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2016/02/10 >
(P)2016 AVEX MUSIC CREATIVE INC.

http://www.e-onkyo.com/music/album/antcd17357/
http://ototoy.jp/_/default/p/60005
http://mora.jp/package/43000002/ANTCD-17357_F/

E-girls、待望となる初のベスト・アルバム！
これまでリリースされた全シングルに本邦初公開の新曲2曲を加えた全17曲がハイレゾで登場！

収録曲

1 – Celebration! – 03:55
2 – One Two Three – 04:03
3 – Follow Me – 04:05
4 – THE NEVER ENDING STORY ～君に秘密を教えよう～ – 03:22
5 – CANDY SMILE – 04:08
6 – ごめんなさいのKissing You – 03:40
7 – クルクル – 03:51
8 – Diamond Only – 03:47
9 – E.G. Anthem -WE ARE VENUS- – 03:22
10 – おどるポンポコリン – 03:19
11 – Highschool love – 03:55
12 – Mr.Snowman – 03:49
13 – Anniversary!! – 03:52
14 – Dance Dance Dance – 03:20
15 – Merry × Merry Xmas★ – 04:29
16 – DANCE WITH ME NOW! – 04:50
17 – 出航さ! ～Sail Out For Someone～ – 03:57

Download:

mqslink.xyz_EgirlsE.G.SMILEEgirlsBESTHiRes.rar

レーベル rhythm zone
配信開始日 2016.08.10
収録曲数全4曲
販売データハイレゾ｜FLAC｜48.0kHz/24bit

http://mora.jp/package/43000002/ANTCD-18822_F/

E-girlsが今年の夏を、200%熱くする!!
“W CONCEPT SUMMER SINGLE”
2ヶ月連続発売決定!!

コンセプトは【E.G.POP】&【E.G.COOL】
E-girlsの2つの魅力が、2016年の夏を200%熱くする!!

収録曲

1 – Pink Champagne 4 – 03:52
2 – Bad Girls 4 – 04:16
3 – カウガール・ラプソディー 4 – 03:48
4 – Dance Dance Dance (PKCZ Remix) 4 – 03:49

Download:

mqslink.xyz_EgirlsPinkChampagneHiRes.rar

Released at: 2014-01-29
Label :F.I.X.RECORDS
Catalog: KIGA24

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

収録曲

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

Download:

mqslink.xyz_EmergenceSACD.part1.rar
mqslink.xyz_EmergenceSACD.part2.rar
mqslink.xyz_EmergenceSACD.part3.rar

WAV 24bit/96kHz

Bela Bartok – Duke Bluebeard’s Castle – Philharmonia Orchestra, Esa-Pekka Salonen (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:06:38 minutes | 567 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: hyperion-records.co.uk | Digital Booklet | © Signum Classics
Recorded: November 2011, Konzerthaus, Vienna, Austria

Sir John Tomlinson’s world-weary enactment of the tortured Bluebeard is variously available under the batons of James Levine (Munich Philharmonic), Jukka-Pekka Saraste (BBC SO), Richard Fames (Orchestra of Opera North, in English) and Bernard Haitink with the Berlin Philharmonic (1996), Some little while ago I recommended the Haitink version as vocally superior, Levine as the most compelling interpretation and the BBC SO Prom as a valuable memento of an occasion that many will doubtless want to revisit. Salonen’s memorable reading was recorded live at tile Vienna Konzerthaus on November 8, 2011, and for those who care about broken spells, I’m happy to report that there is no spell-breaking applause at the end of the performance. I wasn’t sure about Juliet Stevenson’s Listen with Mother-style delivery of the spoken Prologue – too polite by half – but as soon as Salonen cues the score’s reptilian first bars, just after the one-minute mark, you can sense both a tightening of tension and Salonen’s natural grasp of Bartok’s richly suggestive tone-poetry. Tomlinson himself tends to favour a dry, ‘lowing’ delivery, at times suspending vibrato. Try 3’11” into track 1, where he invites Judith to answer his request to join him; and when he repeats his invitation, he seems almost desperate – needlessly, as it happens, because Michelle DeYoung sounds more than willing. Thereafter, Salonen pushes for some fierce accents while keeping the undulating Prologue restlessly on the move. Tomlinson suggests real menace when he asks Judith why she made the visit (track 1, 8’54”); and when she hammers on the first door three minutes later, the Philharmonia Voices do their bit with a ghostly sigh. As the subsequent doors open, Salonen and his players take centre stage, the instruments of torture sounding almost graphic in their impact, before the pace dips and the sunrise temporarily breaks through. DeYoung is at her best as she glides effortlessly among the flora and fauna of Bluebeard’s garden, while her lacerating C as the fifth door flies open to reveal Bluebeard’s vast and beautiful kingdom is breathtaking. There’s a very audible organ, too. The final climax is overwhelming because Salonen understands so well how the music must simultaneously rise to greet her and express Judith’s tragedy. Sound-wise, the score’s vast dynamic curve is truthfully reproduced and while I would unhesitatingly recommend this recording for the sake of Michelle DeYoung, Salonen and the Philharmonia, Sir John’s post-prime Bluebeard, although rich in drama and theatrical presence, can’t compare with the best of his former selves, most notably under Bernard Haitink, with Anne Sofie von Otter and the Berlin Philharmonic on EMI. For opera-in-English fans, the Farnes recording is pretty impressive, too. ~~ Gramophone, Rob Cowan, July 2014

