Jul 23

Jackie Evancho – Awakening (2014)
FLAC (tracks) 24 bit/44.1kHz | Time – 00:49:39 minutes | 532 MB | Genre: Classical Сrossover, Vocal Pop
Official Digital Download – Source: HDTracks | © Portrait/Sony Masterworks
Recorded: Audible Images in Pittsburgh, PA and Shine Studios in London, England.

Awakening is the “America’s Got Talent” child prodigy, Jackie Evancho’s second studio album. The young soprano takes on twelve tracks that range from “Think of Me” from Phantom of the Opera to works by Rachmaninoff. The record is a cross over of classical covers to contemporary works, including U2’s “With or Without You” and Lara Fabians “Je t’aime”.

Fourteen-year-old vocal sensation Jackie Evancho’s new album, Awakening, signals some new directions for the platinum-selling artist. Without foregoing the beautiful and lush classical-crossover compositions for which Evancho has became famous, she also extends her stylistic reach with contemporary material on songs such as the haunting folk song “The Rains of Castamere” from HBO’s hit series “Game of Thrones.” Jackie also takes a bigger step forward on her version of U2’s “With or Without You,” and also sings a few original songs including the anthem “Take Me There” and “Open Fields of Grace,” which were written especially for her. Produced by Nick Patrick, “Awakening” also features the ethereal ballad “Memories” by the Dutch band, Within Temptation, and the popular classic “Think of Me” from Andrew Lloyd Webber’s Phantom of the Opera. Rounding out the album are the classical standards “Ave Maria” and Rachmaninoff’s “Vocalise.” Says Evancho about Awakening, “I feel that my singing style has matured, and it’s easier for me to feel comfortable onstage.” Jackie will be filming a new PBS pledge special that will air nationally in December and will be touring throughout the U.S. starting in November 2014.

Jackie Evancho dazzled American television audiences at age ten gaining global recognition with her stunning debut on NBC’s “America’s Got Talent.” Since then, she has released a string of successful albums, acted in Robert Redford’s “The Company You Keep” alongside Susan Sarandon and performed for President and Mrs. Obama at the National Christmas Tree Lighting in Washington D.C. Earlier this year, Jackie performed at the PBS Memorial Day Concert and also at the prestigious Songwriters Hall of Fame induction ceremony. Throughout the summer Jackie is doing a special promotion with tween clothing store Justice. She will be featured in their summer catalogue and the video for an exclusive song she recorded for the chain, “Go Time,” will be featured on their web site and on screens in all 900 Justice stores nationwide.

Tracklist:
1. Think of Me [From The Phantom of the Opera] 04:06
2. Your Love 03:42
3. Je t’aime 04:55
4. Take Me There 04:15
5. Open Fields of Grace 03:38
6. Ave Maria 04:50
7. Memories 03:55
8. The Rains of Castamere [From Game of Thrones] 03:36
9. Dormi Jesu 03:25
10. Vocalise 05:06
11. With or Without You 04:23
12. Made to Dream 03:48

Personnel:
Jackie Evancho – soprano

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Jul 22

Light of Gold – A Cappella SF Christmas, Ragnar Bohlin (2015) 
FLAC (tracks) 24 bit/96 kHz | Time – 57:03 minutes | 948 MB | Genre: Classical
Studio Master, Official Digital Download – Source: highresaudio.com | @ Delos Productions
Recorded: August 29 – September 1, 2014, St. Ignatius Church, San Francisco

Internationally renowned (and GRAMMY-award winning) conductor Ragnar Bohlin founded Cappella SF, a professional chamber choir, in 2014. Since then, this select Bay Area-based ensemble has presented four concerts to tremendous critical acclaim and recorded music for two CDs – including this, their first commercial release. With Cappella SF, maestro Bohlin strives to showcase the choral riches of all musical periods at the highest artistic level. And concertgoers lucky enough to have heard them in concert will confirm that this superb new choir is doing just that.

This marvelous holiday program, with music spanning more than a millennium, has something for everybody. In addition to beloved traditional seasonal standards in striking arrangements, listeners will also take great delight in both original compositions and arrangements from top-tier English and American composers as well as leading choral masters from Bohlin’s native country of Sweden – to include a piece composed for Cappella SF by Fredrik Sixten that’s heard here in its world premiere recording.

