (1714-1788)

Sinfonia No. 3 in C major, Wq. 182/3 (H. 659)
1. I. Allegro assai 02:23
2. II. Adagio 02:49
3. III. Allegretto 04:35

Cello Concerto No. 2 in B-flat major, Wq. 171 (H. 436)
4. I. Allegro 07:29
5. II. Adagio 06:40
6. III. Allegro assai 06:18

Sinfonia in E minor, Wq. 178 (H. 653)
7. I. Allegro assai 04:05
8. II. Andante moderato 02:41
9. III. Allegro 03:12

Piccolo Cello Sonata in D major, Wq. 137 (H. 559)
10. I. Adagio, ma non tanto 03:41
11. II. Allegro di molto 09:14
12. III. Arioso 06:21

Harpsichord Concerto in D minor, Wq. 17 (H. 420)
13. I. Allegro 07:32
14. II. Un poco adagio 07:43
15. III. Allegro 06:16

Personnel:
Ophélie Gaillard, cello
Francesco Corti, harpsichord
Pulcinella Orchestra

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May 19

Ophelie Gaillard – Alvorada (2015)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:49:07 minutes | 2,06 GB | Genre: Classical
Official Digital Download – Source: highresaudio.com | © Aparté/Little Tribeca
Recorded: septembre 2014 à Paris

ALVORADA or the invitation to the voyage of cellist Ophélie Gaillard and her magical cello, a musical tour from Spain to Latin America (Brazil, Argentina, Cuba) featuring, in particular, the composers Villa-Lobos, Granados, Piazzolla and Jobim.
In an exceptional mixture of classical pieces and arrangements of the greatest themes of this intense music, the cello sings with the bandoneon, dances with the piano, guitar or percussion, and abandons itself in amorous intimacy with the voices.
ALVORADA immerses us in a sound universe where the feverish energy of the rhythms of this Hispanic and South-American music entrances us and from which a sensual nostalgia responds to a dizzying tango. All the senses are aroused when hearing these spellbinding songs and rhythms.
The colour of the sun, from dawn to dusk, is found in the clever alternation of these enchanting, universal pieces.
All the exceptional musicians (Sabine Devieilhe, Toquinho, Sandra Rumolino, Juanjo Mosalini, Rudi Flores, Emmanuel Rossfelder, Gabriel Sivak…) participating in the ALVORADA voyage hypnotize and fascinate us, allowing us to accompany them at every instant in the progression of this dream proposed by OPHÉLIE GAILLARD.

« Piezas universales, encantadoras y deliciosas, capaces de hipnotizar al oyente, tratadas con mimo por la violonchelista y un grupo de músicos excepcionales que nos brindan un fascinante viaje que HispaOpera recomienda sin dudarlo. » –Hispaopera.com
« Avec ce « feelgood album » festif et de grande qualité, Ophélie Gaillard, la musicienne multifacette, ajoute une corde de plus à son violoncelle. Poétique, dansante, chaleureuse, l’Alvorada d’Ophélie Gaillard et de ses amis est une promesse de bonheur. » –fnac.com

Tracklist:
Manuel de Falla (1876-1946)
1. Siete canciones populares españolas: IV. jota 03:25
2. Siete canciones populares españolas: V. nana 02:41
Enrique Granados (1867-1916)
3. Goyescas: Intermezzo 04:05
Juan Carlos Cobián (1896-1953), Enrique Domingo Cadimaco (1900-1999)
4. Nieblas del riachuelo 03:55
5. Alvorada 04:10
Moisés Simons (1889-1945)
6. El Manisero 03:30
Isolina Carillo (1907-1996)
7. Dos Gardenias 04:57
José Dames (1907-1994), Horacio Basterra (1914-1957)
8. Nada 03:54
Egberto Gismonti (1947-), Geraldo Carneiro (1952-)
9. água e vinho 03:47
Astor Piazzolla (1921-1992)
10. Escualo 04:05
11. Oblivion 03:57
12. Grand tango: tempo di tango 03:26
13. Grand tango: meno mosso 03:49
14. Grand tango: piu mosso 03:26
Juan Carlos Cobián, Enrique Domingo Cadimaco
15. Nostalgias 04:58
Julián Plaza (1928-2003)
16. Payadora 04:13
Félix Lipesker (1913-1970)
17. Romántica 03:35
Alfredo Julio Gobbi (1912-1965)
18. A orlando goñi 03:57
Toquinho (1946-), Vinicius de Moraes (1913-1980)
19. Tarde em itapuã 02:59
Tom Jobim (1927-1994)
20. Wave 04:06
Heitor Villa-Lobos (1887-1959)
21. O canto do cisne negro 02:53
Heitor Villa-Lobos (1887-1959), Ruth Valadares Corrêa (1938)
22. Bachiana brasileira No. 5: I. cantilena 05:41
23. El cant dels ocells 02:59
Gaspar Cassadó (1897-1966)
24. Suite pour violoncelle seul: I. prelude – fantasia 05:34
25. Suite pour violoncelle seul: II. sardana-danza 04:29
26. Suite pour violoncelle seul: III. intermezzo e danza finale 06:09
Baden Powell (1937-2000)
27. Berimbau 04:11

