Jun 24

藝人/團體 : 王惠娟 Tiffany Wong – 查看所有專輯
專輯名稱 : 老情人
Timeless Lover
音樂類型 : 爵士 [CD 專輯] 發行公司/日期 : 極光
製作公司 : ROUNDER

http://www.welchenmusic.com/prodshow.asp?ProdId=DSD004

https://www.5music.com.tw/CDList-C.asp?cdno=425425758540

Tiffany 她的聲音能夠穿透歲月,讓浮躁的人沉靜下去,而讓心碎的人忘記痛心舊事。空氣中傳來她的歌,旋律凝重執著,像似挑動著我們每根聽覺的神經,聽聽吧,她學會了在匆匆穿梭的人群中聆聽自己寂寞的足音,學會看見自己深不見底的心境,還學會了拋開憂傷而選擇堅強。在這個鋼筋水泥的叢林裡,有多少人曾經像她一樣?總是邁著理想的步伐興奮前行,而燈紅酒綠後面隱藏的莫測夜幕,又總是讓她們一次又一次迷失。在她用心吟唱的歌聲裏,在她深深切切、一如既往的情懷中,分明又有一種叫做 ” 希望 ” 的東西在緩緩流動。專輯 唱片中收集了不同年代,人們熟悉和喜愛的老歌,經過重新的編配和翻唱之後,給我們帶來 “ 老歌 ” 的新感覺。這張 SACD (Super Audio Compact Disc) 號稱是「超級 CD 」, 人聲飽滿、樸實、低音豐厚而具有彈性,鋼琴的自然音色、打擊樂的層次和泛音,空間的細節等等方面都有著超凡的表現,細膩而豐滿的整體效果和良好的平衡給人留下深刻印象。加上被賦予了全新內容的熟悉旋律,值得樂迷仔細品位。唱片的後期製片在德國完成,保證了其出色的音響品質,唱片採用雙層複合結構,用普通 CD 機也可播放,如果以 SACD 機器播放會感受更佳的音響效果。

专辑曲目

˙01 老情人 Timeless lover
˙02 意難忘 An emotion of no passing
˙03 明月千里寄相思 Let the moon bridge you and me
˙04 哭砂 Tears in sand
˙05 玫瑰玫瑰我愛你 Roses oh roses how much I adore you
˙06 訴衷情 Spear softly love
˙07 我只在乎你 You are the only one
˙08 我是不是你疼愛的人 Am I the only one you love most
˙09 順流逆流 Downstream and against stream
˙10 康定情歌 The love song of kangding
˙11 讀你 Re adding you
˙12 被遺忘的時光 Lost memories
˙13 夢醒時分 When the dream fades
˙14 藍色的夢 Blue dream

Continue reading »

Jun 24

產品名稱: Very Personal (SACD)
歌手名稱: 羅敏莊 (歌手)
推出日期: 2013-12-27
語言: 粵語
製作來源地: 中國香港
光碟格式: Super Audio CD
出品商: New Century Workshop (HK)

http://www.yesasia.com/global/very-personal-sacd/1034964467-0-0-0-zh_TW/info.html

內容簡介/曲目

SACD 是Sony與Philips合力研發的音頻碟片規格,是繼CD的發明之後,成功超越CD錄音品質的新產品。音頻CD (CDDA) 採取44.1KHz的取樣頻率,在接近人耳 聽覺極限的高頻訊號中 (接近20KHz) 只能取樣出百份之三十;要用這百份之三十來恢復正確的類比訊號會造成相位誤差。SACD的取樣頻率高達2822.4kHz,是一般CD44.1KHz取樣的64倍,而且SACD頻率範圍更高達100KHz以上;因此使得SACD改善了傳統CD音質給人冷硬的刻板印象,而以更細膩、更多細節、更柔軟的聲音呈現。

SACD的錄音方式是用Direct Stream Digital (DSD,即直流數位技術) 方式錄音,將所有訊號以每秒280萬次直接把類比音樂訊號波形轉變為數位訊號,也就是 『直接位元流數位』,因此取樣非常接近原來的類比訊號。另外,SACD沒有位元轉換程序,降低了數位濾波而產生的失真與雜訊。由於SACD自身的定位以及1bit量化DSD直接資料流程在技術方面的簡潔和優勢,使得大多數的資深音響發燒友經過親耳聆聽後,主觀感覺都認為SACD在音質上勝過音頻CD。

Very Personal 羅 敏 莊
亞洲 爵士樂頂尖樂手 Eugene Pao 包以正 /Ted Lo/Sylvian Gagoni/Yoyong 及
澳洲首席鼓手 Nicholas Mcbride 及美國囗琴師 Damien Masterson等參予錄音製作
Original Mastered by Joe Gastwirt, CA. U. S. A.