Tracklist:
1. Veni, veni, Emmanuel, arr. Ragnar Bohlin (1:51)
2. Michael Praetorius: Psallite unigenito (1:35)
3. Lo, how a Rose, arr. Mårten Jansson (3:43)
4. In dulci jubilo, arr. Bartholomeus Gesius and J.S. Bach (1:28)
5. Silent Night, arr. Hanns Miessner (3:23)
6. Ding, dong! Merrily on high, arr. Sir David Willcocks (1:54)
7. Benjamin Britten: Balulalow (1:27)
8. Britten: This little babe (1:34)
9. The first Nowell, arr. Willcocks (5:05)
10. John Rutter: Candlelight carol (4:15)
11. Audete, gaudete, arr. Ward Swingle (1:28)
12. Fredrik Sixten: There is no rose (5:46)
13. Sixten: The song of the star* (1:35)
14. Folke Bohlin: Look! Shepherds of Bethlehem (3:19)
15. Gustaf Nordqvist: Jul, jul, strålande jul (2:59)
16. David Conte: Patapan (1:33)
17. Conte: O magnum mysterium (3:20)
18. Eric Whitacre: Lux aurumque (4:07)
19. Go tell it on the mountain, arr. Ragnar Bohlin (1:45)
20. Have yourself a merry little Christmas, arr. Barlow Bradford (4:56)

Personnel:
Cappella SF
Ragnar Bohlin, conductor

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Jul 22

Leclair, Spohr, Wieniawski – Duets for Two Violins – Itzhak Perlman, Pinchas Zukerman (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 46:38 minutes | 942 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Digital booklet | © Parlophone Records/Warner Classics
Recorded: Temple Church, London, 25 & 26 October 1976

The violin duet repertoire remains somewhat marginal, which explains the rarity of recitals such as this one, in which two star violinists appear opposite one another. Most works in the genre were written by virtuosos such as Leclair, Viotti, Spohr, Wieniawski and Ysaÿe, but composers of the calibre of Telemann, Michael Haydn, Prokofiev, Shostakovich, Honegger and Bartók also took up the challenge. Given the restrictions imposed by having to combine the sound of two identical instruments whose primary role is more melodic than polyphonic, composers have tended to focus on thematic development, harmony and rhythm, resulting in highly imaginative explorations of the instrument’s technical potential.

Jean-Marie Leclair (1697–1764), founder of the French violin school, wrote his 12 duets in an elegant idiom that brought together the best of the French and Italian styles. One of his contemporaries praised them in these terms: “Leclair was the first who, without imitating anything, created beautiful and original works that he could rightly call his own.” Ludwig Spohr (1784–1859), one of the leading violinists of his day, was also an incredibly prolific composer who ventured into all genres, from opera to the most diverse forms of chamber music. His violin duets skilfully highlight the agility of the two players and are of the same high quality as those of Leclair, as well as sharing their optimistic spirit.

Norwegian composer Johan Halvorsen (1864–1935), another brilliant violinist, took a different approach, blending together the related sonorities of the violin and the viola in his famous transcription of the Passacaglia, the sixth and final movement of Handel’s Keyboard Suite No.7 in G minor. While the first third of the transcription follows the model of the original fairly closely, the rest is largely of Halvorsen’s own devising, revealing both his creativity and his instrumental virtuosity. Henryk Wieniawski (1835–1880), whose brilliance dazzled all his contemporaries, including the great Joseph Joachim himself, left a catalogue of works devoted exclusively to his own instrument. His Études-Caprices, Op.18, for two violins were in fact meant for teaching purposes and written for a first violin “with secondviolin accompaniment” — the latter part being designed for the teacher.

