May 31

Medtner & Rachmaninov – Piano Sonatas – Steven Osborne (2014) 
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:11:59 minutes | 0,99 GB | Genre: Classical
Studio Master, Official Digital Download – Source: hyperion-records | Digital Booklet | © Hyperion Records
Recorded: December 2012, Henry Wood Hall, London, United Kingdom

Steven Osborne has become increasingly admired for his performances and recordings of Russian Romantic piano music, playing with a remarkable level of authority and a rare combination of technical ease, tonal lustre and idiomatic identification. Here he presents an impressive selection from two masters who lived and worked contemporaneously. Both were renowned concert pianists, and both wrote superbly for their instrument. Yet their reputations could not be more divergent. Rachmaninov utterly loved; Medtner only now becoming rehabilitated.

Medtner’s ‘Sonata Romantica’ was composed in 1930 in Paris, and first performed by the composer in Glasgow the following year. It was the twelfth of his fourteen piano sonatas. Not only its title but also the expressive content of its four movements, played without a break, make it virtually a manifesto for Medtner’s art. Apart from sonatas, Medtner’s favourite genre was the Skazka (‘Tale’). It has been pointed out that the usual English translation of ‘Fairy tale’ does not do justice to the power and depth of many of these pieces, some of which almost approach Chopin’s Ballades in their expressive scope. The two Skazki of Op 20 recorded here were composed in 1909.

In a recent performance of Rachmaninov’s Piano Sonata No 2, a great Romantic showpiece, Osborne was described by the Washington Post as ‘a master of momentum and color, a wielder of power and a sure navigator through huge landscapes: his Rachmaninov was both coherent and daringly free’.

I hope I don’t come across as unforgivably philistine when I say that Medtner is a composer I’ve often struggled to enjoy. He has sometimes struck me as one who can be unduly dour in some of his most serious works, but this new recital has proved something of a revelation. Steven Osborne’s recording of the expansive Sonata Romantica, Op. 53 No. 1, reveals colours, and light and shade, that made me listen to the work anew. Lasting almost 25 minutes, this is a big piece, and what’s so impressive about Osborne’s account is not only the superlative technical command but the musical imagination he brings to the work – finding a range of nuance and expressive depth that makes the most urgent and compelling case for large- scale Medtner that I’ve ever come across.

Written in 1930, the Sonata Romantica is in B flat minor – like Rachmaninov’s Second Sonata – and it is the twelfth of Medtner’s piano sonatas. As we learn from David Fanning’s excellent booklet note, it was first performed by the composer in Glasgow in 1931. Fanning also tells us that Medtner himself wanted to record the Sonata before his death in 1951, but this project was never realized. Osborne’s tremendous performance is preceded by engaging accounts of two Skazki (‘Tales’), Op. 20, from 1909 – engaging pieces that have a more obvious affinity to the world of Rachmaninov than some of Medtner’s grander pieces. Marc- André Hamelin’s recording of this work (also on Hyperion) is also excellent, but Osborne’s performance has a concentration and imagination that sets it apart – so much so that I’ve been forced to ditch some of my preconceptions about Medtner.

Rachmaninov’s Variations on a Theme of Corelli have a singular place in the composer’s output as the only major work for solo piano that he composed after leaving Russia in 1917 (aside, that is, from the revised version of the Second Sonata that had originally been written in 1913). They also have a misleading title, since they are variations on La Folia, an ancient theme that was used by Corelli – as well as by Lully and Vivaldi among (many) others – but certainly wasn’t composed by him. Still, this is a work that shows Rachmaninov at his most concentrated: while there’s a certain austerity to several of the variations, there’s no lack of musical interest. Osborne’s performance seems effortlessly to encompass the expressive span of this deeply impressive piece, and it is among the best I’ve heard.

