Jun 01

Wolfgang Amadeus Mozart – Divertimento – Trio Zimmerman (2010)
FLAC (tracks) 24-bit/88,2 kHz | Time – 59:25 minutes | 0,98 GB | Genre: Classical
Studio Master, Official Digital Download – Source: eClassical | Digital Booklet | © BIS Records
Recorded: July 2009 (Mozart) and July 2010 (Schubert) at Nybrokajen 11 (the former Academy of Music), Stockholm, Sweden

Classics Today 10/10: “This is a magnificent recording”; Music Web International: “Beautifully presented and recorded this impressive disc will prove a most worthwhile addition to any chamber music collection”.

‘Each instrument is primus inter pares, every note is significant …’ is how the scholar Alfred Einstein described W.A. Mozart’s Divertimento in E flat major for string trio. What other work could then be more suitable for the first disc of a star-studded ensemble such as Trio Zimmermann, in which each member is very definitely first among equals? Composed in the same year as the three final symphonies, Mozart’s only real trio for violin, viola and cello is a weighty work – six movements and close to 50 glorious minutes of music – and the fact that Mozart chose the title Divertimento (from the Italian divertire: to amuse) for a piece of these dimensions has often been remarked upon. But to Mozart, there was no real dividing line between ‘serious’ art and pleasure or amusement – and so, to quote Einstein once more, he gave us ‘the most perfect, finest thing that has ever been heard in this world’. To round off the disc, Frank Peter Zimmermann, Antoine Tamestit and Christian Poltéra have chosen to record Franz Schubert’s first contribution to the string trio genre, the opening – and only complete – movement (Allegro) of his String Trio in B flat major, D 471, written in 1816 when the composer was only nineteen.


Wolfgang Amadeus Mozart (1756–91)
Divertimento in E flat major, K563
1. I. Allegro 12’15
2. II. Adagio 11’10
3. III. Menuetto. Allegretto 5’18
4. IV. Andante 7’00
5. V. Menuetto. Allegretto 5’11
6. VI. Allegro 6’14

Franz Schubert (1797–1828)
String Trio in B flat major, D471
7. Allegro 10’56

Frank Peter Zimmermann, violin
Antoine Tamestit, viola
Christian Poltéra, cello

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Jun 01

Wolfgang Amadeus Mozart – Concertos for Two & Three Pianos – Alexei Lubimov, Ronald Brautigam, Manfred Huss (2007) 
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:09:02 minutes | 596 GB | Genre: Classical
Studio Master, Official Digital Download – Source: eClassical | Digital Booklet | © BIS Records
Recorded: September 2006 at the Florianikirche, Straden, Austria

There is only a limited number of works for two or more solo instruments with orchestra. One reason may be that the concerto genre in the 19th century became the stomping ground of the great virtuosi of the day, and the works themselves vehicles for the great and unique talent of one, special performer – not two, or three. Mozart, however, was evidently attracted by the sinfonia concertante genre and created some of the finest examples of it, such as the Sinfonia Concertante for Violin and Viola and the Concerto for Flute and Harp, as well as his two concertos for more than one piano. The ‘Lodron Concerto’ for three pianos was composed in 1776 for Countess Lodron and her daughters. It is Mozart’s third piano concerto and the young man’s irrepressible sense of fun is obvious: in his liner notes conductor and pianist Manfred Huss calls the concerto ‘a true musical joke, in which the musical line is divided between the three players quite arbitrarily; one piano continues what another has started and the third will conclude. The listener hardly notices the humour, however, as the music sounds quite “normal”, and only the pianists know (and the score shows) what Mozart is up to.’ When the composer three years later returns to the task of writing for more than one piano, the result is quite different. The Concerto in E flat major KV 365, composed for Mozart himself and his sister Nannerl, is according to Huss ‘in many respects Mozart’s first ‘big’ piano concerto. It is the first in which we find the very characteristic intertwining of the woodwind and the piano part, accomplished very effectively and virtuosically.’ Mozart seems to have been fond of the work, so fond that for a later performance he added clarinets, trumpets and timpani to the orchestra. Both versions of the score are found on the present recording, played by Alexei Lubimov and Ronald Brautigam, two of today’s finest performers on the fortepiano. The two versions frame the triple concerto, in which Lubimov and Brautigam are joined by Manfred Huss, artistic director of the eminent Haydn Sinfonietta Wien, who here make their first appearance on BIS.