There was no violin duo to equal that of father and son David and Igor Oistrakh until lifelong friends Itzhak Perlman and Pinchas Zukerman joined forces. Taking up the Oistrakhs’ baton with inimitable ease, virtuosity and humour, they captivate audiences every time they appear on stage together. This recital, whose programme features an original and attractive selection of pieces from what remains a little-known yet sparkling and sophisticated repertoire, marked the first phase in a fruitful collaboration which went on to develop in various different ways as they recorded together again as a duo (volume 20), but also as members of a trio (volume 48) and a quartet (volume 25). –Jean-Michel Molkhou

Tracklist:

Jean-Marie Leclair (1697–1764)
Sonata No.5 in E minor, Op.3 no.5 for two violins
1 I Allegro ma poco 3.45
2 II Gavotte: Andante grazioso 3.01
3 III Presto 3.08

Henryk Wieniawski (1835–1880)
Études-Caprices, Op.18
4 No.1 in G minor 3.44
5 No.2 in E flat major 4.29
6 No.4 in A minor 1.40

Georg Friedrich Händel (1685–1759)
7 Passacaglia in G minor transcr. Johan Halvorsen* 6.56

Louis Spohr (1784–1859)
Duo concertante in D major, Op.67 no.2
8 I Allegro 8.02
9 II Larghetto 5.33
10 III Rondo: Vivace 6.22

Personnel:
Itzhak Perlman, violin
Pinchas Zukerman, violin, viola*

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Jul 22

Michael Denhoff – Credo
Chor der Katholischen Hochschule für Kirchemusik St. Gregorius Aachen / Steffen Schreyer
SACD ISO (2.0/MCH): 3,91 GB | 24B/88,2kHz Stereo FLAC: 995 MB | Full Artwork | 3% Recovery Info
Label/Cat#: Cybele # SACD 860.301 | Country/Year: Germany 2004
Genre: Classical, Sacred | Style: Choral, Vocal, 21st Century

Michael Denhoff (born 25 April 1955 in Ahaus) is a German composer and cellist.

Denhoff has lived and worked in Bonn since 1982. He studied at the Musikhochschule in Cologne, where his teachers included Günter Bialas and Hans Werner Henze (composition), Siegfried Palm and Erling Blöndal Bengtsson (cello) and the Amadeus Quartet (chamber music). As a composer and chamber musician, he occupied various teaching posts, including a lectureship in composition at the University of Mainz (1984-85) and a guest professorship at the National Conservatory of Hanoi (1997-99). From 1985 to 1992 he also conducted the Akademische Orchester Bonn, which he founded. As a cellist, he formed the Denhoff Piano Trio with his brother Johannes (violin) and the pianist Richard Braun. Since 1992, he has been a member of the Ludwig Quartet of Bonn, and he also works closely with the pianist Birgitta Wollenweber. As a composer, he has won several prizes and distinctions, including the Bernd Alois Zimmermann Prize (1986) and the Annette von Droste-Hülshoff Prize (1989).

Denhoff’s music shows the influence of poetry and the visual arts. Several of his orchestral and chamber works have been inspired by lyrics and paintings. Thus, there are instrumental works and cycles based on pictures by Marc Chagall, Paul Klee, Wassily Kandinsky, Albrecht Dürer and especially Fransisco Goya (El sueño de la razon produce monstruos, 1982; Desastres de la guerra, 1983; Los disparates, 1988). The literary figures who have most left their mark on his music are Ranier Maria Rilke, Paul Celan, Samuel Beckett and Stéphane Mallarmé. Other works characteristic of his compositional thought include cycles in the form of ‘musical diaries’ (Klangtagebuch, 1984; Hebdomadaire, 1990). The most significant of these works is the piano quintet Hauptweg und Nebenwege (1998), which lasts nearly three hours. This piece gathers together the essential aspects of his music, their relationship to musical tradition, and also the influences of literature and the visual arts.

Denhoff’s compositional vocabulary shows evidence of a sensitive feeling for harmony and form, whose roots are to be found in composers such as Bernd Alois Zimmermann, Olivier Messiaen, Morton Feldman and György Kurtág.

CDs featuring Denhoff’s works are available on the WERGO, Col Legno and Cybele labels. wikipedia

Tracklist:

1 In Unum Deum – Credo op. 93 für Sopran, Bariton, Chor, Orgel und kleines Orch… 4:32
2 – II. In Unum Deum 2:58
3 – III. Patrem Omnipotentem 0:55
4 – IV. Credo 2 3:01
5 – V. Et In Unum Dominum 2:26
6 – VI. Et Incarnatus Est 1:03
7 – VII. Tenebrae 2:47
8 – VIII. Crucifixus 4:07
9 – IX. Et Resurrexit 2:32
10 – X. Das leere Grab 2:06
11 – XI. Et In Spiritum Sanctum 2:38
12 – XII. Et Exspecto 5:58