Tracklist:
Béla Bartók (1881-1945)
Duke Bluebeard’s Castle
1 Prologue and Introduction 16.33
2 First Door: Bluebeard’s Torture Chamber 4.29
3 Second Door: The Armoury 4.50
4 Third Door: The Treasure Room 2.41
5 Fourth Door: The Garden 5.22
6 Fifth Door: Bluebeard’s Vast & Beautiful Kingdom 6.46
7 Sixth Door: The Lake of Tears 14.42
8 Seventh Door: Bluebeard’s Wives 11.15

Personnel:
Sir John Tomlinson, Bluebeard (bass)
Michelle DeYoung, Judith (mezzo-soprano)
Juliet Stevenson, narrator (#1)
Philharmonia Voices
Philharmonia Orchestra
Esa-Pekka Salonen conductor

Download:

mqslink.xyz_BartkDukeBluebeardsCastlePhilharmniarchestraEsaPekkaSalnen201444.124.rar

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

Tracklist:

Ludwig van Beethoven (1770-1827)

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

Personnel:
Glenn Gould, piano

Download:

mqslink.xyz_BeethvenSymphnyN.5GlennGuld19682015Qbuz2444.1.rar

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

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

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

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

Tracklist:

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

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

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

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

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

Download:

mqslink.xyz_BrittenSerenadefrtenrhrnstringsAldeburghStrings20169624.part1.rar
mqslink.xyz_BrittenSerenadefrtenrhrnstringsAldeburghStrings20169624.part2.rar

Despite its reputation as one of the most exciting live bands to ever rock an arena in the Seventies, Bad Company never released a live album during its meteoric rise to the top of the charts. That has changed as Rhino introduces the first-ever official live album to spotlight the original Bad Company line up: Paul Rodgers, Mick Ralphs, Simon Kirke and Boz Burrell.

The collection includes more than two-and-half hours of unreleased music taken from 24-track tapes in the band’s vault. The music heard on this live collection features absolutely no enhancements or overdubs, nothing but the band as they performed live on the night of the concert.

Live 1977 & 1979 includes two previously unreleased concerts – with one additional track taken from the group’s June 26, 1979 show in Washington, DC.

The first disc captures the band’s show at the Summit House in Houston, Texas, which took place on May 23, 1977. It was recorded during Bad Company’s tour supporting its fourth studio album Burning Sky. After opening with the title track from the album, the band went on to play selections from all its previous albums: Run with the Pack (1976), Straight Shooter (1975) and Bad Company (1974). Among the crowd-pleasing highlights are strong performances of “Shooting Star,” “Ready For Love,” “Good Lovin’ Gone Bad” and “Feel Like Makin’ Love.”

The next disc fast-forwards two years to the band’s March 9, 1979 show in London, which was recorded during the band’s tour for its multi-platinum album, Desolation Angels. Several songs from that album were performed during the show, including “Rock ’n’ Roll Fantasy,” “Gone, Gone, Gone” and “She Brings Me Love.” The group also performed several songs from earlier albums that weren’t part of the 1977 concert, like “Run With the Pack,” “Rock Steady” and “Can’t Get Enough.”