BONUS TRACKS
挑 戰 者 分 分 鐘 需 要 你

01. 挑戰者
02. 疾風
03. 不信愛有罪
04. 相愛
05. 從不知
06. 雨夜的浪漫
07. 留住我吧
08. 這一種感覺
09. 粉紅色的一生
10. 裝飾的眼淚
11. 感情到老
12. 長伴千世紀
13. 綠水清風
14. 別月
15. 早晨
16. 為你鍾情
17. 分分鐘需要你

Continue reading »

Jun 24

许冠杰 相识廿载演唱会 ’87 (升级版) (Blu-ray Audio)
推出日期: 2015-03-26
語言: 粵語
製作來源地: 中國香港

* 純音頻藍光片
Ultra High Quality Audio, No Video Content

【許冠傑 相識廿載演唱會’87(升級版)】
HFPA (High Fidelity Pure Audio) 50GB雙層藍光碟
產品名稱: 許冠傑 相識廿載演唱會 ’87 (升級版) (Blu-ray Audio) (限量編號版)
歌手名稱: 許 冠傑 (歌手)
Blu-ray Region Code: 全區碼
推出日期: 2015-03-26
語言: 粵語
製作來源地: 中國香港
光碟格式: Blu-ray
重量(連包裝): 120 (g)
出品商: 環球唱片(香港)
豆瓣链接:https://music.douban.com/subject/4172794/

4種聲效可選擇播放
list1. PCM 24/96 2.0
list2. PCM 24/96 5.1
list3. Dts-HD Master Audio 24/96 5.1
list4. Dolby True HD 24/96 5.1

極致釋放High Fidelity Pure Audio最高威力

曲目

01. Overture
02. 武士精神
03. 愛情保險
04. 最喜歡你
05. 印象
06. 封佢做偶像
07. Medley:世事如棋/ 相思萬千重/ 斷腸夢/ 知音夢裡尋/ 夜半輕私語/ 梨渦淺笑
08. 父親的鋼琴
09. Medley:咪當我老襯/ 佛跳牆/ 錢會繼續嚟
10. 做人要識Do
11. 兩個世界
12. Johnny B. Goode (許懷恩 合唱)
13. Medley: Pretty Woman/ 瑪莉!我好鐘意您/尖沙咀Susie/日本娃娃
14. 半斤八両 (除小鳳合唱)
15. 愛得好緊要
16. Danger Zone
17. 宇宙無限
18. A Spaceman Came Travelling
19. 難忘您
20. 最佳拍檔
21. 跟佢做個friend
22. 偷心的人
23. 心思思
24. 是雨?是淚?
25. 紙船
26. 鐵塔凌雲
27. 潮流興夾Band
28. Just A Little
29. 最緊要好玩
30. 愛是無言
31. 風中趕路人
32. 浪子心聲
33. 天才白痴夢
34. 珍惜
35. (Bonus track) Before The Next Teardrop Falls (Sam、除小鳳、許冠文合唱)

從未發行歌曲. 不同場次版本歌曲

Continue reading »

Jun 24

Garbage – Strange Little Birds (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 52:47 minutes | 1,12 GB | Genre: Rock, Alternative
Studio Masters, Official Digital Download – Source: HDTracks | © Stunvolume Records
Recorded: 2013–15, Grunge Is Dead; Red Razor Sounds, Los Angeles, United States