13 Aus tiefer Not – Anrufung für Orgel op. 41 12:49

14 Credo op. 93a für gemischten Chor – I. Credo In Unum Deum 1:27
15 – II. Et In Unum Dominum 1:49
16 – III. Et Incarnatus Est 0:51
17 – IV. Crucifixus 2:19
18 – V. Et Resurrexit 2:30
19 – VI. Et In Spiritum Sanctum 1:31
20 – VII. Et In Unam Sanctam Catholicam 1:41
21 – VIII. Et Exspecto 3:36

Credits

Irene Kurka (soprano)
Alban Lenzen Alban (baritone)
Michael Hoppe, Johannes Trümpler (organ)
Chor der Katholischen Hochschule für Kirchenmusik St. Gregorius Aachen
Orchester der Kölner Kammermusiker
Steffen Schreyer (conductor)

1-12: Konzertmitschnitt der Uraufführung (live recording of the first performance) vom 30.05.2003, Berlin St. Matthias (Ökumenischer Kirchentag)

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Jul 22

Karina Gauvin, Alexander Weimann, Arion Baroque Orchestra – Prima Donna (2012)
FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.26 GB
Genre: Classical | Official Digital Download – Source: highresaudio

Canadian superstar soprano Karina Gauvin pays tribute to baroque diva Anna Maria Strada del Pò, singing rarities by Vinci, Vivaldi and some of the greatest Handel arie di bravura. Like Strada del Pò in her prime, Miss Gauvin sings this repertoire with powerful expression and brilliant technique, in particular, the trills for which Strada del Pò was renowned. More than thirteen opera roles were created by Handel for Strada del Pò (including Sosarme, Orlando, and Alcina). Strada del Pò’s talent and style may have influenced the composer’s work as much as he contributed to the vocal and dramatic development of the prima donna in the first decades of the 18th century.

Karina Gauvin has impressed audiences and critics the world over with her luscious timbre, profound musicality and wide vocal range. The Globe and Mail calls her “one of the dream sopranos of our time.” The Sunday Times in London also wrote: “Her glinting soprano, bright-edged yet deliciously rounded and sensual, is used with rare understanding for character… ”

Arion Baroque Orchestra, founded in 1981, is Quebec’s only early music orchestra performing on period instruments and is one of the most renowned early music ensembles in North America. Conductor Alexander Weimann has traveled the world as member of Tragicomedia, as guest of Freiburger Barockorchester, Gesualdo Consort, Tafelmusik, and as music director of Les Voix Baroques and Le Nouvel Opéra. As guest conductor, he has led the Portland Baroque Orchestra, Les Violons du Roy and the symphony orchestras in Halifax and Victoria. He is currently music director of the Pacific Baroque Orchestra in Victoria (B.C.)

Composer: George Frideric Handel, Leonardo Vinci, Antonio Vivaldi
Performer: Karina Gauvin
Conductor: Alexander Weimann
Orchestra/Ensemble: Arion Baroque Orchestra

Reviews:

By now Canadian soprano Karina Gauvin has appeared on a couple of dozen recordings and she always impresses. Aside from some Mozart, Britten, Barber, and another composer or two, her repertoire has been solidly based in the Baroque. We’ve come a long way from the HIP sounds of Emma Kirkby and Judith Nelson—not that I’m criticizing or denigrating them—and Gauvin’s rich sound has nothing of the boy treble in it; it is a full lyric soprano. It isn’t merely that she sings with vibrato—she simply has vibrato that she will occasionally eschew for effect; it is her echt womanliness that comes across so vividly.

Except for Meleagro in Handel’s Atalanta, a male role written for soprano castrato, all of the arias on this CD are women’s roles. And “Care selve” from that opera has been sung by everyone, from Leontyne Price to Pavarotti, with Kiri Te Kanawa in between. This CD pays homage to Anna Maria Strada del Po, who sang works by Vivaldi and Vinci before moving to London and performing in no less than 24 of Handel’s operas beginning in 1729 and until 1737. (The composer was relieved not to have the “dueling divas” Cuzzoni and Bordoni to referee anymore.)