Tracklist:

Disc One: Live at The Summit, Houston, Texas 5/23/77
1. Burnin’ Sky 04:49
2. Too Bad 05:18
3. Ready For Love 08:03
4. Heartbeat 04:39
5. Morning Sun 04:25
6. Man Needs Woman 04:16
7. Leaving You 04:28
8. Shooting Star 06:58
9. Simple Man 06:10
10. Movin’ On 03:28
11. Like Water 05:34
12. Drum Solo 01:34
13. Live For The Music 06:32
14. Good Lovin’ Gone Bad 05:29
15. Feel Like Makin’ Love 06:40

Disc Two: Live at The Empire Pool, Wembley, London 3/9/79
1. Bad Company 07:53
2. Gone, Gone, Gone 04:58
3. Shooting Star 06:39
4. Rhythm Machine 05:02
5. Oh, Atlanta 05:01
6. She Brings Me Love 05:23
7. Run With The Pack 05:60
8. Evil Wind 04:31
9. Drum Solo 02:37
10. Honey Child 04:34
11. Rock Steady 03:47
12. Rock ‘n’ Roll Fantasy 03:26
13. Hey Joe (Capitol Center, Washington, DC 6/26/79) 04:28
14. Feel Like Makin’ Love 06:29
15. Can’t Get Enough 05:59

Personnel:
Paul Rodgers – lead vocals, guitar
Mick Ralphs – guitars, backing vocals, keyboards
Simon Kirke – drums, backing vocals
Boz Burrell – bass, backing vocals

Download:

mqslink.xyz_BadCmpanyLive1977197920169624.part1.rar
mqslink.xyz_BadCmpanyLive1977197920169624.part2.rar
mqslink.xyz_BadCmpanyLive1977197920169624.part3.rar
mqslink.xyz_BadCmpanyLive1977197920169624.part4.rar

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

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

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

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

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

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

Download:

mqslink.xyz_BigJhnPattnLetEmRll19652016Qbuz24192.part1.rar
mqslink.xyz_BigJhnPattnLetEmRll19652016Qbuz24192.part2.rar

Bill Evans – Some Other Time: The Lost Session From The Black Forest (1968/2016)
DSD128 (.dsf) 1 bit/5,64 MHz | Time – 01:33:40 minutes | 7,41 GB | Genre: Jazz
Official Digital Download – Source: HDTracks | Digital Booklet | © 2xHD
Recorded: MPS Studios in Villingen, Germany, June 20, 1968

This double album includes 93 minutes of never before heard captivating studio recordings by pianist Bill Evans in solo, duo and trio settings and is only the second release —(and the only studio album) to feature the short-lived Bill Evans Trio with drummer Jack DeJohnette and bassist Eddie Gomez. Recently unearthed, these tracks were taken from a session in June 1968, only five days after the trio’s triumphant performance at the Montreux Jazz Festival. Recorded by Hans Georg Brunner-Schwer (HGBS) and Joachim-Ernst Brendt in Germany, these songs were originally intended for the legendary MPS label but for some reason were never released. It’s a remarkable document of an under-represented period in the career of one of the icons of jazz.

“There was big excitement about us going to the studio. This record represents a time and space where (Evans) was exploring new approaches to standard repertoire rhythmically and harmonically.” –Jack DeJohnette

“Five Stars … another brilliant achievement … a terrific unreleased recording … there is a bonafide excitement for a 48 year old Bill Evans recording finally getting released … the acoustics are excellent … you can hear the vibrant attention to detail on DeJohnette’s cymbals and Eddie Gomez’s full-bodied double bass. Evans’ Steinway is crystalline. When the chords swell, the tonal expansion is palpable. The quieter moments are delicate, with richness. The overall mix is excellent … a valuable addition to any jazz collection!” –Audiophile Audition

Tracklist:
1. You Go To My Head (4:58)
2. Very Early (5:12)
3. What Kind of Fool Am I? (5:21)
4. I’ll Remember April (4:08)
5. My Funny Valentine (6:58)
6. Baubles, Bangles & Beads [Duo] (4:38)
7. Turn Out The Stars (4:56)
8. It Could Happen To You (3:58)
9. In A Sentimental Mood (4:18)
10. These Foolish Things (4:14)
11. Some Other Time (5:28)
12. You’re Gonna Hear From Me (3:32)
13. Walkin’ Up (4:10)
14. Baubles, Bangles & Beads [Trio] (4:51)
15. It’s Alright With Me [Incomplete] (3:45)
16. What Kind Of Fool Am I? (2:51)
17. How About You (3:59)
18. On Green Dolphin Street (4:33)
19. Wonder Why (4:13)
20. Lover Man (Oh, Where Can You Be?) (3:49)
21. You’re Gonna Hear From Me [Alternate Take] (3:24)