Personnel:
Ophélie Gaillard, violoncelle
Sabine Devieilhe, soprano
Toquinho, chant
Sandra Rumolino, chant
Cyril Garac, violon
Juanjo Mosalini, bandonéon
Romain Lecuyerr, contrebasse
Luiz de Aquino, Rudi Flores, Emmanuel Rossfelder, guitar
Sandrine Chatron, harpe
Nicolas Genest, trompette
Fabien Cyprien, trombone
David Chupete, Florent Jodelet, Rubens Celso Lopes, Christian Paoli, percussions
Gerardo Di Giusto, Gabriel Sivak, Fernando Maguna, piano
Simao Alcoforado Barreira, Ana Catarina Braga, Anne-Charlotte Dupas, Clémence Issartel, Esther Lefebvre, Hugo Paiva, Laure Zaugg, violoncelle
Gabriel Sivak, arrangements

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May 19

C.P.E Bach Project – Ophelie Gaillard, Pulcinella Orchestra (2014)
FLAC (tracks) 24 bit/96 kHz | 1 CD | Digital Booklet | 1.29 GB
Genre: Classical | Official Digital Download – Source: Qobuz

A portrait, on the tercentenary of the composer’s birth, of Carl Philipp Emanuel Bach (1714-1788), probably the most gifted of the sons of Johann Sebastian Bach. Highly admired in his own century by Haydn, Gluck and Mozart, he stands out today as a brilliant and highly original composer. For CPE Bach, music had to be an expression of personal feelings and to achieve his aim, he revolutionised the established principles of form, harmony and rhythm. The Trio Sonata ‘Sanguineus und Melancholicus’ is a rarity in the composer’s output in that it is a quasi-programmatic work. It presents a conversation between one sanguine (first violin) and the other melancholic (second violin). The same duality is found throughout the recordings presented here, from the well-known Sinfonia No. 5 to the two brilliant cello concertos. Under the bow of cellist Ophélie Gaillard, at the head of the Pulcinella Orchestra, these pieces come as a revelation!

Reviews: “the group’s well-nigh impeccable ensemble and palpable enthusiasm make it an ideal vehicle for CPE Bach at his most stormy and passionate. In the concertos, the energy is lightly handled, Gaillard dancing off-the-string with impressive bow-control.”

Tracklist:

Cello Concerto in A minor, Wq. 170 (H. 432)
1 Allegro assai 10’25
2 Andante 7’21
3 Allegro assai 6’40

Sinfonia no. 5 in B minor, Wq. 182 (H. 661)
4 Allegretto 3’49
5 Larghetto 2’13
6 Presto 3’46

Cello Concerto in A major, Wq. 172 (H. 439)
7 Allegro 6’18
8 Largo 7’51
9 Allegro assai 5’09

Trio Sonata in C minor for two violins and continuo, Wq. 161 (H. 579)
10 Allegretto – Presto 5’00
11 Adagio 4’35
12 Allegro 8’52

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May 19

Johannes Brahms – Cello Sonatas – Ophelie Gaillard, Louis Schwizgebel-Wang, Fabio Di Casola (2013)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:15:25 minutes | 1,03 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Aparté/Little Tribeca
Recorded: 17 au 20 août 2012 à Arc en Scènes, Salle de musique, La Chaux-de-Fonds, Suisse (Schweiz, Switzerland)

Brahms’s important output of 24 chamber scores dominated the second half of the 19th century, as that of Beethoven had dominated the first half. His corpus was thus a response to that of Beethoven, his model, and to that of Mendelssohn, who was likewise born in Hamburg and also composed two cello sonatas. In 1890, aged only 57, Brahms resolved to give up composing but he had reckoned without the inspiration that his meeting with the Meiningen clarinetist Richard Mühlfeld was to have on his creative imagination. He subsequently added four scores for clarinet to his output, including this Trio Op. 114.

