May 23

Johann Sebastian Bach – The Brandenburg Concertos and Orchestral Suites – Bach Collegium Japan, Masaaki Suzuki (2009)
FLAC (tracks) 24 bit/96 kHz  | Time – 03:21:02 minutes | 2,66 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: eClassical | Digital Booklet | © BIS Records
Recorded: June 2008 at the MUZA Kawasaki Symphony Hall, Japan (Brandenburg Concertos) and October 2003 at Kobe Shoin Women’s University, Japan (Orchestral Suites)

Bach Collegium Japan was first noticed internationally for undertaking the huge project of recording the complete church cantatas of J. S. Bach. Although the ensemble’s discography consists of predominately vocal works, the participating instrumentalists have attracted acclaim ever since the outset. On the present offering, it is Bach’s two great sets of orchestral works that form the programme and the choir of the BCJ is silent. Bach Collegium Japan and Masaaki Suzuki first recorded the Brandenburg Concertos in 2000, but now return to these great works. The new recording took place in the recently completed MUZA Kawasaki Hall, a venue that is highly suitable to an approach focussing on the chamber music qualities of this music. In four of the concertos Masaaki Suzuki has chosen to replace the traditional cello with the violoncello da spalla – a smaller instrument played horizontally on the shoulder or held against the breast. The instrument has already featured in the BCJ Cantata series, and opens for new possibilities in timbre, for instance in Concerto No. 6, where the violoncello da spalla blends particularly well with the two solo violas and the viola da gambas.


Johann Sebastian Bach (1685–1750)

Concerto No.1 in F major, BWV1046
1. I. [No tempo indication] 4’00
2. II. Adagio 3’45
3. III. Allegro 4’07
4. IV. Menuet 8’25

Concerto No.2 in F major, BWV1047
5. I. [No tempo indication] 5’19
6. II. Andante 3’43
7. III. Allegro 2’59

Concerto No.3 in G major, BWV1048
8. I. [No tempo indication] 5’42
9. II. Adagio 4’28
10. III. Allegro 4’19

Concerto No.4 in G major, BWV1049
11. I. Allegro 6’58
12. II. Andante 3’38
13. III. Presto 4’31

Concerto No.5 in D major, BWV1050
14. I. Allegro 9’31
15. II. Affettuoso 5’19
16. III. Allegro 5’04

Concerto No.6 in B flat major, BWV1051
17. I. [No tempo indication] 6’37
18. II. Adagio ma non tanto 5’03
19. III. Allegro 5’31

Suite No.4 in D major, BWV1069
20. I. Ouverture 12’21
21. II. Bourrée I / II 2’55
22. III. Gavotte 1’57
23. IV. Menuet I / II 4’11
24. V. Réjouissance 2’31

Suite No.3 in D major, BWV1068
25. I. Ouverture 10’19
26. II. Air 4’41
27. III. Gavotte I / II 4’26
28. IV. Bourrée 1’10
29. V. Gigue 2’48

Suite No.1 in C major, BWV1066
30. I. Ouverture 10’01
31. II. Courante 2’21
32. III. Gavotte I / II 3’48
33. IV. Forlane 1’19
34. V. Menuet I / II 3’27
35. VI. Bourrée I / II 2’32
36. VII. Passepied I / II 3’06

Suite No.2 in B minor, BWV1067
37. I. Ouverture 10’41
38. II. Rondeau 1’52
39. III. Sarabande 2’53
40. IV. Bourrée I / II 2’05
41. V. Polonaise – Double 3’52
42. VI. Menuet 1’17
43. VII. Badinerie 1’23

Bach Collegium Japan
Masaaki Suzuki, conductor

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May 23

Rachel Barton Pine – Bach – Testament: Complete Sonatas and Partitas for Solo Violin (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 2:05:43 minutes | 2,38 GB | Genre: Classical
Studio Masters, Official Digital Download – Source:  | Digital Booklet | © Avie Records
Recorded: 16–18 April, 28–30 May, 29 & 31 August 2015, St. Pauls United Church of Christ, Chicago

‘Testament’ is Rachel Barton Pine’s very personal homage to the music of J. S. Bach, on which she performs the composer’s complete Sonatas and Partitas for Solo Violin in the acoustic of her hometown St. Pauls Church in Chicago, where she first heard and fell in love with Bach’s music.
Best-selling violinist Rachel Barton Pine’s relationship with the music of Bach runs deep. She first heard and fell in love with Bach’s music in her hometown St. Pauls Church in Chicago, which had a stained glass window of the composer in the sanctuary. That church is where Rachel first played Bach’s music, at the age of four, and where she returned to record Bach’s Six Sonatas and Partitas in its beautiful yet clear acoustic. Rachel says, “I’m so pleased to have recorded the Six Sonatas and Partitas in my favourite sound space for these works, the place that I consider to truly be my emotional home for playing them.”