Strada was one of three singers for whom Handel wrote a high C. Her dramatic range must have been great as well: he created Alcina for her. On this CD, Gauvin sings three of Alcina’s arias: the wandering, picturesque “Ombre pallide”; the sad, introspective “Si son quella”; and the emotionally complicated, self-pitying, angry “Ah! mio cor”. For these alone, with all their mood swings and varying vocal styles and dynamic ranges, this CD is worth buying.

“Scherza il mar” from Lotario dazzles to start the program, and Elmira’s “Dite pace” (from Sosarme), with a helpless character questioning the heavens, is marvelous as well. In fact, each interpretation here takes on the character of the person and situation, a feat even more remarkable when you consider that Gauvin’s voice is not a complex instrument: it is silky-smooth and luscious. Her innate musicality and perfect pitch create the thrills. “Care selve”, correctly accompanied by continuo alone, is a gorgeous, long-lined poem. And what a trill!

There are three well-spaced and brief orchestral interludes included, with the Adagio from Handel’s Concerto Grosso Op. 3 No. 1 being the most stunning. And throughout, the Arion Orchestre Baroque, playing on period instruments under Alexander Weidman, is never less than ideal. This is a stunner.

Tracklist:

George Frideric Handel (1685-1759): Lotario, HWV 26
1. Lotario, HWV 26, Act I – Aria – Scherza in mar la… 05:23
Orlando, HWV 31
2. Act II – Non potra dirmi ingrata 03:55
3. Act II – Verdi piante, erbette liete 06:35
Leonardo Vinci (1696-1730): Astianatte
4. Astianatte – Tortorella se rimira 04:39
George Frideric Handel: Concerto Grosso in B flat major, Op. 3, No….
5. Concerto Grosso in B flat major, Op. 3, No. 1, HWV 312 -… 04:05
George Frideric Handel: Sosarme, re di Media, HWV 30
6. Sosarme, re di Media, HWV 30, Act I – Aria – Dite pace, e… 05:27
Antonio Vivaldi (1678-1741): La verita in cimento, RV 739
7. La verita in cimento, RV 739, Act II – Aria – Addio caro…. 03:51
George Frideric Handel: Flavio, re di Longobardi, HWV 16
8. Flavio, re di Longobardi, HWV 16, Act III – Da te parto -… 05:13
George Frideric Handel: Lotario, HWV 26
9. Lotario, HWV 26 – Overture 04:07
George Frideric Handel: Alcina, HWV 34
10. Act II – Aria – Ah! Ruggiero crudel 02:33
11. Act II – Aria – Ombre pallide, lo so, mi udite 06:09
12. Act I – Si, son quella! 07:13
George Frideric Handel: Concerto Grosso in C minor, Op. 6, No. 8,…
13. Concerto Grosso in C minor, Op. 6, No. 8, HWV 326 – II…. 01:25
Alcina, HWV 34
14. Alcina, HWV 34 – Act III – Aria – Ah! mio cor 10:31
George Frideric Handel: Atalanta, HWV 35
15. Atalanta, HWV 35, Act I – Arioso – Care selve, ombre beate 03:32

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Jul 21

Leopold Stokowski, BPO – Stravinsky‎: Firebird & Petrushka (1958/2012)
FLAC (tracks) 24 bit/96 kHz | Time – 37:36 minutes | 679 MB | Genre: Classical
Studio Master, Official Digital Download – Source: HighDefTapeTransfers.com | Artwork: Digital Booklet

Tracklist:
01 – Suite From “The Firebird”
02 – Suite From “Petrushka”

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Jul 21

Lang Lang – Liszt: My Piano Hero (2011)
FLAC (tracks) 24-bit/96 kHz | Time – 01:05:30 minutes | 0,97 GB | Genre: Classical
Studio Master, Official Digital Download  | Source: Qobuz | @ Sony Classical
Recorded: April 23-28, 2011, Teldex Studio, Berlin, Germany (#1-10); June 4 & 5, 2011, Großer Saal, Musikverein, Vienna, Austria (#11-12)