Personnel:
Bill Evans, piano
Eddie Gomez, bass
Jack DeJohnette, drums

Download:

FLAC 24-192

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

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

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

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

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

Download:

mqslink.xyz_BlueMitchellTheThingTD19642016qbuz24192.part1.rar
mqslink.xyz_BlueMitchellTheThingTD19642016qbuz24192.part2.rar

Booker Ervin – The Freedom Book (1964/2014)
FLAC (tracks) 24-bit/44,1 kHz | Time – 42:45 minutes | 478 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Digital Booklet | © Prestige Records
Recorded: December 3, 1963 at the Van Gelder Studio, Englewood Cliffs, NJ
Remastered: 2007, Rudy Van Gelder at Van Gelder Studio, Englewood Cliffs, NJ

Booker Ervin’s recordings with Charles Mingus and Randy Weston brought him good reviews and a bit of notoriety. But it was his series of Song Books for Prestige Records that broadcast the stentorian announcement that a jazz orator of gigantic stature had arrived. Ervin’s tenor saxophone sound was haunted by the loneliness and spaciousness of the Texas plains where he was raised. The Southwest moan was an integral part of his playing. But his style went beyond the classic Texas tenor tradition to incorporate the intricacies of bebop and suggestions of the free jazz that was initiating one of the periods of self-renewal that keeps jazz fresh and interesting. The Freedom Book, recorded at the end of 1963, was one of Ervin’s masterpieces. He is abetted by the power and drive of Jaki Byard, Richard Davis, and Alan Dawson.

In some ways tenor saxophonist Booker Ervin was the archetypal jazz player for the post-bop 1960s, combining the tradition of Texas sax with just the hint of edgy modernism, a sort of the Delta-meets-Morocco sound so accessible that it is easy to miss the chances Ervin took with his music. Although his career was short (cancer claimed him in the summer of 1970 when he was just shy of his 40th birthday), Ervin still managed to record some 20 albums as a frontman, most notably his “book” series, The Song Book, The Blues Book, The Space Book, and this fine session, The Freedom Book, which finds him working with a rhythm section of Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums. Recorded on December 3, 1963, The Freedom Book is a near perfect set of modern hard bop, ranging just far enough out there to feel fresh but retaining a strong lifeline to bop tradition. Highlights of the session include an impressive Ervin original, “A Lunar Tune,” a fine version of Randy Weston’s “Cry Me Not,” the deliberately strident “Al’s In,” and another Ervin composition, the moving “A Day to Mourn,” an emotionally charged ballad written after the assassination of JFK.ballad written after the assassination of JFK. ~~ AllMusic Review by Steve Leggett

Tracklist:
1. A Lunar Tune 7:33
2. Cry Me Not 4:42
3. Grant’s Stand 8:45
4. A Day To Mourn 9:14
5. Al’s In 9:38

Personnel:
Booker Ervin, tenor saxophone
Jaki Byard, piano
Richard Davis, bass
Alan Dawson, drums

Download:

mqslink.xyz_BkerErvinTheFreedmBk1964RVG2014HDTracks2444.1.rar

Bob Dylan – Fallen Angels (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 37:55 minutes | 366 MB | Genre: Rock
Studio Masters, Official Digital Download – Source: PonoMusic | Front Cover | © Columbia Records
Recorded: February 2015-March 2016, Capitol Studios, Los Angeles, US

Fallen Angels is the thirty-seventh studio album by Bob Dylan, released by Columbia Records on May 20, 2016.

The album features covers of twelve classic American songs chosen by Dylan from a diverse array of writers such as Johnny Mercer, Harold Arlen, Sammy Cahn and Carolyn Leigh. Much like the album’s predecessor, Shadows in the Night, every song on the album, except for “Skylark”, was once recorded by Frank Sinatra.

The album has received generally favorable reviews from critics, with particular praise for Dylan’s vocal performance, production quality, and the arrangements of his band.