Garbage made their comeback in 2012, returning to action after a seven-year hiatus with Not Your Kind of People. Strange Little Birds arrived four years later — a gap that’s just over half the length of their hiatus — and it plays as a continuation of its predecessor, a record that draws a conscious bridge to the band’s ’90s heyday. If Garbage are no longer opting in with new trends, they’re also not grasping at elusive straws from the past: Strange Little Birds is a comfortable record, an album from a band that embraces its signatures and limitations. As they’re a group of studio musicians, Garbage still thrill with the possibilities of recording, loading each track with all manner of trickery — showiness that envelops, not alienates. Part of the pleasure of listening to Garbage is how their form is their substance: it’s about lush, dark waves of sounds as much as it is pop hooks. Shirley Manson may tackle risky sociological or personal issues in her lyrics, but how she sings is paramount, how her voice alternately soars above and is subsumed by the washes of treated guitars. Strange Little Birds showcases this narcotic pull so well because it doesn’t push at the edges of the band’s sound: it embraces this ebb and flow. Such modesty doesn’t mean Garbage settle for the expected — they can achieve a sultry slow burn on “If I Lost You” — but the impressive thing about Strange Little Birds is how it feels simultaneously familiar and fresh, a record that echoes the past without being trapped by it. ~~AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1 Sometimes 02:52
2 Empty 03:55
3 Blackout 06:33
4 If I Lost You 04:12
5 Night Drive Loneliness 05:25
6 Even Though Our Love Is Doomed 05:27
7 Magnetized 03:55
8 We Never Tell 04:25
9 So We Can Stay Alive 06:01
10 Teaching Little Fingers To Play 03:58
11 Amends 06:04

Personnel:
Duke Erikson – electric, bass and acoustic guitar, production
Shirley Manson – vocals, production
Steve Marker – electric, bass and acoustic guitar, production
Butch Vig – drums, synthesizer, production, mixing

Continue reading »

Jun 24

Garbage – Bleed Like Me {Remastered} (2005/2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 45:00 minutes | 557 MB | Genre: Alternative
Studio Master, Official Digital Download – Source: 7Digital | Label: STUNVOLUME

Described as a thundering return to the band’s original hard rock sound, ‘Bleed Like Me’ features eleven tracks that return to the power and simplicity of their debut. The first single is the explosive ‘Why Do You Love Me’. Amongst the other highlights of the album are the dynamic opener ‘Bad Boyfriend’, a heavy out and out rock song featuring a guest appearance from Dave Grohl on drums. Aside from Grohl, the album also features an additional guest in the shape of Beck bassist Justin Meldal-Johnsen. This new Hi-Res release marked as “Remastered version”.

As polished and professional as it was, Garbage’s third album, Beautiful Garbage, killed whatever momentum the quartet had as the LP commercially crashed and burned not long after its fall 2001 release. Subsequently, the band faded out of view, taking a long hiatus before regrouping in 2004 to record their fourth album, Bleed Like Me, which was finally released in the spring of 2005. Although it was released halfway through the first decade of the 21st century, it belongs to the midpoint of the last decade of the 20th century, sounding like a virtual Cliff Notes of the sounds, themes, and styles of the post-grunge ’90s. As they beefed up the guitars, the band have toned down some of the electronica underpinnings that have been present since their debut — they’ve not been excised, merely subdued, so this is still recognizably the work of a group that called their second album Version 2.0 with their tongue firmly planted in cheek. But Garbage don’t just hark back to their earlier work on Bleed Like Me, they conjure all kinds of ghosts from the ’90s, building “Sex Is Not the Enemy” on a Kim Deal bassline, while pasting together a guitar riff straight off of Stone Temple Pilots’ Purple and a chorus from Elastica’s classic “Stutter” for the album’s first single, “Why Do You Love Me.” Other sounds of the ’90s flutter throughout the album — the title track reaches back even further, as its cavalcade of misfits uncannily recalls Lou Reed’s “Walk on the Wild Side” in its structure, sentiment, and melody — while lead singer/lyricist Shirley Manson trots out a litany of doomed relationships, kinky sex, wallowing despair, teenage cutters, and hostile confrontations, all topics that were de rigueur for ’90s alt-rock. Manson doesn’t seem like she’s pandering — several songs appear to cut close to the bone, suggesting that she’s been through a particularly painful breakup recently — and neither do the band. They’re all old pros and they construct their music well, so it’s hooky and loudly stylish. Problem is, it’s a style that’s about ten years out of date. Bleed Like Me doesn’t sound like a revival, it feels like it’s out of time, as if the band doesn’t quite know how to do anything else but sound like it’s the heyday of post-grunge alt-rock. Since the band’s drummer and chief sonic architect, Butch Vig, helped create that sound with the albums he produced for Nirvana, the Smashing Pumpkins, Sonic Youth, and L7, that’s not a surprise, nor is it necessarily a disappointment, because the music is not bad. He and his colleagues remain talented, capable professionals, crafting an appealing, tightly constructed album that plays to the group’s strengths. It’s an enjoyable record, but it’s hard to escape the nagging feeling that Garbage has painted itself into a corner: they haven’t found a way to expand their sound, to make it richer or mature — they can only deliver more of the same. While they may be able to do this well, it is nevertheless more of the same.