To celebrate the 200th anniversary of Franz Liszt’s birth, virtuoso pianist Lang Lang has selected some of the composer’s most characteristic pieces for his 2011 Sony release, Liszt: My Piano Hero. Prominent on this album is the Piano Concerto No. 1 in E flat major, which features Lang Lang in a high-energy performance with Valery Gergiev and the Vienna Philharmonic. Without a doubt, most of Lang Lang’s fans will savor this Romantic showpiece, and for technical brilliance and drama, the performance doesn’t disappoint. He is especially lively and vivid in this work, and his interactions with the orchestra seem spontaneous and playful, as one might well imagine Liszt would have been. But Lang Lang seems more introspective and personally involved with the solo keyboard pieces that make up the greater part of the album. Here also is the flashy side of Liszt, but there is a greater emphasis on the poetic and rhapsodic, so Lang Lang indulges in reflective pieces as much as the flashy encores. Highlights include La Campanella, the Grand Galop chromatique, Liebestraum No. 3, the Hungarian Rhapsody No. 6, and the arrangement of Schubert’s Ave Maria. –AllMusic Review by Blair Sanderson

Tracklist:
Franz Liszt (1811 – 1886)
1 Romance “O pourquoi donc” in E Minor, S. 169 3:05
2 La campanella in G-Sharp Minor from Grandes études de Paganini, S. 141/3 4:47
3 Consolation No. 3 in D-Flat Major, S. 172 4:19
4 Grand Galop chromatique in E-Flat Major, S. 219 3:58
5 Liebestraum No. 3 in A-Flat Major, S. 541/3 4:53
6 Hungarian Rhapsody No. 6 in D-Flat Major, S. 244/6 7:19
7 Trois études de concert in D-Flat Major, S. 144/3: Un sospiro 5:26
8 Rakoczy March from Hungarian Rhapsody No. 15 in A Minor, S. 244/15 (Horowitz version) 5:43
9 Ave Maria, S. 558 6:31
Piano Concerto No. 1 in E-Flat Major, S 124
10 I. Allegro maestoso 5:47
11 II. Quasi adagio – Allegretto vivace – Allegro animato 9:33
12 III. Allegro marziale animato 4:09

Personnel:
Lang Lang, piano
Wiener Philharmoniker (#10-12)
Valery Gergiev, conductor (#10-12)

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Jul 21

LYNX – Flute (2007) [2.0 & 5.1]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 68:29 minutes | Covers included | 3,44 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Covers included | 1,17 GB

芸大出身の女性4人によるフルート・アンサンブル、LYNXのアルバム。プロデュース&録音をオノ・セイゲンが担当。スメタナ「モルダウ交響詩《わが祖国》より」、ドヴォルザーク「ラルゴ交響曲第9番《新世界より》」、ラヴェル「ボレロ」、ベートーヴェン「交響曲第5番《運命》」他、全9曲を収録。

Tokyo National University of Fine Arts and Music born of four women flute ensemble by, LYNX album. Ono or restricted in charge of producing and recording. Smetana “Moldau symphonic poem from” My Fatherland “,” Dvorak “Largo Symphony No. 9” From the New World “,” Ravel “Bolero”, Beethoven “Symphony No. 5” destiny “” and others, recorded a total of nine songs. – from amazon

スーパー・フルート・アンサンブル! 誰もが知っているクラシックの名曲を選曲! ピッコロからパスフルートまで5オクターブに渡る音を駆使し、フルート4本とは思えない迫力ある響き、10年かけて作られた緻密で息のあったアンサンブル。まるで指揮者がいるかのような、一体感のある演奏は圧巻!

Super Flute Ensemble! Everyone is making full use of sound over a 5 octave song selection masterpieces of classic! From piccolo to pass flute know, powerful sound that does not think four flute, made over a period of ’10 dense and had ensemble of breath. Almost as if the conductor is present, playing with a sense of unity is the best part! – cdjapan.co.jp

Tracklist:
01. J.S.Bach: Ouverture – Orchestral Suites No.2 h moll BWV1067
02. J.S.Bach: Rondeau – Orchestral Suites No.2 h moll BWV1067
03. J.S.Bach: Sarabande – Orchestral Suites No.2 h moll BWV1067
04. J.S.Bach: Bourree – Orchestral Suites No.2 h moll BWV1067
05. J.S.Bach: Polonaise – Orchestral Suites No.2 h moll BWV1067
06. J.S.Bach: Menuet – Orchestral Suites No.2 h moll BWV1067
07. J.S.Bach: Badinerie – Orchestral Suites No.2 h moll BWV1067
08. Mozart: Symphony No.25 g moll K.183 – I Allegro con brio
09. Smetana: The Moldau from “My Fatherland”
10. Wagner: Tannhäuser – Overture
11. Tchaikovsky : Symphony No.6 – III Allegro molto Vivace
12. Dvorak: Symphony No.9 – II Largo
13. Beethoven: Symphony No.5 – I Allegro con brio
14. Ravel: Bolero
15. J.S.Bach: Toccata and Fugue d-moll BWV565