The Second Sonata is always a rather problematic proposition: the revised version is preferred by some pianists for its greater conciseness and more transparent textures, while the original version has an opulence that is hard to resist, and several passages that it seems a shame to lose. Vladimir Horowitz was the greatest advocate for the work, but he played it in a hybrid version that combined the best elements of both versions – something he did with the composer’s blessing. Osborne has gone down the same path, making his own ‘ideal’ performing version of the work. Whatever ethical issues there might be about this rather à-la-carte approach to musical texts, I have to say that it works spectacularly well (as does Horowitz’s version in his matchless 1968 Sony recording). Anyone wanting to hear Rachmaninov’s first thoughts should listen to Zoltán Kocsis’s wonderful Philips recording of the original version. Osborne – consistently sensitive, spirited and technically dazzling – is extremely persuasive in his own version of the work.

This is an impressive disc in every way. With fine recorded sound and excellent notes, it deserves the warmest recommendation. From a purely personal point of view, it is a disc that has opened my ears to Medtner’s Sonata Romantica and for that I shall always be grateful. –Nigel Simeone, International Record Review

Tracklist:
Nikolai Medtner (1880-1951)
Skazki Op 20
1  Allegro con espressione[2’49]
2  Campanella: Pesante, minaccioso[3’45]

Sonata in B flat minor ‘Sonata Romantica’ Op 53 No 1
3  Romanza: Andantino con moto, ma sempre espressivo –[6’55]
4  Scherzo: Allegro[4’34]
5  Meditazione: Andante con moto[3’20]
6  Finale: Allegro non troppo[8’37]

Sergei Rachmaninov (1873-1943)
7  Variations on a theme of Corelli Op 42[17’48]

Piano Sonata No 2 in B flat minor Op 36
8  Allegro agitato[9’57]
9  Non allegro[7’32]
10  Allegro molto[6’42]

Personnel:
Steven Osborne, piano

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May 29

The Philadelphia Orchestra, Wolfgang Sawallisch – In Nature’s Realm (1999)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 55:13 minutes | Artwork | 2,63 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Artwork | 932 MB
Genre: Classical

This splendid disc was taped in early 1999 utilizing a simple pair of microphones, a custom built reel-to-reel tape deck, & a tube console. While the recording technology may be atavistic, the engineering is state-of-the-art. No noise reduction was employed, yet my less-than-golden ears fail to detect residual tape hiss enveloping the opulent analogue sonics. The music, though, is what really matters. Sawallisch leads his well-groomed Philadelphia musicians through a well paced, sensitively balanced Liszt Les Preludes. The Dvorak overtures, undervalued showpieces all, benefit from zippy tempos, sensitive section playing, & intelligent dynamic scaling that points up the music’s symphonic implications. Whether you’re a hard-core audiophile or a music lover with low-end components, this winning release does the Sawallisch/Philadelphia team proud all around. Enthusiastically recommended!

Tracklist:
01. Franz Liszt: Les Preludes, Symphonic Poem No. 3
02. Antonín Dvořák: In Nature’s Realm, Op. 91
03. Antonín Dvořák: Carnival Overture, Op. 92
04. Antonín Dvořák: Othello Overture, Op. 93

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May 28

Herbert von Karajan conducting music by Mozart & Handel (2014)
FLAC (tracks) 24-bit/96 kHz | Time – 45:15 minutes | 919 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital booklet |  © Warner Classics
Recorded: 1958, 1960, Grunewaldkirche, Berlin and 1955, Musikvereinssaal, Wien

The Karajan Official Remastered Edition comprises 13 box sets containing official remasterings of the finest recordings the Austrian conductor made for EMI between 1946 and 1984, and which are now a jewel of the Warner Classics catalogue.

For many, Herbert von Karajan (1908-1989) – hailed early in his career as ‘Das Wunder Karajan’ (The Karajan Miracle) and known in the early 1960s as ‘the music director of Europe’ – remains the ultimate embodiment of the maestro. The release of the Karajan Official Remastered Edition over the first half of 2014 marks the 25th anniversary of the conductor’s death in July 1989 at the age of 81.

He was closely associated with EMI for the majority of his recording career (specifically from 1946 to 1960 and then again from 1969 to 1984). EMI’s legendary producer Walter Legge sought him out in Vienna just after World War II and the long relationship that ensued embraced recordings with the Vienna Philharmonic, the Philharmonia (the orchestra founded by Legge), the Berlin Philharmonic (of which Karajan became ‘conductor for life’ in 1955), the forces of La Scala, Milan, and the Orchestre de Paris.