“Gaillard has always displayed an extraordinary palette of colours and these some alive more than ever on this recording…the voyage into earlier repertoire since her last such disc…seems to have informed her playing with even more subtlety than before.” –Gramophone

Tracklist:
Johannes Brahms (1833-1897)

Cello Sonata No. 2 in F major, Op. 99
1. I. Allegro vivace 08:30
2. II. Adagio affettuoso 06:22
3. III. Allegro passionato 06:46
4. IV. Allegro 04:33

Cello Sonata No. 1 In E Minor, Op. 38
5. I. Allegro 14:17
6. II. Allegretto quasi minuetto 05:18
7. III. Allegro 06:23

Clarinet Trio in A minor, Op. 114
8. I. Allegro alla breve 07:31
9. II. Adagio 07:28
10. III. Andantini grazioso 03:57
11. IV. Finale – allegro 04:25

Personnel:
Ophélie Gaillard, cello
Louis Schwizgebel-Wang, piano
Fabio Di Càsola, clarinet (#8-11)

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May 19

Ophelie Gaillard – Schumann – Liszt (2012)
FLAC (tracks) 24 bit/48kHz  | Time – 00:50:09 minutes | 618 MB | Genre: Classical
Official Digital Download – Source: Qobuz | © Aparté/Little Tribeca
Recorded: Radio Romania Concert Hall (Schumann), IRCAM (Liszt)

After Dreams, and the Bach Cello Suites, two recordings that enjoyed both critical and public acclaim, Ophélie Gaillard turns here to Robert Schumann’s Cello Concerto and the complete music for cello and piano of Franz Liszt. The result of this juxtaposition of two worlds, those of two composers of great sensitivity, is a programme captivatingly combining passion with an expression of the mysteries of life. Once again we see the eclecticism that Ophélie Gaillard has always shown. For the Schumann Concerto, this brilliant young cellist is accompanied by the National Radio Orchestra of Romania (which has played with the likes of Yehudi Menuhin, David Oistrakh, Martha Argerich and Mstislav Rostropovich), under the young conductor Tiberiu Soare (a favourite of the singer Angela Gheorghiu).

Schumann, who took up the cello at one time, attains an expressive maturity in his Concerto that enables him to bring out all the warmth and sensuality of the instrument, which he presents in an orchestral setting of admirable depth. For the second part of the programme, Ophélie Gaillard is joined by the fine pianist Delphine Bardin (winner of the coveted Clara Haskil Prize). These pieces show the soberness and bold language that characterise Liszt’s late works. He had tamed his virtuosity considerably by then and his harmony shows him breaking away more and more from tonality (Liszt declared to an astonished Vincent d’Indy that ‘he aspired to do away with tonality’). They also immerse us in surprising environments, sometimes haunting, sometimes very bleak – a world of subtle emotions just waiting to be discovered!

Tracklist:

Robert Schumann (1810-1856)
Cello Concerto in A minor, op. 129
1. I. Allegro – Nicht zu Schnell (48 kHz) 11:20
2. II. Adagio – Langsam (48 kHz) 04:06
3. III. Finale vivace – Sehr Lebhaft (48 kHz) 07:44

Franz Liszt (1811-1886)
4. Première Élégie 05:01
5. Deuxième Élégie 04:44
6. Romance oubliée 03:27
7. Die Zelle in Nonnenwerth 05:30
8. La lugubre gondole 08:22

Personnel:
Ophélie Gaillard: cello
Delphine Bardin: piano
Orchestre de la Radio Nationale Roumaine
Tiberiu Soare, conductor

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May 19

Ophélie Gaillard – Bach: Cello Suites pour violoncelle seul BWV 1007-1012 (2011)
FLAC (tracks) 24 bit/96 kHz | Time – 136:57 minutes | 2,17 GB | Genre: Classical
Official Digital Download – Source: Qobuz.com | Digital Booklet

The Bach Cello Suites are an iconic monument of the literature with which any serious cellist must grapple. Performances can vary from the metronomically precise just-play-the-notes approach to the other extreme in which a player’s idiosyncratic interpretations are so pronounced that they become the center of attention rather than Bach’s sublime music. This 2010 version is French cellist Ophélie Gaillard’s second recording of the suites, the first made a decade earlier when she was in her mid-twenties.