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Jul 21

Franz Liszt – Transcendental Studies, S139 Nos. 1-12 – Dinara Klinton (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:07:14 minutes | 992 MB | Genre: Classical
Studio Master, Official Digital Download – Source: ProStudioMasters | Digital Booklet | © Genuin Classics
Recorded: Mendelssohn-Saal, Gewandhaus Leipzig, Germany, June 2–4, 201

What if you did not know anything about this artist, who has devoted her second CD to Franz Liszt’s unbelievable “Études d’exécution transcendante”? Would that make any difference when you hear this new GENUIN CD? Young pianist Dinara Klinton’s playing sweeps over us like a force of nature, amazes her listeners and inspires them with enthusiasm. It seems that jury members from over a dozen international competitions have felt the same way, otherwise Dinara Klinton would not have won them all… Go ahead and hear for yourself – but make sure you hold onto your seat!

Sailing the spring tide of Romanticism, defining modern piano technique, a journey from childhood to manhood, the death of Weber to the 1851 Great Exhibition, “a part of his musical autobiography in public” (Alan Walker), Liszt’s Transcendental Studies, Busoni maintained, should be “put at the head of his pianoforte compositions, [placing him] in the rank of the greatest pianoforte composers since Beethoven, Chopin, Schumann, Alkan, Brahms.” In their pages are to be encountered “the Mephistophelian and the Religious: he who acknowledges God does not value the Devil less – the sentimental and the inspired” characteristic of Liszt’s art as a whole. Via a circle of falling fifths, enshrining the monumental, the Herculean, they essay mechanicals, musicality, emotion, caprice, symphonism, epithets … the programmatic, the suggestive, the impressionistic … fantasy, rhapsody, poem, dream. There’s nothing like them in the repertory – the Matterhorn of an era.
Dinara Klinton, from Kharkiv in the Ukraine – 2014-15 Benjamin Britten Piano Fellow at the Royal College of Music – was mentored by Vladimir Krainev and studied in Moscow with Valery Pyasetsky (Central Music School) and Eliso Virsaladze (Conservatoire). Dina Parakhina, a Malinin disciple, has been overseeing her postgraduate and competition schedule in London. Grounded in the Blumenfeld / Godowsky / Neuhaus tradition that produced Horowitz, Barere, Yudina, Gilels and Richter, she’s an artist of refined sensibility and high-pressure technique. Her passions surge and swirl, consuming the listener. She can sing a line and hold a paragraph with majesty, her ‘thrown’ melodic projection almost aria-like. Making beautiful sounds, voicing chords with clarity, developing tone, is a priority. Her bass notes tread the elemental. Her climaxes, reaching quickening, explosive release from nowhere, are on an oceanic scale. Knife-edge drama, bold images, matter to her.
“Learning the complete Transcendental Studies”, says Klinton, “had been my child’s dream, performing them – my youth’s aim, recording them – my senior urge. Liszt explores the infinite variety of human life via feelings of joy, sorrow, love, anger, dignity and defeat.” Entering a fiercely competitive arena, her album, classily produced in Leipzig’s Mendelssohn-Saal (an airy acoustic), lets no one down. The pianism is intensely drilled. The emotional voltage is super-charged. The instrument (a well-disposed Steinway) roars and thunders, caresses and yields. Octaves cascade down the heavens like streaked lighting; cadenzas open out gently – kisses on the wind; chandeliers of sound glint icily, fierily; cadences pause, move on, and find old-world rest.
Judge this project on its own terms, forget comparisons. That some numbers are slower than the great gramophone trail-blazers, others quicker, is of no consequence. Klinton has determined ideas, she stands by them, and she creates an organic landscape which she wanders and rules over with easy grace and authentically grand rhetoric.
The slow numbers become magnificent, fabulous tone-poems of infinitely terraced longing: ‘Ricordanza’ (“faded love letters” – Busoni); ‘Harmonies du soir’ (sounds and perfumes in the air, a tormented heart, a sad beautiful sky spread like a vast altar before the drowning sun). For Klinton ‘Feux follets’ – will-o’-the-wisps, malignant impish spirits leading travellers to their doom – proves a brilliant, purling tour-de-force, expressively articulated rather than merely note-spun, its phrasing, breathing and elegance of touch more than once questioning Richter (Bolet and Berezovsky too).
Among the more headstrong canvases ‘Mazeppa’ is tireless and epic, swathes of muscular D-minor strength offset by veils of humming vibrato assai. If its gear changes seem odd, editorially generated even, the score confirms an admirable fidelity to the page. Dinara Klinton is a player to watch. —Reviewed by Ateş Orga, Classical Source