Tracklist:
01 – Bad Boyfriend
02 – Run Baby Run
03 – Right Between The Eyes
04 – Why Do You Love Me Album Version Explicit
05 – Bleed Like Me Album Version Explicit
06 – Metal Heart
07 – Sex Is Not The Enemy
08 – It’s All Over But The Crying
09 – Boys Wanna Fight Album Version Explicit
10 – Why Don’t You Come Over Album Version Explicit
11 – Happy Home

Continue reading »

Jun 24

Garbage – Beautiful Garbage {Remastered} (2001/2015)
FLAC (tracks) 24 bit/44.1kHz  | Time – 53:00 minutes | 624 MB | Genre: Rock
Official Digital Download – Source: HDTracks | ©  Interscope

Garbage’s 2001 release and third album, debuted at #13 on the “Billboard 200.”

Beautiful Garbage (stylized as beautifulgarbage) is the third album by alternative rock group Garbage. The album was released worldwide in October 2001 by Mushroom Records UK and in North America by Interscope and was the followup to the band’s Grammy-nominated Version 2.0. Marking a departure from the sound Garbage had established on their first two records, Beautiful Garbage was written and recorded over the course of a year, during which time lead singer Shirley Manson chronicled their efforts weekly online, becoming one of the first high-profile musicians to keep an internet blog. The album is marked by expanding on the musical variety, with stronger melodies, more direct lyrics, and sounds that mix rock with electronica, new wave, hip hop and girl groups. The album’s title is taken directly from a lyric in the song “Celebrity Skin” by Hole.

Released three weeks after the September 11 attacks, the album suffered from lack of promotion, mixed reaction from critics, and the failure of its lead single “Androgyny” to achieve high chart positions. Despite faltering in major markets, Beautiful Garbage debuted at number 13 on the Billboard 200, number 1 on Billboard’s Top Electronic Albums, topped the album charts in Australia, and peaked within the top tens of multiple European countries. It was named one of Rolling Stone’s “Top 10 Albums of the Year”.

The great thing about Garbage — the thing that nobody wants to mention — is that they are veterans, from frontwoman Shirley Manson to the three studio pros who play the instruments. They slogged through the trenches of alt-rock in the ’80s, whether it was in the U.S. or the U.K., and they came together at the precise moment in the ’90s when they could fashion modern-sounding music with a keen eye to the present and modern. They consciously picked up elements from shoegazing, trip-hop, and indie rock — anything sonically interesting in the underground, crafting them together with skill and a keen commercial eye. On their third record, Beautiful Garbage, that’s more evident than ever, from how they approximate contemporary R&B with the sultry “Androgyny,” or the Minneapolis new wave bubblegum funk of “Cherry Lips (Go Baby Go!),” or the bluesy PJ Harvey strut of “Silence Is Golden.” It’s all the more evident because this has a shiny, sugary, unabashedly pop coating, an element that Garbage clearly revel in, as well as should the listener. This is every bit as enticingly postmodern as their other albums, and it sounds distinctly Garbage — there are elements of My Bloody Valentine crashing up against Tricky, post-Madchester dance, jangle pop, goth stance, and classic pop — but they seem less like magpies, more themselves, which means Beautiful Garbage is a more consistent record. It’s unlikely to storm the charts like their first two records, especially since there aren’t standout singles like on the earlier albums, but overall the record works better, perhaps their best album. –AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1 Shut Your Mouth 3:26
2 Androgyny 3:10
3 Can’t Cry These Tears 4:16
4 Til The Day I Die 3:28
5 Cup Of Coffee 4:31
6 Silence Is Golden 3:50
7 Cherry Lips (Go Baby Go!) 3:12
8 Breaking Up The Girl 3:33
9 Drive You Home 3:58
10 Parade 4:07
11 Nobody Loves You 5:08
12 Untouchable 4:03
13 So Like A Rose 6:20