Rachel Barton Pine has often performed the Sonatas and Partitas of Johann Sebastian Bach in recital, but her 2016 release on Avie is her first studio recording of this essential masterwork for violinists. Using a Baroque bow on a modernized 1742 Guarneri de Gesù violin, Pine plays the Sonatas and Partitas with crisp accentuation, transparent voicing, and a warm tone, much as she does in her concert performances. Her interpretation, which is influenced by period practices but not limited by them, offers clear counterpoint in the sonatas and buoyant dance rhythms in the partitas, and there is little scratchiness in her stopped chords to disrupt the smoothness and transparency of her elegant lines. Pine’s depth of feeling and expressive insights into the music keep it from seeming like dry, technical exercises, yet there is none of the overly rhetorical Romantic approach here, either, so this reading does justice to Bach’s likely intentions while communicating emotion in a subtle and tasteful manner. Highly recommended. — AllMusic Review by Blair Sanderson


Sonata No.1 in G minor BWV 1001
01. Adagio (3.30)
02. Fuga (4.51)
03. Siciliana (2.33)
04. Presto (3.23)

Partita No.1 in B minor BWV 1002
05. Allemanda (7.04)
06. Corrente (6.38)
07. Sarabande (3.18)
08. Tempo di Borea (8.29)

Sonata No.2 in A minor BWV 1003
09. Grave (3.27)
10. Fuga (6.44)
11. Andante (5.2
12. Allegro (5.16)

Partita No.2 in D minor BWV 1004
13. Allemanda (4.01)
14. Corrente (2.43)
15. Sarabanda (3.48)
16. Giga (3.55)
17. Ciaccona (11.36)

Sonata No.3 in C BWV 1005
18. Adagio (4.00)
19. Fuga (9.05)
20. Largo (2.54)
21. Allegro assai (4.51)

Partita No.3 in E BWV 1006
22. Preludio (3.33)
23. Loure (3.51)
24. Gavotte en rondeau (2.42)
25. Menuet I & II (4.03)
26. Boureé (1.37)
27. Gigue (1.53)

Rachel Barton Pine, violin
Violin: Guarneri ‘del Gesù,’ Cremona, 1742, the ‘ex-Bazzini, ex-Soldat’
Violin strings: Vision Titanium Solo by Thomastik-Infeld
Baroque violin bow: Daniel Latour

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May 23

Ludwig van Beethoven – Symphony No. 5 – Glenn Gould (1968/2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 39:15 minutes | 368 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Q0buz | Digital Booklet | © Columbia Records

Joke, satire, irony, deeper significance: the back cover of Gould’s gripping recording contained four imaginary reviews by an English critic (Sir Humphrey Price-Davies), a Munich musicologist (Dr. Karlheinz Heinkel), an American psychiatrist (Prof. S. F. Lemming), and the American corres pondent to the Journal of the All-Union Musical Workers of Budapest. All were written by Gould himself …


Ludwig van Beethoven (1770-1827)

Symphony No. 5 in C Minor, Op. 67 (Transcribed for Piano by Franz Liszt)
1. I. Allegro con brio 06:02
2. II. Andante con moto 14:37
3. III. Allegro 07:00
4. IV. Allegro 11:37

Glenn Gould, piano

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May 23

Benjamin Britten – Serenade for tenor horn & strings – Aldeburgh Strings (2016)
FLAC (tracks) 24 bit/192 kHz | Time – 01:08:43 minutes | 1,21 GB | Genre: Classical
Studio Master, Official Digital Download – Source: LINN | Digital Booklet | © LINN Records

This recording is the conclusion of projects celebrating Britten’s centenary in 2013, at which Aldeburgh Strings performed the closing concert in Britten’s musical home of Snape Maltings.

The recording opens with Young Apollo, a radiant, expressive, characterful and dramatic work, featuring pianist Lorenzo Soulès. The Lachrymae subtitled ‘reflections on a song of Dowland’ explores the viola’s intensely mellow sonorities; Máté Szücs (Berlin Philharmonic Orchestra) is the soloist. The Prelude and Fugue finds Britten indulging in the exuberant technical wizardry of his youthful period whilst recalling Bach’s sophisticated contrapuntal textures.