The Karajan Official Remastered Edition will feature primarily symphonic and choral music. The entire edition will comprise recordings remastered from the original sources in 24-bit/96kHz at Abbey Road Studios, the world’s most renowned recording studio.

Tracklist:

Wolfgang Amadeus Mozart (1756-1791)

Serenade in G Major, K. 525, ‘Eine kleine Nachtmusik’
1. I. Allegro 05:46
2. II. Romance (Andante) 05:54
3. III. Menuetto – Allegretto – Trio 02:23
4. IV. Rondo (Allegro) 03:23
5. Ave Verum Corpus, K. 618 04:06
4 German Dances, K. 602
6. No. 3 in C Major 02:01
6 German Dances, K. 600
7. No. 5 in G Major, ‘Der Kanarienvogel’ 01:48
3 German Dances, K. 605
8. No. 3 in C Major 02:50

George Frideric Handel (1685–1759)

Suite in G Major, HWV 350, ‘Water Music’
9. I. Allegro 02:42
10. II. Air 05:20
11. III. Bourée 00:45
12. IV. Hornpipe 00:55
13. V. Andante espressivo 03:52
14. VI. Allegro deciso 03:37

Personnel:
Berlin Philharmonic Orchestra
Philharmonia Orchestra
Herbert von Karajan, conductor

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May 28

REnsemble Vocal Sequenza 9.3 & Marie-Claire Alain – Jehan Alain Rediscovered (2005)
PS3 Rip | 2x SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 94:49 minutes | Scans | 4,38 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,47 GB
French title: Jehan Alain retrouvé | Features Stereo & Multichannel Surround sound | Genre: Classical

Jehan Ariste Alain (3 February 1911 – 20 June 1940) was a French organist and composer. He wrote choral music, including a Requiem mass, chamber music, songs and three volumes of piano music. But it is his organ music for which he is best known. Jehan Alain was not only an organ composer, as his vocal works, chamber music and piano compositions show, but it remains true that he dedicated to this instrument the most essential elements of his genius. This is not surprising when we remember the origins of the composer and the context in which he came to music.
Marie-Claire Alain (10 August 1926 – 26 February 2013) was a French organist and organ teacher best known for her prolific recording career. She have won the 2nd prize for organ at the Geneva International Music Competition in 1950.

Tracklist

DISC 1:
01. Prière pour nous-autres charnels, ja 135
02. Vocalise dorienne, ja 95
03. O quam suavis est, ja 35
04. Variations chorales sur l’hymne “sacris solemniis”, ja 26
05. Tantum ergo, ja 122
06. Chanson à bouche fermée, ja 39
07. O salutaris hostia
08. Kyrie
09. Sanctus
10. Agnus dei
11. Fantaisie pour choeur à bouche fermée, ja 47
12. Cantique en mode phrygien, ja 34
13. Noël nouvelet, ja 101
14. Que j’aime ce divin enfant
15. D’où vient qu’en cette nuitée, ja 113

DISC 2:
01. Kyrie
02. Gloria
03. Sanctus
04. Agnus dei
05. O salutaris de dugay, ja 83
06. Tu es petrus, ja 123
07. Veni creator
08. Introït
09. Kyrie
10. Gloria
11. Alleluia
12. Sanctus
13. Agnus dei
14. Communion
15. Laisse les nuages blancs, ja 58
16. Chanson du chat, ja 88
17. Le père noël, ja 114
18. Complainte de jean renaud, ja 90
19. Salve virilis, ja 139
20. Tantum ergo, ja 138
21. Chant nuptial, ja 131
22. Chant nuptial, ja 131 (variante)
23. O salutaris, ja 140

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May 27

Joseph Haydn – Piano Concertos – Ronald Brautigam, Concerto Copenhagen, Lars Ulrik Mortensen (2004)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:15:54 minutes |  688 MB | Genre: Classical
Studio Master, Official Digital Download  – Source: eClassical | Digital Booklet  | © BIS Records