Personnel:
Shirley Manson – Vocals, guitar
Duke Erikson – Guitar, keyboards
Steve Marker – Guitar
Butch Vig – Drums, percussion
Additional:
Daniel Shulman – bass
Matt Chamberlain – drums (3, 5)

Continue reading »

Jun 24

Garbage – Version 2.0 {Remastered} (1998/2015)
FLAC (tracks) 24 bit/96kHz  | Time – 49:44 minutes | 1,04 GB | Genre: Alternative Rock
Official Digital Download – Source: HDTracks | ©  Almo Sounds

Version 2.0 is alternative rock group Garbage’s second studio album originally released in 1998. The two-time Grammy nominated album features Grammy nominated single “Special” as well as “Push It”, “I Think I’m Paranoid” and more.

Neither a flat-out retread nor a full-fledged progression, Version 2.0 is almost too accurate a title for Garbage’s second album. Everything that made Garbage a success is here — Shirley Manson’s seductive strength, strong pop sensibility, a production that falls halfway between alternative rock and techno — presented in a slightly newer form. Version 2.0 may be gilded with fresh drum loops and shiny, computerized production, but it lacks the thrilling immediacy of the debut. It isn’t that Garbage’s sound is no longer appealing — it’s that high-tech production has a tendency to make the songs sound the same. That was a problem with the debut as well, but it’s discouraging to find that those flaws are repeated, not solved. Still, when Garbage pull it all together, the results are irresistible, and there are just enough moments on the album — including “Special,” “Push It,” “Temptation Waits,” and “I Think I’m Paranoid” — to make it a successful follow-up, even if it isn’t a brave step forward. –AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1 Temptation Waits 04:37
2 I Think I’m Paranoid 03:38
3 When I Grow Up 03:24
4 Medication 04:08
5 Special 03:44
6 Hammering In My Head 04:52
7 Push It 04:03
8 The Trick Is To Keep Breathing 04:12
9 Dumb 03:50
10 Sleep Together 04:04
11 Wicked Ways 03:44
12 You Look So Fine 05:28

Personnel:
Shirley Manson – vocals, guitar, samples
Duke Erikson – guitar, keyboards
Steve Marker – guitar, loops
Butch Vig – drums, percussion, loops
Additional:
Daniel Shulman – bass
Jon J. Vriesacker – violin (on “Medication” and “The Trick Is To Keep Breathing”)
Michael Masley – cymbalom (on “Medication” and “The Trick Is To Keep Breathing”)
Todd Malcolm Michiles – record scratching (on “I Think I’m Paranoid”)

Continue reading »

Jun 24

Garbage – Garbage {20th Anniversary Deluxe Edition-Remastered} (1995/2015)
FLAC (tracks) 24 bit/96 kHz | Time – 1:24:37 minutes | 1,85 GB | Genre: Alternative Rock
Studio Master, Official Digital Download | Source: HDTracks | Label: Almo Sounds

Garbage is celebrating the 20th anniversary of their critically acclaimed self-titled debut record by releasing a special edition two CD set of the album remastered from the original analog tapes. Originally released in 1995, ‘Garbage’ achieved double platinum in multiple territories, reached top 10 charts worldwide, and received three Grammy Award Nominations including Best New Artist. The rerelease includes ‘I’m Only Happy When It Rains’ & ‘Stupid Girl’ as well as all G-sides released from 1995-1996.

Garbage’s self-titled debut has all the trappings of alternative rock — off-kilter arrangements, occasional bursts of noise, a female singer with a thin, airy voice — but it comes off as pop, thanks to the glossy production courtesy of drummer Butch Vig. Not only is the sound of the record slick and professional, but all the tracks are well-crafted pop songs. Unfortunately, only a handful of the songs are memorable, but those that are — “Vow” and “Queer,” in particular — are small, trashy alternative pop gems.