Fallen Angels may have been recorded at the same session as 2015’s moody Shadows in the Night, but its tone is very different. Call Fallen Angels the Nice ‘n’ Easy to the No One Cares of Shadows in the Night: they’re both tributes to Frank Sinatra, but the 2016 album is light at heart. It’s filled with songs of love, not heartbreak, and Dylan’s band plays the numbers as sweet shuffles that function as a counterpart to the gloomy saloon tunes that filled Shadows in the Night. Another distinction of Fallen Angels is that, unlike its cousin, some of the featured songs are quite common: “Young at Heart,” “All the Way,” “It Had to Be You,” and “Come Rain or Come Shine” often pop up on Great American Songbook tributes, whereas the compositions on Shadows often felt carefully curated. Such familiar tunes — which are offset by such nifty excavations as “Maybe You’ll Be There,” “On a Little Street in Singapore,” and “Skylark,” the only song here not recorded by Sinatra — help draw attention to Dylan’s interpretations. Supported by his trusted touring band, he pushes these songs into the realm of a dusty roadhouse, letting “That Old Black Magic” skip along to a swift danceable beat, turning “Polka Dots and Moonbeams” into a country ramble, playing “Melancholy Mood” as an after-hours blues. These wise, wily interpretations underscore Dylan’s ultimate aim with these Sinatra records, which is to slyly tie together various strands of American music, bringing Tin Pan Alley to the barrooms and taking the backwoods uptown. The results are understated yet extraordinary, an idiosyncratic, romantic vision of 20th century America. ~~ AllMusic Review by Stephen Thomas Erlewine

Tracklist:
1 Young At Heart 03:00
2 Maybe You’ll Be There 02:56
3 Polka Dots And Moonbeams 03:36
4 All The Way 04:02
5 Skylark 02:56
6 Nevertheless 03:27
7 All or Nothing at All 03:04
8 On a Little Street in Singapore 02:16
9 It Had to be You 04:02
10 Melancholy Mood 02:53
11 That Old Black Magic 03:03
12 Come Rain or Come Shine 02:39

Personnel:
Bob Dylan – vocals
Charlie Sexton – guitar
Stu Kimball – guitar
Dean Parks – guitar
Donnie Herron – steel guitar, viola
Tony Garnier – bass
George Recile – drums

Download:

mqslink.xyz_BbDylanFallenAngels2016Pn2444.1.rar

Bob Dylan – Tempest (2012)
FLAC (tracks) 24-bit/96 kHz | Time – 01:08:31 minutes | 1,38 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: PonoMusic | Front Cover | © Columbia Records
Recorded: January–March 2012 at Groove Masters Studios in Santa Monica, California

Tempest is the thirty-fifth studio album by American singer-songwriter Bob Dylan, released on September 10, 2012 by Columbia Records.The album was recorded at Jackson Browne’s Groove Masters Studios in Santa Monica, California. Dylan wrote all of the songs himself with the exception of the track “Duquesne Whistle”, which he co-wrote with Robert Hunter.

Tempest received universal acclaim from music critics, who praised its traditional music influences and Dylan’s dark lyrics.The album peaked at number three on the Billboard 200.

Fifty years after Bob Dylan’s debut album appeared, we get Tempest. Since he returned to recording original material on 1997’s Time Out of Mind, he’s been rambling through American musical styles — blues, country, folk, rockabilly, swing — that were popular before he was even on the scene. Tempest continues the exploration, but more urgently than on Modern Times and Together Through Life. It’s a gritty, cantankerous record with abundant images of violence, lust, and humor, though the latter is often black. His protagonists settle scores with lovers, enemies, and power brokers; they’re often self-aggrandizing and self-deprecating simultaneously. Most of these are story-songs, though none but “Tempest” tracks in a linear fashion. “Duquesne Whistle” opens nostalgically with steel and acoustic guitars playing a swing melody reminiscent of Bob Wills. When the band enters, it becomes a rockabilly shuffle with teeth. “Soon After Midnight” is a ballad with hazardous warnings (“…Two-Timing Slim/Who’s every heard of him?/I’ll drag his corpse through the mud”). “Narrow Way” is a blues wailer that faintly looks back at “Maggie’s Farm.” Dylan’s lyric contradictions are in full force; the song asks unanswerable questions while expressing rage and vulnerability (“…Even death has washed its hands of you” and “Put your arms around me, where they belong”). “Pay in Blood” is a rocking venomous boast with one of his more memorable refrains: “I pay in blood, but not my own.” “Early Roman Kings” is a basic rewrite of Muddy Waters’ “Mannish Boy.” David Hidalgo’s old-world accordion plays the signature swaggering, razor-sharp guitar riff underscoring the notion that the blues are universal, timeless. Dylan’s nasty rasp fueled by lust, vengeance, and power is balanced by his wicked humor: “I can strip you of life, strip you of breath/I can ship you down, to the house of death…I ain’t dead yet, my bell still rings/I keep my fingers crossed like the early Roman kings.” Musically, “Tin Angel” looks back to “Man in the Long Black Coat” for a frame. Lyrically, this is Dylan at his storytelling best; its twists and turns would be right at home on Blood on the Tracks and Desire — and it would have made a great closer. Sadly, that’s not the case. The nearly 14-minute, 45-verse title cut retells the story of the Titanic with references to history — and the James Cameron film. Hearing it once is enough. “Roll on John,” Dylan’s elegy for friend John Lennon, closes the set. He uses a slew of Lennon’s own lyrics as a tribute. The end result is moving but clumsy. These last two cuts aside, Tempest is still a damn fine album. Dylan is in mostly excellent form — even when sloppy; it sounds like he’s having the time of his life. ~~ AllMusic Review by Thom Jurek