Wolfgang Amadeus Mozart (1756–91)

Concerto in E flat major for two pianos, KV365 (1779)
1. I. Allegro 9’48
2. II. Andante 6’29
3. III. Rondeau. Allegro 6’45

Concerto in F major for three pianos ‘Lodron Concerto’, KV242
4. I. Allegro 8’19
5. II. Adagio 6’55
6. III. Rondeau. Tempo di Menuetto 5’24

Concerto in E flat major for two pianos, KV365 (1779, rev. 1782)
7. I. Allegro 10’17
8. II. Andante 6’35
9. III. Rondeau. Allegro 6’44

Ronald Brautigam, fortepiano
Alexei Lubimov, fortepiano
Haydn Sinfonietta Wien
Manfred Huss, conductor & fortepiano

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Jun 01

Wolfgang Amadeus Mozart – Violin Sonatas K301, 304, 379 & 481 – Alina Ibragimova, Cedric Tiberghien (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:43:54 minutes | 1,69 GB | Genre: Classical
Studio Master, Official Digital Download – Source: hyperion-records | Digital Booklet |  © Hyperion Records
Recorded: October 2014, Concert Hall, Wyastone Estate, Monmouth, United Kingdom

Mozart’s violin sonatas span his entire career—the early ones are billed as piano sonatas with optional violin accompaniment—and they develop over the years into the first triumphs of the modern genre. Alina Ibragimova and Cédric Tiberghien have been enthralling audiences worldwide with these works, and now the first instalment is available as a highly desirable 2-for-1 album.

Call me a killjoy, but my pulse rate rarely quickens at the prospect of Mozart’s pre-pubescent music. The three childhood works on these discs—essentially keyboard sonatas with discreet violin support—go through the rococo motions pleasantly enough. But amid the music’s chatter and trickle, only the doleful minore episode in the minuet finale of K30 and the carillon effects in the corresponding movement of K14 (enchantingly realised here) offer anything faintly individual. Still, it would be hard to imagine more persuasive performances than we have here from the ever-rewarding Tiberghien-Ibragimova duo: delicate without feyness, rhythmically buoyant (Tiberghien is careful not to let the ubiquitous Alberti figuration slip into auto-ripple) and never seeking to gild the lily with an alien sophistication.

The players likewise bring the crucial Mozartian gift of simplicity and lightness of touch (Ibragimova’s pure, sweet tone selectively warmed by vibrato) to the mature sonatas that frame each of the two discs. It was Mozart, with his genius for operatic-style dialogues, who first gave violin and keyboard equal billing in his accompanied sonatas; and as in their Beethoven sonata cycle (Wigmore Hall Live), Tiberghien and Ibragimova form a close, creative partnership, abetted by a perfect recorded balance (in most recordings I know the violin tends to dominate). ‘Every phrase tingles,’ I jotted down frivolously as I listened to the opening Allegro of the G major Sonata, K301, truly con spirito, as Mozart asks, and combining a subtle flexibility with an impish glee in the buffo repartee.

Tiberghien and Ibragimova take the opening Allegro of the E minor Sonata, K304, quite broadly, emphasising elegiac resignation over passionate agitation. But their concentrated intensity is compelling both here and in the withdrawn—yet never wilting—minuet. Especially memorable are Ibragimova’s chaste thread of tone in the dreamlike E major Trio, and Tiberghien’s questioning hesitancy when the plaintive Minuet theme returns, an octave lower, after the Trio.