Tracklist:
01 – Supervixen
02 – Queer
03 – Only Happy When It Rains
04 – As Heaven Is Wide
05 – Not My Idea
06 – A Stroke Of Luck
07 – Vow
08 – Stupid Girl
09 – Dog New Tricks
10 – My Lover’s Box
11 – Fix Me Now
12 – Milk
13 – Subhuman
14 – Girl Don’t Come
15 – Sleep
16 – Driving Lesson
17 – Trip My Wire
18 – #1 Crush (Nellee Hooper Mix)
19 – Butterfly Collector
20 – Alien Sex Fiend
21 – Kick My Ass

Personnel:
Shirley Manson – vocals, guitar, samples
Steve Marker – guitar, loops, samples
Duke Erikson – guitar, keyboards, six-string and fuzz bass
Butch Vig – drums, loops, noise and efx
AdditionalЖ
Mike Kashou – bass (1-3, 5, 8, 12)
Les Thimmig – clarinet (2)
Pauli Ryan – percussion (3, 5, 8, 10)

Continue reading »

Jun 24

Georg Friedrich Handel – Messiah, HWV 56 – Chor des Bayerischen Rundfunks, B’Rock, Peter Dijkstra (2015)
FLAC (tracks) 24-bit/48 kHz | Time – 02:15:30 minutes | 1,38 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © BR Klassik
Recorded: München, Herkulessaal, 21.-27.11.2014

As a steady favourite with audiences, Handel’s most famous oratorio “Messiah” has met regularly with rapturous receptions ever since its premiere back in 1742! This three-part masterpiece portrays the life of the “anointed one” (the literal meaning of the Hebrew word ‘Messiah’), from the Annunciation and his birth to his death on the cross and revelation, and contains a considerable number of baroque super-hits – including the world-famous ‘Hallelujah Chorus.’

What makes the present complete recording into something really special is, above all, the successful interpretation with its excellent line-up of performers: Julia Doyle, Lawrence Zazzo, Steve Davislim and Neal Davies, the Chor des Bayerischen Rundfunks (recently called “a new center for historically informed performance practice”) under the overall direction of Peter Dijkstra, accompanied by B’Rock, the Belgian Baroque Orchestra Ghent.

This recording of Handel’s masterpiece was recorded at performances in Munich in November 2014. I’m not sure quite how many members of the Chor des Bayerischen Rundfunks were involved – the booklet photos suggest just over forty singers took part. I’ve heard this choir on many occasions in the past – usually at fuller strength than here – and their excellence can pretty much be taken as read. However, I’ve not previously encountered the Belgian period instrument ensemble B’Rock. They contribute very stylish, crisp playing here. The performance is under the direction of Peter Dijkstra, the choir’s Artistic Director since 2005.
Dijkstra sets out his stall at the outset with a cleanly articulated, crisp and fleet account of the Overture. During the course of the performance his tempi are often swift but there weren’t too many occasions when I felt that the music was being rushed. Furthermore, he’s prepared to adopt a relaxed or spacious speed when the need arises. From time to time I noticed a little bit of fussiness about dynamics but these were isolated instances. The members of B’Rock play extremely well for him.

The choir’s contribution is one of the great pleasures of this performance. The singing is consistently alert and precise – as you’d expect from a professional ensemble – and their diction is crystal clear, allowing us to hear that their pronunciation of the English text is faultless. The choir is capable of producing a nice, full sound but this is never overdone. ‘For unto us a child is born’ is lightly sung, the performance invigorating and joyful. There’s excellent discipline in such choruses as ‘His yoke is easy’ and ‘All we like sheep’. The big moments, such as ‘Hallelujah’ and ‘Worthy is the Lamb’ make a satisfying impact. Anyone acquiring this set should feel more than satisfied with the choral singing.

Dijkstra opts for a male alto rather than a female – there are arguments for either. His soloist is the American counter-tenor, Lawrence Zazzo. I enjoyed much of what he does though I felt that once or twice he overplayed his hand in the matter of decoration. I noticed that, for example, in the da capo of ‘But who may abide the day of His coming’ – yet I relished his vocal athleticism in the faster sections of this aria. Similarly, parts of ‘He shall feed his flock’ were a bit too elaborate for my taste. For comparison I turned to the Stephen Layton performance that I reviewed a few years ago. There the alto soloist is Iestyn Davies, who I thought was the pick of Layton’s solo team. He, too, decorates the line, of course, but in a way that seems less obtrusive to me. Also, as a matter of purely subjective taste, I prefer Davies’s rather ‘narrower’ tone to Zazzo’s more fulsome sound. Having decided that I prefer Layton’s alto in ‘He shall feed his flock’ I should record that I preferred the more languorous speed that Peter Dijkstra adopts in this number; his speed invests the music with rather more expression than Layton allows.