Tracklist:
1 Duquesne Whistle 5:43
2 Soon After Midnight 3:27
3 Narrow Way 7:28
4 Long And Wasted Years 3:46
5 Pay In Blood 5:09
6 Scarlet Town 7:17
7 Early Roman Kings 5:14
8 Tin Angel 9:05
9 Tempest 13:54
10 Roll On John 7:25

Personnel:
Bob Dylan – guitar, piano, vocals, production
Tony Garnier – bass guitar
Donnie Herron – steel guitar, banjo, violin, mandolin
David Hidalgo – guitar, accordion, violin
Stu Kimball – guitar
George G. Receli – drums
Charlie Sexton – guitar

Download:

mqslink.xyz_BbDylanTempest2012Pn2496.part1.rar
mqslink.xyz_BbDylanTempest2012Pn2496.part2.rar

Craig Leon, who created the transcriptions for Joshua Bell on his Sony Classics release entitled Romance of the Violin, now arranges transcriptions for the cellist Ophelie Gaillard on the new Aparte label. His arrangements has given Gaillard the opportunity to revive the long standing tradition of cellists, from Piatigorsky to Casals, who have played crowd-pleasing transcriptions of great works. Accompanied by the rich sound of the Royal Philharmonic Orchestra, she weaves an elegant tapestry of favorite classics.

Tracklist
1. Claude Debussy « La fille aux cheveux de lin (Prélude n° 8) »
2. Antonín Dvořák « Song to the Moon («Rusalka») »
3. Edvard Grieg « Solveig’s song («Peer Gynt») »
4. Vincenzo Bellini « Ah, non credea mirarti («La Sonnambula») »
5. Gaëtano Donizetti « Una furtiva lagrima («L’Elisir d’Amore») »
6. Giacomo Puccini « O mio babbino caro («Gianni Schicchi») »
7. Erik Satie « Gymnopédie n° 1″
8. Erik Satie « Gnossienne n° 1″
9. Gabriel Fauré « Pavane op.50″
10. Gabriel Fauré « Après un rêve »
11. Frédéric Chopin « Mazurka op.67 n° 4″
12. Frédéric Chopin « Nocturne op.9 n° 2″
13. Sergueï Rachmaninov « Vocalise op.34 n° 14 »
14. Piotr Illitch Tchaïkovski « Valse Sentimentale »

Personnel
Ophélie Gaillard, cello
Royal Philharmonic Orchestra
Tim Redmond. conductor

Download:

mqs.link_phelieGaillardDreams20092444Qbuz.rar

Bach’s cantatas make use of an amazing diversity of instruments, both old and new. Among the ‘new’ instruments was the violoncello piccolo, a rare type of cello that was popular for a brief period at the beginning of the eighteenth century. The addition of a fifth, higher string provided the instrument a unique lightness and delicacy in the upper registers. This collection featuring cellist Ophelie Gaillard and the ensemble Pulcinella focuses on arias from Bach’s cantatas that are scored for the violoncello piccolo. The arias are interspersed with instrumental transcriptions from the Schubler Chorales and the Orgelbüchlein. Vocal soloists include soprano Sandrine Piau, tenor Emiliano Gonzalez Toro and alto Christophe Dumaux.