In the G major Sonata, K379, rapidly composed for a Viennese concert mounted by Archbishop Colloredo just before Mozart jumped ship, Tiberghien and Ibragimova are aptly spacious in the rhapsodic introductory Adagio (how eloquently Tiberghien makes the keyboard sing here), and balance grace and fire in the tense G minor Allegro. In the variation finale their basic tempo sounds implausibly jaunty for Mozart’s prescribed Andantino cantabile, though objections fade with Tiberghien’s exquisite voicing of the contrapuntal strands in the first variation. I enjoyed the latest of the sonatas, K481, unreservedly, whether in the players’ exuberant give-and-take in the outer movements or their rapt, innig Adagio, where Ibragimova sustains and shades her dulcet lines like a thoroughbred lyric soprano. Having begun this review in grudging mode, I’ll end in the hope that these delightful, inventive performances presage a complete series of Mozart’s mature violin sonatas, with or without a smattering of childhood works. –Richard Wigmore, Gramophone


Wolfgang Amadeus Mozart (1756-1791)

Violin Sonata in G major K301
1  Allegro con spirito[7’39] 2  Allegro[5’33]

Violin Sonata in B flat major K10
3  Allegro[4’19] 4  Andante[7’03] 5  Menuetto[3’25]

Violin Sonata in E flat major K481
6  Molto allegro[7’09] 7  Adagio[7’16] 8  Allegretto (with variations)[8’02]

Violin Sonata in G major K379
9  Adagio – Allegro[10’01] 10  Theme and variations: Andantino cantabile[8’01]

Violin Sonata in F major K30
11  Adagio[5’50] 12  Rondo: Tempo di Menuetto[3’15]

Violin Sonata in C major K14
13  Allegro[4’40] 14  Allegro[2’50] 15  Menuetto[3’27]

Violin Sonata in E minor K304
16  Allegro[9’37] 17  Tempo di Menuetto[5’47]

Alina Ibragimova, violin
Cédric Tiberghien, piano

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Jun 01

Wolfgang Amadeus Mozart – Complete Works for Flute & Orchestra – Sharon Bezaly, Julie Palloc, Ostrobothnian Chamber Orchestra, Juha Kangas (2008)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:21:52 minutes | 733 MB | Genre: Classical
Studio Master, Official Digital Download – Source: eClassical | Digital Booklet | © BIS Records
Recorded: April 2005 and October 2007 (Flute & Harp Concerto) at Kaustinen Church, Finland

When the greater part of the programme on this disc was released as the BIS 2005 Catalogue Disc, the response was electrifying. Sharon Bezaly was described as ‘God’s gift to the flute’ in The Times (UK), and a quote from the review in BBC Music Magazine is representative: ‘Bezaly’s exquisite, technically immaculate, compelling playing sets new standards in this repertoire, as do Kalevi Aho’s stunning cadenzas, composed especially for this recording.’ Other reviewers agreed, and the disc received top marks in Le Monde de la Musique, Crescendo, Musica and other magazines as well as on radio stations and web sites such as Classics Today. This staggeringly successful title – 145 000 copies sold worldwide! – is now made available again with the important inclusion of a newly made recording of the Concerto for Flute and Harp. At a session in October 2007, we reunited the performers and recording crew of the 2005 disc in the original venue, with the addition of the eminent harpist Julie Palloc as co-soloist. Furthermore, Finnish composer Kalevi Aho again provided the cadenzas for the work, as he had for the other concertos on the disc. The result is not to be missed – a 24 carat, complete collection of all Mozart’s works for flute and orchestra, on a hybrid SACD with the extremely generous playing time of 81 minutes and 52 seconds!

Wolfgang Amadeus Mozart (1756–91)
Concerto in G major for flute and orchestra, KV 313
1. I. Allegro maestoso 8’14
2. II. Adagio ma non tanto 8’33
3. III. Rondo. Tempo di Minuetto 6’48

4. Andante in C major for flute and orchestra, KV 315 6’26
Concerto in C major for flute, harp and orchestra, KV 299
5. I. Allegro 9’55
6. II. Andantino 6’45
7. III. Rondeau. Allegro 8’36

8. Rondo in D major for flute and orchestra, KV Anh. 184 5’45
Concerto in D major for flute and orchestra, KV 314
9. I. Allegro aperto 7’18
10. II. Adagio ma non troppo 6’22
11. III. Rondeau. Allegro 5’24