Here is a jewel of a record. Fresh from his triumphant reading of Haydn’s entire output for the fortepiano Ronald Brautigam now brings us four concertos for piano and orchestra by the great composer. The piano concerto of this period naturally means Mozart. No one would dispute his pre-eminence in the genre. But when we actually listen to Haydn, as opposed to nodding at his technical ability, breadth of application and so on, we are always surprised; his music is not just brilliantly skilful but deeply impassioned and full of delightful surprises. Lars Ulrik Mortensen is also a musician to bring out these elements. Widely recognized as a harpsichord player of unusual insight and personality he directs the period ensemble Concerto Copenhagen from the continuo bench. Surely no one can fail to respond to this heart-warming disc?

Tracklist:

Joseph Haydn (1732-1809)

Concerto in D major, Hob.XVIII/11
1. I. Vivace 7’06
2. II. Un poco adagio 5’07
3. III. Rondo all´Ungarese 4’02

Concerto in F major, Hob.XVIII/3
4. I. Allegro 9’10
5. II. Largo cantabile 5’56
6. III. Presto 3’52

Concerto in D major, Hob.XVIII/2
7. I. Allegro moderato 8’31
8. II. Adagio molto 7’29
9. III. Allegro 5’00

Concerto in G major, Hob.XVIII/4
10. I. Allegro 8’20
11. II. Adagio 6’04
12. III. Rondo 3’34

Personnel:
Lars Ulrik Mortensen, director/continuo
Ronald Brautigam, fortepiano
Concerto Copenhagen, orchestra

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May 27

GVSU New Music Ensemble – Steve Reich: Music For 18 Musicians (2007) [2.0 & 5.0]
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 61:27 minutes | Scans included | 3,01 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,05 GB
Genre: Classical

The pulsations of Steve Reich’s landmark Music for 18 Musicians signify a New Music precipice. Where so much music after World War II explored extremes of tone, time, and register, Reich–and some of his colleagues in the 1960s and after–gravitated towards immersion in repetitions and telescoped focus on tonal areas. The combination of piano, vibraphone, marimba, xylophone, clarinets, violin, cello, and female voices is intoxicating in Reich’s hands. Reich creates a middle-register, ringing vamp with burnished reed palpitations and, eventually, quick, rolling piano figures emerge in tandem with the percussion. This recording is the second-best known, next to the ECM Records version of the piece, and is warm and colorfully tingling.

Tracklist:
01. Pulses
02. Section I
03. Section II
04. Section III A
05. Section III B
06. Section IV
07. Section V
08. Section VI
09. Section VII
10. Section VIII
11. Section IX
12. Section X
13. Section XI
14. Pulses

Grand Valley State University New Music Ensemble, Conducted by Bill Ryan.

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May 26

London Early Opera, Cunningham, Moult – Handel at Vaux Vol. I (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 48:09 minutes | 876 MB | Genre: Classical
Studio Master, Official Digital Download – Source: Q0buz | Artwork: Digital booklet |  © Signum Records

Handel at Vauxhall Volume One contains music by Handel and his English contemporaries. It reconstructs the first act in a typical evening’s concert at Vauxhall Gardens during the 1740s when the programme became more standardized, usually with a set of 16 pieces a night including an opening piece, organ concerto, wind music, instrumental pieces and dances and vocal music including solo and group songs which Jonathan Tyers reputedly introduced for the first time on the advice of Dr.Arne. The music, which was significantly by English composers, was performed by a small band with players doubling up on instruments and singers with very different types of voices…

Vauxhall Gardens was a “pleasure garden,” a kind of private park where entertainment of various kinds might be presented indoors and outdoors. Part of it still exists today. Handel and others wrote music for the venue, only to see it disparaged by Samuel Johnson; partly for this reason, the selections on this album qualify as genuinely neglected Handel. They are light, but not unsophisticated. Contained on this release is music that roughly reconstructs part of an evening’s music at Vauxhall. One of the park’s pavilions contained a small organ, and the Organ Concerto in B flat major, Op. 4, No. 2, HWV 290, receives a delightful small-scale performance here from organist Daniel Moult and players from the London Early Opera orchestra under Bridget Cunningham, the creative force behind this album. The outdoor pieces would have included little strophic songs and pastoral scenes by Handel and others; these are small gems that have hardly been touched by performers. Sample the rather comically overwrought The Melancholy Nymph, HWV 228, No. 19 (track 12), or the comic pastoral Colin and Phoebe by Thomas Arne, one of a pair of Handel contemporaries included. The sound disappoints; the church acoustic makes no differentiation among the types of music heard here and isn’t really right for any of them. But this release is essential for anyone interested in understanding Handel’s musical world, and it holds a good deal of charm for any listener.