To close, one of the great masterpieces of Britten’s cannon: the Serenade for Tenor, Horn and Strings. The award-winning tenor Allan Clayton and horn player Richard Watkins are the soloists, the latter reprising his role 30 years after first performing it with Peter Pears.

This enjoyable album, including some Britten rarities like Young Apollo and the Prelude and Fugue, draws on recordings made at the Snape Maltings between October 2012 and April 2015. It’s fairly short weight at only 55 minutes, but any concerns about that should be set aside, because of the exceptional performance here of the Serenade , one of the great masterpieces of British music. The tenor Allan Clayton, is an artist for whom I have the highest regard, because of both the quality of his voice and his calibre as a musician. And the playing of the hornist Richard Watkins is also truly exceptional. The opening phrase of the serenade’s Pastoral makes clear that Clayton is blessed with the same sort of high tenor voice as the singer for whom the piece was written, Britten’s partner Peter Pears, but without what I can only describe as the strangulated, drowning-the-cat, timbres that, if truth be told, irritated all but Pears’ most dedicates admirers. As such, this is a performance so worth treasuring, that even if you don’t want the whole album, you should download this. By the way, this recording mainly features the Aldeburgh Strings, a group put together from visiting musicians, rather as they do at Bayreuth, so the viola player Mate Szucs plays in the Berlin Philharmonic, whilst the director, the violinist Markus Daunert, is leader of both the Mahler Chamber Orchestra, and the Lucerne Festival Orchestra. Quite a pedigree. –Classic FM, March 2016


Benjamin Britten (1913-1976)
1 Young Apollo Op 16*[7’55]
2 Lachrymae Op 48a**[14’19]

Prelude and Fugue Op 29
3 Prelude[3’06]
4 Fugue[5’43]

Serenade for tenor, horn and strings Op 31
5 Prologue: Andante[1’32]
6 Pastoral: Lento The day’s grown old; the fainting sun[3’23]
7 Nocturne: Maestoso The splendour falls on castle walls[3’52]
8 Elegy: Andante appassionato O rose, thou art sick![4’00]
9 Dirge: Alla marcia grave This ae nighte[3’29]
10 Hymn: Presto e leggiero Queen and huntress, chaste and fair[2’03]
11 Sonnet: Adagio O soft embalmer of the still midnight[3’59]
12 Epilogue: Andante[1’41]

Ralph Vaughan Williams (1872-1958)
13 Fantasia on a Theme by Thomas Tallis[13:43]

Aldeburgh Strings
Markus Däunert, director
Richard Watkins, french horn
Allan Clayton, tenor
Máte Szücs, viola**
Lorenzo Soulès, piano*

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May 23

Blue Mitchell – The Thing To Do (1965/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 40:10 minutes | 1,75 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: AcousticSounds | Artwork: Front cover | © Blue Note Records

Hard bop trumpeter Blue Mitchell recorded The Thing To Do in 1964 for Blue Note, his first for the label as leader, accompanied by a young Chick Corea on piano at the very beginning of his professional career. Corea even contributes the album’s closing number, Chick’s Tune. Tenor saxophonist Junior Cook joins Mitchell on the front line, backed by bassist Gene Taylor and drummer Al Foster.

This Blue Mitchell date is a classic, particularly the opening “Fungii Mama,” which is really catchy. The trumpeter’s quintet of the period (which includes tenor saxophonist Junior Cook, the young pianist Chick Corea, bassist Gene Taylor, and drummer Al Foster) also performs two Jimmy Heath tunes and a song apiece by Joe Henderson (“Step Lightly”) and Corea. The record is prime Blue Note hard bop, containing inventive tunes, meaningful solos, and an enthusiastic but tight feel. Highly recommended.

01 – Fungii Mama
02 – Mona’s Mood
03 – The Thing To Do
04 – Step Lightly
05 – Chick’s Tune

Produced by Alfred Lion.
Recorded on July 30, 1964 at Van Gelder Studio, Englewood Cliffs, NJ.

Blue Mitchell – trumpet
Junior Cook – tenor saxophone
Chick Corea – piano
Gene Taylor – bass
Al Foster – drums

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May 23

Miyuji Kaneko (金子三勇士) – Piano Pieces 2: Chopin, Lizst, Debussy, Bach, Busoni (2014)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 92:34 minutes | Scans NOT included | 3,71 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans NOT included | 1,4 GB

Miyuji Kaneko was born in 1989 to a Japanese father and a Hungarian mother. At the age of six, he moved to Hungary alone to study under Zsuzsa Cs. Nagy at the Bartok Elementary School of Music. In 2001 at the age of eleven, he was accepted into the Franz Liszt Academy of Music, skipping grades and studying with professors Gabor Eckhardt, Gyongyi Kevehazi, and Rita Wagner. He has won first prizes in many international music competitions, including the 2008 Bartok International Piano Competition.