My reason for taking the Layton performance down from the shelves, however, was that both recordings use the same soprano: Julia Doyle. I like her contribution to this Dijkstra performance. She uses many of the embellishments that she deployed in the Layton version but I have the impression that she decorates her lines slightly less in the Layton performance than she does for Dijkstra. Here I like the agile, happy rendition of ‘Rejoice greatly’. As on the Layton recording the 4/4 version is performed – I must admit to a preference for the compound-time alternative. Dijkstra’s tempo is quite brisk but Miss Doyle is unfazed. Later she offers a lovely, poised account of ‘I know that my Redeemer liveth’. We also hear her in the second half of the so-called Passion Arias in Part II for Peter Dijkstra opts to switch from tenor to soprano solo for ‘But thou didst not leave his soul in hell’ and its preceding accompagnato. Incidentally, the booklet compiler was clearly unaware of the change of soloist for all four of these items are listed as being sung by the tenor. The use of a soprano at this point is by no means unusual and Miss Doyle sings the music beautifully. However, I think the switch of voice is a mistake. These numbers represent a pivotal shift between the sorrow of the suffering of Christ and the joy of the Resurrection. The whole of Part II – and, arguably, of the whole oratorio – is turned around here and I believe there’s a very strong argument that this is best conveyed through one voice.

Dijkstra’s tenor is the Malaysian-born Australian, Steve Davislim. As it happens, I find the way that he delivers his portion of the Passion Arias rather disappointing. He’s certainly expressive in ‘Thy rebuke hath broken his heart’ and ‘Behold, and see’. However, for my taste he uses too full a voice and there’s no real sense of inwardness. He’s better in the opening solos, ‘Comfort ye’ and ‘Ev’ry valley’ to both of which his clear articulation and vocal ring are well suited. ‘Thou shalt break them’ in Part II also suits his dramatic style but in this aria I disliked the slight holding back that he regularly deploys on the words ‘Thou shalt’; it sounds affected.
The bass is Neal Davies and he’s very much to my taste. In ‘Why do the nations?’ he offers splendidly dramatic singing – there’s terrific vocal presence here – and in the section that begins ‘The kings of the earth rise up’ his articulation of the notes is enviable. The highlight of his contribution, however, is ‘The trumpet shall sound’. In the outer sections his singing is truly commanding and he sounds absolutely splendid. But what really made me sit up and take notice was the quietly lyrical, almost confiding way in which he delivers the central section, ‘For this corruptible must put on incorruption’; this is understanding and imaginative Handel singing.

Despite one or two slight reservations this is a version of Messiah that I enjoyed very much. At the end of his note accompanying his own recording Stephen Layton pointed out that performances of this great oratorio are never the same: “Handel’s Messiah is ever renewed.” I certainly felt that about this recording. The performance is relayed in a recording that is clean, clear and well-balanced. Though it’s a live performance there’s no intrusion by the audience – and there’s no applause. The documentation is good but I do feel it’s a bit rude to include information about the choir, orchestra and conductor but not a word about the soloists. ~~John Quinn, MusicWeb International

Tracklist:

Georg Friedrich Händel (1685-1759)
Messiah
Oratorio in Three Parts for solo, chorus and orchestra, HWV 56

Part I
1. Symphony: Grave 02:59
2. Accompagnato: Comfort ye my people (Tenor) 03:01
3. Aria: Ev’ry valley shall be exalted (Tenor) 03:16
4. And the glory of the Lord (Chorus) 02:30
5. Accompagnato: Thus saith the Lord (Bass) 01:22
6. Aria: But who may abide the day of his coming (Alto) 04:18
7. And he shall purify the sons of Levi (Chorus) 02:32
8. Behold, a virgin shall conceive (Alto) 00:25
9. Aria: O thou that tellest good tidings to Zion (Alto,… 05:08
10. Accompagnato: For behold, darkness shall cover the earth… 02:06
11. Aria: The people that walked in darkness have seen a… 03:34
12. For unto us a child is born (Chorus) 03:55
13. Pifa (Pastoral Symphony): Larghetto 00:56
14. Recitative: There were shepards abiding in the field… 00:14
15. Accompagnato: And lo, the angel of the Lord came upon… 00:19
16. Recitative: And the angel said unto them (Soprano) 00:31
17. Accompagnato: And suddenly there was with the angel… 00:17
18. Glory to God in the highest (Chorus) 01:52
19. Aria: Rejoice greatly, O daughter of Zion (Soprano) 04:14
20. Recitative: Then shall the eyes of the blind be open’d… 00:30
21. Aria: He shall feed his flock (Soprano, Alto) 05:26
22. His yoke is easy (Chorus) 02:18