For the most part Gaillard’s take on the music (like that of most sensible cellists) lies somewhere in between, but with some movements closer to the eccentric end of the spectrum. Gaillard’s technical fluency is unimpeachable. Her intonation, even in the most outrageous multiple-stop chords, is impeccable. She plays with a ripe, absolutely luscious tone that may not suit the taste of the most fervent period performance devotees but that would likely elicit wonder from just about everyone else. Her use of vibrato is circumspect and period-appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard’s playing keeps the listener aware that except for the preludes, this is sunny, dance-based music. Her handling of the faster movements is especially delightful; the Gigue from the Second Suite and the Bourées from the Fourth (among many others) are just plain fun. It’s in some of the preludes where the idiosyncrasies of her interpretation may lose some listeners. The Prelude to the First Suite, consisting entirely of sixteenth note figures, is an interpretive challenge and it’s one of the movements to which performers have applied the widest range of rhythmic freedom. Gaillard puts heavy emphasis on the downbeats and frequently sustains them for twice their written length, and she brings a similar approach to the Prelude of the Fourth Suite. Depending on the listener’s perspective, her playing of these movements may come across as either expansively elastic or weirdly distended.

A factor that’s almost inevitably an issue in recordings of such intimate music for solo string instruments, and sometimes string chamber music, is the clear audibility of strings slapping the soundboard and the player’s breathing. In almost any live performing situation, these would not be heard because those sounds don’t tend to carry, and an audience member sitting even in the first row would be unlikely to notice them, so a recording is an unfortunately unnatural way to experience this music. The extraneous sounds are only minimally distracting here; Gaillard’s breathing, while not annoying or always audible, can sound labored, as if she were working very hard, and that seems to contradict the apparent ease and flexibility of her playing. Otherwise, the acoustic is very fine, with a detailed, spacious, and nicely resonant ambience.

Tracklist:
CD1 #01 – Suite n. 1 in G major, BWV 1007:Prelude
CD1 #02 – Suite n. 1 in G major, BWV 1007:Allemande
CD1 #03 – Suite n. 1 in G major, BWV 1007:Courante
CD1 #04 – Suite n. 1 in G major, BWV 1007:Sarabande
CD1 #05 – Suite n. 1 in G major, BWV 1007:Menuets I & II
CD1 #06 – Suite n. 1 in G major, BWV 1007:Gigue
CD1 #07 – Suite n. 2 in D minor, BWV 1008:Prelude
CD1 #08 – Suite n. 2 in D minor, BWV 1008:Allemande
CD1 #09 – Suite n. 2 in D minor, BWV 1008:Courante
CD1 #10 – Suite n. 2 in D minor, BWV 1008:Sarabande
CD1 #11 – Suite n. 2 in D minor, BWV 1008:Menuets I & II
CD1 #12 – Suite n. 2 in D minor, BWV 1008:Gigue
CD1 #13 – Suite n. 3 in C major, BWV 1009:Prelude
CD1 #14 – Suite n. 3 in C major, BWV 1009:Allemande
CD1 #15 – Suite n. 3 in C major, BWV 1009:Courante
CD1 #16 – Suite n. 3 in C major, BWV 1009:Sarabande
CD1 #17 – Suite n. 3 in C major, BWV 1009:Bourrées I & II
CD1 #18 – Suite n. 3 in C major, BWV 1009:Gigue

CD2 #01 – Suite n. 4 in E flat major, BWV 1010:Prelude
CD2 #02 – Suite n. 4 in E flat major, BWV 1010:Allemande
CD2 #03 – Suite n. 4 in E flat major, BWV 1010:Courante
CD2 #04 – Suite n. 4 in E flat major, BWV 1010:Sarabande
CD2 #05 – Suite n. 4 in E flat major, BWV 1010:Bourrées I & II
CD2 #06 – Suite n. 4 in E flat major, BWV 1010:Gigue
CD2 #07 – Suite n. 5 in C minor, BWV 1011:Prelude
CD2 #08 – Suite n. 5 in C minor, BWV 1011:Allemande
CD2 #09 – Suite n. 5 in C minor, BWV 1011:Courante
CD2 #10 – Suite n. 5 in C minor, BWV 1011:Sarabande
CD2 #11 – Suite n. 5 in C minor, BWV 1011:Gavottes I & II
CD2 #12 – Suite n. 5 in C minor, BWV 1011:Gigue
CD2 #13 – Suite n. 6 in D major, BWV 1012:Prelude
CD2 #14 – Suite n. 6 in D major, BWV 1012:Allemande
CD2 #15 – Suite n. 6 in D major, BWV 1012:Courante
CD2 #16 – Suite n. 6 in D major, BWV 1012:Sarabande
CD2 #17 – Suite n. 6 in D major, BWV 1012:Gavottes I & II
CD2 #18 – Suite n. 6 in D major, BWV 1012:Gigue

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