Tracklist
1. Mein gläubiges Herze, BWV 68 *
2. Choral Schübler, BWV 645 n°1
3. Woferne du den edlen Frieden, BWV 41 ***
4. Ich, dein betrübtes Kind, BWV 199 *
5. Jesus ist ein guter Hirt, BWV 85 **
6. Ach bleib bei uns, Herr Jesu Christ, BWV 6 *
7. Ich bin herrlich, ich bin schön, BWV 49 *
8. Es dünket mich, ich sehe dich kommen, BWV 175 ***
9. Choral Schübler, BWV 650 n°6
10. Bete aber auch dabei, BWV 115 *
11. Ich fürchte nicht des Todes Schrecken, BWV 183 ***
12. Es ist vollbracht, BWV 159 **
13. Ich ruf’ zu dir, Herr Jesu Christ, BWV 639
14. Schlage doch gewünschte Stunde, BWV 53 (Georg Melchior Hoffman, 1679 – 1715) **

Personnel
Sandrine Piau soprano *
Christophe Dumaux alto **
Emiliano Gonzalez Toro ténor ***
Pulcinella
Ophélie Gaillard: piccolo cello / violoncelle piccolo et direction musicale

Download:

mqs.link_phelieGaillardEnsemblePulcinellaBachArias201288.224Qbuz.part1.rar
mqs.link_phelieGaillardEnsemblePulcinellaBachArias201288.224Qbuz.part2.rar

Ophélie Gaillard – Bach: Cello Suites pour violoncelle seul BWV 1007-1012 (2011)
FLAC (tracks) 24 bit/96 kHz | Time – 136:57 minutes | 2,17 GB | Genre: Classical
Official Digital Download – Source: Qobuz.com | Digital Booklet

The Bach Cello Suites are an iconic monument of the literature with which any serious cellist must grapple. Performances can vary from the metronomically precise just-play-the-notes approach to the other extreme in which a player’s idiosyncratic interpretations are so pronounced that they become the center of attention rather than Bach’s sublime music. This 2010 version is French cellist Ophélie Gaillard’s second recording of the suites, the first made a decade earlier when she was in her mid-twenties.

For the most part Gaillard’s take on the music (like that of most sensible cellists) lies somewhere in between, but with some movements closer to the eccentric end of the spectrum. Gaillard’s technical fluency is unimpeachable. Her intonation, even in the most outrageous multiple-stop chords, is impeccable. She plays with a ripe, absolutely luscious tone that may not suit the taste of the most fervent period performance devotees but that would likely elicit wonder from just about everyone else. Her use of vibrato is circumspect and period-appropriate. She is scrupulous about observing repeats and her use of ornamentation is elegant and understated. The fluidity and unself-conscious physicality of Gaillard’s playing keeps the listener aware that except for the preludes, this is sunny, dance-based music. Her handling of the faster movements is especially delightful; the Gigue from the Second Suite and the Bourées from the Fourth (among many others) are just plain fun. It’s in some of the preludes where the idiosyncrasies of her interpretation may lose some listeners. The Prelude to the First Suite, consisting entirely of sixteenth note figures, is an interpretive challenge and it’s one of the movements to which performers have applied the widest range of rhythmic freedom. Gaillard puts heavy emphasis on the downbeats and frequently sustains them for twice their written length, and she brings a similar approach to the Prelude of the Fourth Suite. Depending on the listener’s perspective, her playing of these movements may come across as either expansively elastic or weirdly distended.

A factor that’s almost inevitably an issue in recordings of such intimate music for solo string instruments, and sometimes string chamber music, is the clear audibility of strings slapping the soundboard and the player’s breathing. In almost any live performing situation, these would not be heard because those sounds don’t tend to carry, and an audience member sitting even in the first row would be unlikely to notice them, so a recording is an unfortunately unnatural way to experience this music. The extraneous sounds are only minimally distracting here; Gaillard’s breathing, while not annoying or always audible, can sound labored, as if she were working very hard, and that seems to contradict the apparent ease and flexibility of her playing. Otherwise, the acoustic is very fine, with a detailed, spacious, and nicely resonant ambience.