This recording of piano works is the second title from ESOTERIC label, produced by bringing together the knowhow of ESOTERIC and Octavia Records, with the goal being a high-quality DSD recording primarily targeting audiophiles. The resulting recording promises a new level of excitement by bringing to the listener not only high sound quality, but also the captivating musical power embodied in the original works themselves. The piano was recorded with two sets of microphones; one was set at the audience position, and the other one was set at the player’s position. Both takes were individually recorded on SACD layer, in order that listener can compare track-by-track.

01. CHOPIN : Polonaise No. 6 in A-Flat Major Op. 53 “Heroic”
02. CHOPIN : Barcarolle in F-sharp major Op.60
03. CHOPIN : Nocturne No.2 in E-flat major Op.9-2
04. CHOPIN : Etude in E major “Chanson de l’adieu” Op.10-3
05. CHOPIN : Waltze No.1 in E-flat major “Grande Valse Brillante” Op.18
06. LISZT : Hungarian Rhapsody No.12 in C-Sharp Minor S244/R106
07. DEBUSSY : From Children’s corner No.6 “Golliwog’s cakewalk”
08. J.S.BACH / arr. F.Busoni “Ich ruf zu dir, Herr Jesu Christ”, BWV 639
09. CHOPIN : Polonaise No. 6 in A-Flat Major Op. 53 “Heroic”
10. CHOPIN : Barcarolle in F-sharp major Op.60
11. CHOPIN : Nocturne No.2 in E-flat major Op.9-2
12. CHOPIN : Etude in E major “Chanson de l’adieu” Op.10-3
13. CHOPIN : Waltze No.1 in E-flat major “Grande Valse Brillante” Op.18
14. LISZT : Hungarian Rhapsody No.12 in C-Sharp Minor S244/R106
15. DEBUSSY : From Children’s corner No.6 “Golliwog’s cakewalk”
16. J.S.BACH / arr. F.Busoni “Ich ruf zu dir, Herr Jesu Christ”, BWV 639

DSD Recording with 2x alternative Microphones positions.

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May 23

Manitas de Plata – Guitarra Flamenco (1963) [Reissue 2001]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 53:34 minutes | Scans included | 2,16 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,02 GB
Genre: Latin, Flamenco

One of the greatest masters of flamenco guitar in a landmark l963 recording with singers Jose Reyes and Manero Baliardo on four of the ten tracks. This is the raw, real stuff of flamenco, putting the listener in the middle of the gypsy campfire scene. The entire heart and soul of this gypsy goes into his emotional music. The recording venue was a medieval chapel and the acoustics are perfect, both for the echoing castanets and shouts, as well as the increasing ability of SACD reproduction to preserve such subtle sound reflections. If your only exposure to such gypsy fire is the Gypsy Kings, get a load of the real thing with this disc.

01. Bulerias
02. Granadinas
03. Tarantas
04. Alegrias del Cante
05. Sevillanas
06. Soleares Gitanas
07. Levantes
08. Farruca
09. Jota
10. Tarantas

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May 23

Mahler: Symphony No. 7 – Bernstein, NYPO (2007) [2.0 & 5.1] PS3 ISO & FLAC
PS3 Rip | 2 SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 37:03 (Disc 1), 42:7 (Disc 2) | 6,49 GB Total
2 Discs FLAC 2.0 Stereo (PS3 ISO extract / Weiss Saracon conversion) 24bit/88,2 kHz | 1.68 GB Total
Label: Sony Music Japan | Year: 1965, 2007 | Genre: Classical

Sony should issue this recording at birth to everyone! It’s simply amazing! I originally heard Bernstein do this performance live and have lived with it ever since it was issued, first as LP then as CD. However, with this Japanese SACD issue, it’s like I’m really there. It comes to life like never before!
Mahler’s 7th Symphony, the “Song of the Night” as it is sometimes called, is perhaps Mahler’s most ambitious symphonic work, in five movements with two “nachtmusik” movements as the second and fourth movements, and a brilliant rondo as the last movement where the light finally breaks through. This recording is among the most acclaimed of the all the Mahler 7 recordings, superbly played and recorded with life-like brilliance.
My only complaint about the SACD issue that Sony makes us pay a usurious price. Do they think that only the Japanese enjoy SACD quality, and make the rest of us pay through the nose for it?