Tracklist:
Franz Liszt (1811–1886)
Études d’exécution transcendante, S. 139
1 No. 1 in C Major, “Preludio” 01:02
2 No. 2 in A Minor, “Fusees” 02:25
3 No. 3 in F Major, “Paysage” 05:07
4 No. 4 in D Minor, “Mazeppa” 07:43
5 No. 5 in B-Flat Major, “Feux follets” 03:40
6 No. 6 in G Minor, “Vision” 05:33
7 No. 7 in E-Flat Major, “Eroica” 04:49
8 No. 8 in C Minor, “Wilde Jagd” 05:40
9 No. 9 in A-Flat Major, “Ricordanza” 11:11
10 No. 10 in F Minor, “Appassionata” 04:57
11 No. 11 in D-Flat Major, “Harmonies du soir” 09:25
12 No. 12 in B Minor, “Chasse-neige” 05:42

Personnel:
Dinara Klinton, piano

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Jul 20

Lucie Horsch – Vivaldi: Recorder Concertos (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 53:14 minutes | 1,06 GB | Genre: Classical
Studio Master, Official Digital Download – Source: prestoclassical.co.uk | Digital Booklet | © Decca

Lucie Horsch is a brilliant young recorder virtuoso from Amsterdam. Still only 17, she began playing the recorder aged 5 winning numerous prizes and representing the Netherlands at Eurovision 2014 Young Musician of the Year in Cologne. In 2016 she was awarded the Concertgebouw Young Talent Award presented to her by Sir John Eliot Gardiner.

For her debut DECCA album Lucie has chosen to record an all Vivaldi programme: I love the music of Vivaldi she writes, its rhythmical, light, energetic and the slow movements are utterly beautiful.

Four famous concertos including La notte and La tempesta di mare are recorded alongside transcriptions of some of Vivaldis best-loved melodies, including Cum Dederit from the Nisi Dominus and the aria Vedro con mio diletto from the opera Giustino.

A bonus is the first movement of Spring from The Four Seasons transcribed in 1775 by Jean Jacques Rousseau.

Lucie is joined by the hand-picked Amsterdam Vivaldi Players led by Candida Thompson and including Gregor Horsch, Lucies father and principal cellist of the Royal Concertgebouw Orchestra.

Lucie already tours extensively throughout Europe, including appearances at Janine Jansens International chamber Music Festival in Utrecht, as well as making her debut in Canada with the Manitoba Chamber Orchestra. She will perform a series of concerts to launch the album in the Netherlands in Fall 2016.

Tracklist:

01-03. Flautino Concerto in C Major, RV 443
04-06. Concerto in C Minor for Recorder & Strings, RV 441
07. Nisi Dominus (Psalm 126), RV 608 – ‘Cum dederit’
08-11. Concerto for Flute and Strings in G minor, Op.10, No.2, RV 439 ‘La notte’
12. Concerto for 2 Mandolins, Strings and Continuo in G, RV 532 – II. Andante
13-15. Concerto for Flute and Strings in F, Op.10, No.1, RV 433 ‘La tempesta di mare’
16. Il Giustino, RV 717 – ‘Vedrò con mio diletto’
17. Concerto For Violin And Strings In E, Op.8, No.1, RV 269 ‘La Primavera’ – I. Allegro

Personnel:

Lucie Horsch (recorder)
Amsterdam Vivaldi Players
Candida Thompson (conductor)

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