Sharon Bezaly, flute
Julie Palloc, harp
Ostrobothnian Chamber Orchestra
Juha Kangas, conductor

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Jun 01

Lucia Cadotsch – Speak Low (2016)
FLAC (tracks) 24 bit/96kHz | Time – 45:45 minutes | 946 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Yellowbird Records

Remember the name Lucia Cadotsch – you’re going to be hearing a lot of it. Cadotsch is a young, Zurich-born vocalist who possesses a classical clarity, a folk singer’s simplicity, and an appetite for performing very famous songs (Moon River, Don’t Explain, Strange Fruit) in the company of two edgy free-jazz instrumentalists, who flank her sedate progress with split-note sax sounds and spiky basslines and percussive strumming. That might sound like a merciless deconstruction of fine songs, but in this compelling trio’s hands the process is remarkably melodious and illuminating. Speak Low is delivered with phlegmatic gentleness as saxophonist Otis Sandsjö’s looping ostinato gets increasingly windy and raw, and Strange Fruit is stalked by multiphonic sax growls and swiped, twanging bass chords. Cadotsch is as light-stepping and dolefully swinging as Madeleine Peyroux on Some Other Spring; low-key on Moon River, as if the very thought of the rainbow’s end is wearisome. It’s all eerily beautiful.

1. Slow Hot Wind 04:42
2. Speak Low 05:18
3. Strange Fruit 07:00
4. Ain’t Got No, I Got Life 04:28
5. Don’t Explain 04:26
6. Deep Song 03:59
7. Some Other Spring 03:16
8. Willow Weep for Me 04:42
9. Gloomy Sunday 04:49
10. Moon River 03:05

Lucia Cadotsch, vocals
Otis Sandsjö, tenor sax
Petter Eldh, double bass

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Jun 01

Gustav Mahler – Symphony No.9 – Royal Stockholm Philharmonic Orchestra, Alan Gilbert (2009)
FLAC (tracks) 24 bit/44,1kHz | Time – 01:22:22 minutes | 730 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: eClassical | Digital Booklet | © BIS Records
Recorded: 2nd–7th June 2008 at the Stockholm Concert Hall, Sweden

The love affair between Alan Gilbert and the Royal Stockholm Philharmonic Orchestra began in December 1997 with a performance of Mahler’s First Symphony. In 2000 Gilbert became chief conductor and artistic advisor of the orchestra, remaining in that post until 2008 – a period which has been described as ‘a golden age’ in the history of the orchestra. For his farewell concert as chief conductor, Gilbert chose to close the chapter by performing Mahler’s last symphony, No. 9 in D major, and the present recording was made in conjunction with this very special occasion. It was a fitting choice of repertoire in another respect as well: Mahler composed his Ninth in 1909-10, after having accepted the post of music director of the New York Philharmonic, the very orchestra that Gilbert now goes on to take charge of. The symphony is often regarded as the composer’s monumental – both in terms of scale and emotional scope – leave-taking of the world. In his insightful liner notes, Arnold Whittall acknowledges the difficult circumstances in Mahler’s personal life at the time of composition, but rather than nostalgia he finds in it a momentum propelling the symphonic genre far into the future: ‘Mahler’s Ninth is one of the crowning glories of symphonic history, and many would argue that it has only rarely been equalled, and probably never surpassed, in the century since its completion.

Gustav Mahler (1860–1911)
Symphony No.9 in D major
1. I. Andante comodo 26’41
2. II. Im Tempo eines gemächlichen Ländlers. Etwas täppisch und sehr derb 15’03
3. III. Rondo-Burleske. Allegro assai. Sehr trotzig 13’07
4. IV. Adagio. Sehr langsam und noch zurückhaltend 26’27

Royal Stockholm Philharmonic Orchestra
Alan Gilbert, conductor

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Jun 01

Joe Henderson – Mirror, Mirror (1980/2016)
DSD64 (.dsf) 1 bit/2,8 MHz MHz | Time – 43:32 minutes | 1,73 GB
or FLAC (tracks) 24 bit/88,2 kHz | Time – 41:35 minutes | 904 MB
Studio Master, Official Digital Download – Source: highresaudio.com | Front Cover | © MPS
Genre: Jazz | Recorded: January 1980, at Studio-Masters, Los Angeles, CA