Disc 1

1 – 1.Satz:Langsam(Adagio)
2 – 2.Satz:Nachtmusik. Allegro moderato

Disc 2
1 – 3.Satz:Scherzo. Schattenhaft
2 – 4.Satz:Nachtmusik. Andante amoroso
3 – 5.Satz:Rondo – Finale. Tempo I (Allegro ordinario)

Artists & Movements:
Leonard Bernstein, Conductor
New York Philharmonic, Orchestra
Recorded Dec, 1965, New York
DSD Remastering original three-track master tape, Nov. 2007

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May 23

Big John Patton – Let ‘Em Roll (1965/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 39:57 minutes | 1,66 GB | Genre: Jazz
Studio Master, Official Digital Download – Source: Qobuz | Front Cover | © Blue Note Records
Recorded: Van Gelder Studio, Englewood Cliffs, New Jersey on December 11, 1965

Right in time for Jazz Appreciation Month the Blue Note LP series continues on with five new titles. During the Blue Note 75th anniversary celebration the label released 100 essential Blue Note LPs and asked New York Times readers what titles they’d like to see make the list. Five new reissues were hand-selected by Blue Note President, Don Was, based on New York Times reader recommendations including Big John Patton’s Let ‘Em Roll.

This soulful and groovy 1965 Blue Note effort from the famed Hammond B-3 organist finds him matching creative wits with fellow jazz greats like Grant Green (guitar), Bobby Hutcherson (vibraphone) and Otis Finch (drums), and running down an upbeat six-track stunner of a set comprised of four of his own originals and well-suited takes on the standard “The Shadow of Your Smile” and Hank Mobley’s “The Turnaround.”

In an unusual setting for a groove/soul jazz setting, B3 organist extraordinaire big John Patton creates a band around himself that includes Grant Green, drummer Otis Finch, and vibraphonist Bobby Hutcherson. It’s truly weird to think of vibes on a groove date, but the way Patton’s understated playing works, and the way Green is literally all things to all players, Hutcherson’s role is not only a clearly defined one, but adds immeasurably to both depth and texture on this date. What also makes this possible is the symbiotic relationship between Patton and Green. There is a double groove conscious swing happening on every track here, from the bluesed-out slip and slide of the title track which opens the record to a killer version of Hank Mobley’s “The Turnaround,” which expands the blues vibe into solid soul territory because of Hutcherson’s ability to play pianistically and slip into the funk groove whenever necessary. Green’s deadly in his solo on the track, shimmering arpeggios through Patton’s big fat chords and chunky hammering runs. Also notable are Patton’s own tunes, the most beautiful of which is “Latona,” a floating Latin number with a killer salsa rhythm in 6/8. As Patton vamps through the chorus, Green slips in one of his gnarliest solos ever. It begins with a groove like run in the hard bop blues and then shoves itself into overdrive, capturing the cold sweat of a Bola Sete or Wes Montgomery in his groove years. But when Green goes for the harmonic edges, all bets are off: Hutcherson lays out, and he and Patton go running to the bridge and bring the melody back just in time to take it out. This is one of the least appreciated of Patton’s records, and there’s no reason for it; it is great. ~~ AllMusic Review by Thom Jurek

1 Let ‘Em Roll 6:40
2 Latona 7:20
3 The Shadow Of Your Smile 6:50
4 The Turnaround 6:45
5 Jakey 5:30
6 One Step Ahead 6:50

“Big” John Patton, organ
Bobby Hutcherson, vibes
Grant Green, guitar
Otis Finch, drums

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May 23

Released at: 2014-01-29
Catalog: KIGA24

上原れなの4thアルバム。2013年10月~12月放送のTVアニメ「WHITE ALBUM2」OP、ED、挿入歌や、2013年10月発売のPS3ソフト「ティアーズ・トゥ・ティアラII 覇王の末裔」のOPテーマなど全14曲を収録。OTOTOYでは2.8MHz DSDと24bit/96kHzのハイレゾ音源で配信中。


1. 届かない恋 ’13
2. いくつもの未来
3. summer rain
4. Happy Ending
5. Answer
6. closing ’13
7. イミテーションワールド
8. Sparkling Heart
10. ただひとつの星
11. 手纸 ~10年后の私へ~
12. Until -from Hispania-
13. After All ~缀る想い~ ’13
14. さよならのこと

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