Part II
23. Behold, The Lamb of God (Chorus) 03:11
24. Aria: He was despised and rejected of men (Alto) 10:18
25. Surely, he hath borne our griefs and carried our sorrows… 01:36
26. And with his stripes we are healed (Chorus) 01:40
27. All we like sheep (Chorus) 03:58
28. Accompagnato: All they that see him (Tenor) 00:39
29. He trusted in God (Chorus) 02:16
30. Accompagnato: Thy rebuke hath broken his heart (Tenor) 01:43
31. Arioso: Behold, and see if there be any sorrow (Tenor) 01:17
32. Accompagnato: He was cut off (Tenor) 00:16
33. Aria: But thou didst not leave his soul in hell (Tenor) 02:07
34. Lift up your heads (Chorus) 03:00
35. Recitative: Unto which of the angels said he at any time… 00:13
36. Let all the angels of God worship him (Chorus) 01:29
37. Aria: Thou art gone up on high (Alto) 03:07
38. The Lord gave the word (Chorus) 01:11
39. Aria: How beautiful are the feet (Soprano) 02:21
40. Their sound is gone out into all lands (Chorus) 01:23
41. Aria: Why do the nations so furiously rage together (Bass) 02:47
42. Let us break their bonds asunder (Chorus) 01:46
43. Recitative: He that dwelleth in heaven (Tenor) 00:12
44. Thou shalt break them with a rod of iron (Tenor) 02:04
45. Hallelujah (Chorus) 03:37

Part III
46. Aria: I know that my Redeemer liveth (Soprano) 05:25
47. Since by man came death (Chorus) 02:16
48. Accompagnato: Behold, I tell you a mystery (Bass) 00:34
49. Aria: The trumpet shall sound (Bass) 08:49
50. Recitative: Then shall be brought to pass (Alto) 00:16
51. Duet: O death, where is thy sting (Alto, Tenor) 00:58
52. But thanks be to God (Chorus) 02:02
53. Aria: If God be for us (Soprano) 04:24
54. Worthy is the Lamb that was slain (Chorus) 03:17
55. Amen (Chorus) 03:50

Personnel:
Julia Doyle soprano
Lawrence Zazzo countertenor
Steve Davislim tenor
Neal Davies bass baritone
Chor des Bayerischen Rundfunks
B’Rock – Belgian Baroque Orchestra Ghent
Peter Dijkstra conductor

Continue reading »

Jun 24

Georg Friedrich Handel – Suites for Harpsichord Nos. 1-4, HWV 426-429 – Glenn Gould (1972/2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 43:28 minutes | 475 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital Booklet | © Columbia Records

Gould’s only recording on harpsichord owed its existence to a transportation mishap suffered by his Steinway CD 318. Once again the critics’ reactions ranged from rejection to outrage. Gould himself was so satisfied with the results that he once contemplated recording Part 2 of The Art of the Fugue on this instrument—a Wittmayer harpsichord.

Tracklist:

Georg Friedrich Händel (1685-1759)

Suite No. 1 in A Major, HWV 426
1  I. Prelude 02:17
2  II. Allemande 03:06
3  III. Courante 02:20
4  IV. Gigue 02:01

Suite No. 2 in F Major, HWV 427
5  I. Adagio 02:29
6  II. Allegro 01:26
7  III. Adagio 01:57
8  IV. Allegro – Fuga 01:55

Suite No. 3 in D Minor, HWV 428
9  I. Prelude. Presto 00:59
10  II. Allegro – Fugue 01:55
11  III. Allemande 02:31
12  IV. Courante 01:56
13  V. Air 03:59
14  Variation 1 00:42
15  Variation 2 00:40
16  Variation 3 00:40
17  Variation 4 00:48
18  Variation 5 00:36
19  VI. Presto 02:03

Suite No. 4 in E Minor, HWV 429
20  I. Allegro – Fugue 02:49
21  II. Allemande 01:10
22  III. Courante 01:17
23  IV. Sarabande 02:48
24  V. Gigue 01:04

Continue reading »

Page 1 of 11