“Joe Henderson is the essence of jazz. He embodies all the elements that came together in his generation: the virtuosity of hard bop and the avant-garde. He can be harmonically abstract and yet keep to the roots. He is my inspiration.” So spoke guitar great John Scofield about the tenor saxophonist. Henderson, who died in 2001, was one of the most important jazz musicians of the last third of the twentieth century. He became an overnight sensation as a member of Horace Silver’s band on the release of Silver’s “Song for My Father”. Henderson’s solo on Silver’s hit composition is held up as a prime example of brilliant jazz improvisation. Another highpoint in this rather reserved musician’s life was the Grammy Henderson received in1991 for his album “Lush Life”. Henderson’s playing style was influenced by, among others, John Coltrane. The connection is amply demonstrated by Henderson’s ecstatic, piercing solo on his modally based composition “Joe’s Bolero”. On the standard “What’s New”, the saxophonist shows off his mellow, melodic side, a facet of Henderson’s playing that has always had an appeal beyond the jazz community. With Chick Corea on Piano, Ron Carter on Bass and Drummer Billy Higgins, Henderson has gathered a truly all-star group. This album isn’t about a soloist and his sidemen: all the musicians are on an equal footing, everyone has their space to play.

Tenor saxophonist Joe Henderson has had a remarkably consistent career. Although he has spent periods (such as the 1970s) in relative obscurity and others as almost a jazz superstar, Henderson’s style and sound has been relatively unchanged since the 1960s. This lesser-known album finds Henderson in typically fine form in an acoustic quartet with pianist Chick Corea, bassist Ron Carter and drummer Billy Higgins. Carter and Corea contribute two songs apiece, Henderson gets to perform his “Joe’s Bolero” and the tenor sounds majestic on “What’s New.”  ~~ AllMusic Review by Scott Yanow

1. Blues for Liebestraum 07:58
2. Candlelight 06:15
3. Joe’s Bolero 09:43
4. Keystone 09:41
5. Mirror, Mirror 05:56
6. What’s New? 03:59

Joe Henderson, tenor saxophone
Chick Corea, piano
Ron Carter, bass
Billy Higgins, drums

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Jun 01

Mudcrutch – 2 (2016)
FLAC (tracks) 24-bit/48 kHz | Time – 43:15 minutes | 519 MB | Genre: Rock
Studio Master, Official Digital Download – Source: livedownloads.com | Front Cover | © Reprise Records

2 is Mudcrutch’s second album released by Reprise Records. The album is the follow-up to the band’s 2008 eponymous debut which Rolling Stone called “a country-rock instant classic” in a rave four star review. The new album is produced by band members Tom Petty and Mike Campbell with Ryan Ulyate. All members of Mudcrutch contribute songs on their new album 2. The album includes seven originals written by Tom Petty, with band members Mike Campbell, Tom Leadon, Randall Marsh and Benmont Tench composing one each.
Mudcrutch was initially formed in 1970 in Gainesville, Florida and is the precursor to the legendary Tom Petty & The Heartbreakers. Tom Petty (bass/vocals), Tom Leadon (guitar/vocals), Benmont Tench (keyboards/vocals), Mike Campbell (guitar/vocals), and Randall Marsh (drums/vocals) make up the band’s current line-up. In 1974, Mudcrutch was signed to Shelter Records and moved to Los Angeles where they released one single, “Depot Street”, to very little fanfare. The band broke up in 1975 and could have settled for being a legend, but instead Mudcrutch rose from the ashes in 2008 to remind us that the golden age of rock and roll bands still had a few treasures to unearth. Their debut, made some thirty-three years later, was an unexpected hit.