Tracklist:
01 – Handel: Acis and Galatea, HWV 49: Sinfonia
02 – Moult: Organ Improvisation in the style of John Worgan and Handel
03 – Handel: Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290: I. Sinfonia: A tempo ordinario e staccato
04 – Handel: Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290: II. Allegro
05 – Handel: Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290: III. Adagio e staccato
06 – Organ Concerto Op. 4 No. 2 in B flat Major, HWV 290: IV. Allegro ma non presto
07 – Handel: Acis and Galatea, HWV 49: Ye verdant plains and woody mountains
08 – Handel: Acis and Galatea, HWV 49: Hush, ye pretty warbling choir!
09 – Arne: Colin and Phoebe: A Pastoral
10 – Handel: Saul, HWV 53: Dead March
11 – Handel: The Advice, ‘Mortals wisely learn to measure’
12 – Handel: The Melancholy Nymph, HWV 228 No. 19
13 – Hebden: Concerto for Strings and Basso Continuo No 1 in A Major: I. Adagio
14 – Hebden: Concerto for Strings and Basso Continuo No 1 in A Major: II. Fuga
15 – Hebden: Concerto for Strings and Basso Continuo No 1 in A Major: III. Largo
16 – Hebden: Concerto for Strings and Basso Continuo No 1 in A Major: IV. Allegro
17 – Handel: L’Allegro, il Penseroso ed il Moderato, HWV 55: As steals the morn upon the night

Produced by Christopher Alder. Engineered by Neil Hutchinson.
Recorded in May 2012 at St. Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom.

Performers:
London Early Opera, Conducted by Bridget Cunningham
Daniel Moult – organ
Sophie Bevan – soprano
Eleanor Dennis – soprano
Kirsty Hopkins – soprano
Charles MacDougall – tenor
Greg Tassell – tenor
Benjamin Bevan – baritone

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May 25

REnsemble Vocal Sequenza 9.3 & Marie-Claire Alain – Jehan Alain Rediscovered (2005)
PS3 Rip | 2x SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 94:49 minutes | Scans | 4,38 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,47 GB
French title: Jehan Alain retrouvé | Features Stereo & Multichannel Surround sound | Genre: Classical

Jehan Ariste Alain (3 February 1911 – 20 June 1940) was a French organist and composer. He wrote choral music, including a Requiem mass, chamber music, songs and three volumes of piano music. But it is his organ music for which he is best known. Jehan Alain was not only an organ composer, as his vocal works, chamber music and piano compositions show, but it remains true that he dedicated to this instrument the most essential elements of his genius. This is not surprising when we remember the origins of the composer and the context in which he came to music.
Marie-Claire Alain (10 August 1926 – 26 February 2013) was a French organist and organ teacher best known for her prolific recording career. She have won the 2nd prize for organ at the Geneva International Music Competition in 1950.

Tracklist

DISC 1:
01. Prière pour nous-autres charnels, ja 135
02. Vocalise dorienne, ja 95
03. O quam suavis est, ja 35
04. Variations chorales sur l’hymne “sacris solemniis”, ja 26
05. Tantum ergo, ja 122
06. Chanson à bouche fermée, ja 39
07. O salutaris hostia
08. Kyrie
09. Sanctus
10. Agnus dei
11. Fantaisie pour choeur à bouche fermée, ja 47
12. Cantique en mode phrygien, ja 34
13. Noël nouvelet, ja 101
14. Que j’aime ce divin enfant
15. D’où vient qu’en cette nuitée, ja 113