Tom Petty reunited his original Gainesville band Mudcrutch for a lark in 2008. Their eponymous album and short accompanying tour didn’t carry the feeling of unfinished business so much as a good-natured ramble through the past. Some old originals were excavated, new songs written, and old favorites covered, all wrapped up in a charmingly ragged little record that gave Petty a bit of a creative jolt. Afterward, he led the Heartbreakers through excursions in blues and garage rock, but that relaxed country-rock vibe proved irresistible, so he reconvened Mudcrutch for a second record in 2016. Titled 2, this second Mudcrutch LP isn’t quite a straight sequel. Any of the loose ends left hanging from 2008 have been tied: 2 is streamlined and tight, the cover songs excised in favor of brand-new compositions from every member of Mudcrutch. Just because all five musicians contribute at least one song, that doesn’t necessarily make Mudcrutch a democracy. Petty remains the quintet’s undisputed leader, writing seven of the 11 songs and setting the tone for 2, emphasizing a thick, swampy guitar grind that nevertheless finds space for the country breeze of Tom Leadon’s “The Other Side of the Mountain,” Randall Marsh’s AM ’70s throwback “Beautiful World,” Benmont Tench’s retro-boogie “Welcome to Hell,” and Mike Campbell’s garage raver “Victim of Circumstance.” All of these provide grace notes to a strong set of Petty originals that range from heartbroken ballads (“Beautiful Blue”) and psychedelic stompers (“Hope”) to Byrdsian jangle (“Save Your Water”) and a revival of “Trailer,” a Southern Accents outtake given a nice sludgy rendition illustrating that the main charm of Mudcrutch is their casualness. Nobody here is attempting a major statement; they’re simply laying back and tossing off songs, but 2 is executed with precision, which is what keeps it crackling. It’s a good-time record, but one intended to showcase how Mudcrutch hit harder and dig a bit deeper than they initially seemed to do. –AllMusic Review by Stephen Thomas Erlewine

1. Trailer 03:17
2. Dreams of Flying 03:59
3. Beautiful Blue 06:37
4. Beautiful World 03:08
5. I Forgive It All 04:14
6. The Other Side of the Mountain 03:17
7. Hope 03:11
8. Welcome to Hell 03:30
9. Save Your Water 03:12
10. Victim of Circumstance 02:37
11. Hungry No More 06:13

Tom Petty, lead & backing vocals, bass guitar
Mike Campbell, lead guitar
Tom Leadon, rhythm guitar, backing & lead vocals
Benmont Tench, keyboards, backing & lead vocals
Randall Marsh, drums

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Jun 01

Scott Joplin – The Easy Winners & Other Rags – Itzhak Perlman, Andre Previn (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 43:10 minutes | 771 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | ©  Warner Classics
Recorded: Abbey Road Studios, London, 2 & 10 December 1974

This album of ragtimes by Scott Joplin, recorded in 1974, was Itzhak Perlman’s first foray beyond the classical repertory, at least on record. The departure proved a successful one and was to be the first of many other such adventures, which also included jazz with André Previn (volume 24) and Oscar Peterson, recordings of Yiddish folk music (volume 38) and film music. In the tradition of his great predecessors, foremost among them Fritz Kreisler and Jascha Heifetz, Perlman supplied the arrangement for violin and piano himself, remaining faithful to the composer’s style while exploiting the classical violin’s rich palette of colours. His partnership with André Previn, who accompanied him on the piano, always retained a classical perspective, while still allowing for a measure of stylistic freedom.

As Perlman himself revealed, the ornamentations added by the two performers varied from session to session as the pieces were recorded. Ragtime began life as the preserve of the piano, but in Joplin’s time travelling violinists would often join in with string ensembles known as “Serenaders”, made up of violinists, guitarists, mandolin players and double bassists. They would play ragtime in the street in the towns where their travels took them and happily accepted invitations to perform in people’s homes. Scott Joplin played the guitar and the clarion in addition to being an accomplished pianist, and would probably have been able to perform to some level on the violin, given that his father Giles Joplin had been a violinist while a slave in North Carolina.
Considered in Europe a living form of American art, ragtime was hugely fashionable in the United States for more than twenty years, but its origins prevented its performance in American concert halls during the first decades of the twentieth century. Driven to despair by the rejection of his music, Joplin died of insanity and depression at the age of forty-nine. In the 1970s his works enjoyed a revival thanks to the advocacy of pianists such as Joshua Rifkin, William Bolcom and Max Morath, conductors Gunther Schuller and George Sponhaltz, organist Lee Erwin and harpsichordists E. Power Biggs and William Neil Roberts. Ragtime finally made its mark on concert halls and university auditoriums as well as on the record industry.