DISC 2:
01. Kyrie
02. Gloria
03. Sanctus
04. Agnus dei
05. O salutaris de dugay, ja 83
06. Tu es petrus, ja 123
07. Veni creator
08. Introït
09. Kyrie
10. Gloria
11. Alleluia
12. Sanctus
13. Agnus dei
14. Communion
15. Laisse les nuages blancs, ja 58
16. Chanson du chat, ja 88
17. Le père noël, ja 114
18. Complainte de jean renaud, ja 90
19. Salve virilis, ja 139
20. Tantum ergo, ja 138
21. Chant nuptial, ja 131
22. Chant nuptial, ja 131 (variante)
23. O salutaris, ja 140

Continue reading »

May 25

GVSU New Music Ensemble – Steve Reich: Music For 18 Musicians (2007) [2.0 & 5.0]
PS3 Rip | SACD ISO | DST64 2.0 & 5.0 > 1-bit/2.8224 MHz | 61:27 minutes | Scans included | 3,01 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,05 GB
Genre: Classical

The pulsations of Steve Reich’s landmark Music for 18 Musicians signify a New Music precipice. Where so much music after World War II explored extremes of tone, time, and register, Reich–and some of his colleagues in the 1960s and after–gravitated towards immersion in repetitions and telescoped focus on tonal areas. The combination of piano, vibraphone, marimba, xylophone, clarinets, violin, cello, and female voices is intoxicating in Reich’s hands. Reich creates a middle-register, ringing vamp with burnished reed palpitations and, eventually, quick, rolling piano figures emerge in tandem with the percussion. This recording is the second-best known, next to the ECM Records version of the piece, and is warm and colorfully tingling.

Tracklist:
01. Pulses
02. Section I
03. Section II
04. Section III A
05. Section III B
06. Section IV
07. Section V
08. Section VI
09. Section VII
10. Section VIII
11. Section IX
12. Section X
13. Section XI
14. Pulses

Grand Valley State University New Music Ensemble, Conducted by Bill Ryan.

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May 25

Scorpions & Berliner Philharmoniker – Moment Of Glory (2000) [Reissue 2002]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 70:14 minutes | Scans | 4,5 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | 61:37 mins | Scans | 1,23 GB
Features Stereo & Multichannel Surround sound | Genre: Rock, Classical

On the heels of Metallica’s similarly conceived S&M comes the Scorpions’ Moment of Glory, a presentation of past favorites (plus three new songs) with full orchestral backing courtesy of the Berlin Philharmonic. The rock instrumentation blends in best on the ballads, but some of the up-tempo rockers can also be pretty exciting, if a little bombastic. That said, the Scorpions’ music isn’t always complex enough to suggest interesting ways of augmenting the original arrangements – but since this is more a specialty item for diehards in the first place, that won’t likely matter in the end. Some fans may be disappointed that Klaus Meine gives way to guest vocalists on a couple of tunes, but overall, this is a variation on the Scorpions’ signature sound that loyalists will probably enjoy quite a bit.

Tracklist:
01. Hurricane 2000
02. Moment Of Glory
03. Send Me An Angel
04. Wind Of Change
05. Crossfire (instrumental)
06. Deadly Sting Suite (instrumental)
07. Here In My Heart
08. Still Loving You
09. Big City Nights
10. Lady Starlight **

“Hurricane 2000,” the reworking of “Rock You Like a Hurricane,” was the official theme song to Sabres Hockey Network broadcasts.

The title track “Moment of Glory” was the official anthem of the EXPO 2000 in Hannover, Germany.

The instrumental “Deadly Sting Suite” is based on two earlier Scorpions tracks, “He’s a Woman, She’s a Man” and “Dynamite”.

The fifth track, “Crossfire” repeats the main theme of the Russian song “Moscow Nights”.

Here in My Heart, written by Diane Warren, was recorded by Tiffany 10 years earlier for her album New Inside.

The 5.1 surround mix on the SACD release includes an orchestra-only version of “Wind of Change” as a ghost track, which follows after approximately one minute of silence at the end of “Lady Starlight”.

Produced by Scorpions & Christian Kolonovits.
Arranged and Conducted by Christian Kolonovits.

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