Before making this recording Perlman had played his Joplin arrangements in recital, where they had been warmly received. On this disc, the two partners do true justice to the piquancy of Joplin’s music, to its infectious cheerfulness as well as to its darkest bursts of melancholy. As Perlman wrote: “Originally played mostly in saloons and bordellos, ragtime became immortalised through Scott Joplin’s dedication and talent. Listening to Joplin’s own works in their original piano form and in orchestral transcriptions, I became captivated by the composer’s charm and uniquely pungent rhythms. Intriguing too was the pervasive classical influence evidenced in both form and harmonic content. Joplin’s lyrical, often sad qualities suggested the idea of arranging his music for violin and piano. The violin, which naturally displays music’s most soulful qualities, surely would be an apt voice for realising this composer’s very individual spirit. For these recordings, I chose works which represent Joplin in a variety of moods, joyful, sad or meditative. The exuberant qualities of The Ragtime Dance, for example, contrast with the more introspective, solemn character of Solace or Bethena achieved through his innovative use of harmonic progressions and modulations combined with rhythmic pulse and melodic lines … Playing in such a manner is always exciting and adventurous.” –Jean-Michel Molkhou

Scott Joplin (1867/8–1917)
All tracks arr. Itzhak Perlman
1 The Ragtime Dance 3.13
2 The Easy Winners 3.11
3 Bethena (a concert waltz) 6.36
4 Magnetic Rag 4.50
5 The Strenuous Life (a ragtime two-step) 3.53
6 The Entertainer 4.11
7 Elite Syncopations 3.14
8 Solace (a Mexican serenade) 7.12
9 Pine Apple Rag 3.10
10 Sugar Cane (a ragtime classic two-step) 3.44

Itzhak Perlman, violin
André Previn, piano

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Jun 01

Marty Gold And His Orchestra – The Broadway Soundaroundus (1967/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 29:25 minutes | 1,1 GB | Genre: Pop
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © RCA/Legacy
Recorded: 1967, Webster Hall, New York City

Marty Gold and his Orchestra play The Broadway Soundaroundus in this 1967 release.

Space-age pop arranger and composer Marty Gold was born December 26, 1915 in New York City; after spending the early decades of his career as a big-band pianist, during the early 1950s he became a studio arranger at Decca Records, and also authored the Four Aces’ 1951 smash “Tell Me Why.” Gold later jumped to RCA, where he collaborated on a series of LPs by the Three Suns; he also arranged and conducted numerous sessions for Peter Nero. For RCA and its affiliates Vik and X, Gold and his orchestra recorded a series of LPs — among them Organized for Hi-Fi, Stereo Action Goes Hollywood, Soundpower! Music to the Limits of Audibility and Soundaroundus — much prized by today’s collectors of space-age lounge-pop. —Artist Biography by Jason Ankeny

1 The Sound Of Music (From “The Sound Of Music”)    2:46
2 Holly Golightly (From “Holly Golightly”)    2:43
3 Try To Remember (From “The Fantasticks”)    2:39
4 Cabaret (From “Cabaret”)    2:00
5 I Do, I Do (From “I Do, I Do”)    2:58
6 Hello Dolly (From “Hello Dolly”)    2:15
7 Breakfast At Tiffany’s (From “Holly Golightly”)    2:53
8 Fiddler On The Roof (From “Fiddler On The Roof”)    2:25
9 If He Walked Into My Life (From “Mame”)    3:10
10 (He Is) Very Close To Wonderful (From “Walking Happy”)    2:20
11 Get Me To The Church On Time (From “My Fair Lady”)    2:24

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