Tracklist:
CD1 #01 – Suite n. 1 in G major, BWV 1007:Prelude
CD1 #02 – Suite n. 1 in G major, BWV 1007:Allemande
CD1 #03 – Suite n. 1 in G major, BWV 1007:Courante
CD1 #04 – Suite n. 1 in G major, BWV 1007:Sarabande
CD1 #05 – Suite n. 1 in G major, BWV 1007:Menuets I & II
CD1 #06 – Suite n. 1 in G major, BWV 1007:Gigue
CD1 #07 – Suite n. 2 in D minor, BWV 1008:Prelude
CD1 #08 – Suite n. 2 in D minor, BWV 1008:Allemande
CD1 #09 – Suite n. 2 in D minor, BWV 1008:Courante
CD1 #10 – Suite n. 2 in D minor, BWV 1008:Sarabande
CD1 #11 – Suite n. 2 in D minor, BWV 1008:Menuets I & II
CD1 #12 – Suite n. 2 in D minor, BWV 1008:Gigue
CD1 #13 – Suite n. 3 in C major, BWV 1009:Prelude
CD1 #14 – Suite n. 3 in C major, BWV 1009:Allemande
CD1 #15 – Suite n. 3 in C major, BWV 1009:Courante
CD1 #16 – Suite n. 3 in C major, BWV 1009:Sarabande
CD1 #17 – Suite n. 3 in C major, BWV 1009:Bourrées I & II
CD1 #18 – Suite n. 3 in C major, BWV 1009:Gigue

CD2 #01 – Suite n. 4 in E flat major, BWV 1010:Prelude
CD2 #02 – Suite n. 4 in E flat major, BWV 1010:Allemande
CD2 #03 – Suite n. 4 in E flat major, BWV 1010:Courante
CD2 #04 – Suite n. 4 in E flat major, BWV 1010:Sarabande
CD2 #05 – Suite n. 4 in E flat major, BWV 1010:Bourrées I & II
CD2 #06 – Suite n. 4 in E flat major, BWV 1010:Gigue
CD2 #07 – Suite n. 5 in C minor, BWV 1011:Prelude
CD2 #08 – Suite n. 5 in C minor, BWV 1011:Allemande
CD2 #09 – Suite n. 5 in C minor, BWV 1011:Courante
CD2 #10 – Suite n. 5 in C minor, BWV 1011:Sarabande
CD2 #11 – Suite n. 5 in C minor, BWV 1011:Gavottes I & II
CD2 #12 – Suite n. 5 in C minor, BWV 1011:Gigue
CD2 #13 – Suite n. 6 in D major, BWV 1012:Prelude
CD2 #14 – Suite n. 6 in D major, BWV 1012:Allemande
CD2 #15 – Suite n. 6 in D major, BWV 1012:Courante
CD2 #16 – Suite n. 6 in D major, BWV 1012:Sarabande
CD2 #17 – Suite n. 6 in D major, BWV 1012:Gavottes I & II
CD2 #18 – Suite n. 6 in D major, BWV 1012:Gigue

Download:

mqs.link_phelieGaillardBach.CellSuitespurvilncelleseulBWV100710122011Qbuz2496.part1.rar
mqs.link_phelieGaillardBach.CellSuitespurvilncelleseulBWV100710122011Qbuz2496.part2.rar
mqs.link_phelieGaillardBach.CellSuitespurvilncelleseulBWV100710122011Qbuz2496.part3.rar

Johannes Brahms – Cello Sonatas – Ophelie Gaillard, Louis Schwizgebel-Wang, Fabio Di Casola (2013)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:15:25 minutes | 1,03 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Aparté/Little Tribeca
Recorded: 17 au 20 août 2012 à Arc en Scènes, Salle de musique, La Chaux-de-Fonds, Suisse (Schweiz, Switzerland)

Brahms’s important output of 24 chamber scores dominated the second half of the 19th century, as that of Beethoven had dominated the first half. His corpus was thus a response to that of Beethoven, his model, and to that of Mendelssohn, who was likewise born in Hamburg and also composed two cello sonatas. In 1890, aged only 57, Brahms resolved to give up composing but he had reckoned without the inspiration that his meeting with the Meiningen clarinetist Richard Mühlfeld was to have on his creative imagination. He subsequently added four scores for clarinet to his output, including this Trio Op. 114.

“Gaillard has always displayed an extraordinary palette of colours and these some alive more than ever on this recording…the voyage into earlier repertoire since her last such disc…seems to have informed her playing with even more subtlety than before.” –Gramophone

Tracklist:
Johannes Brahms (1833-1897)

Cello Sonata No. 2 in F major, Op. 99
1. I. Allegro vivace 08:30
2. II. Adagio affettuoso 06:22
3. III. Allegro passionato 06:46
4. IV. Allegro 04:33

Cello Sonata No. 1 In E Minor, Op. 38
5. I. Allegro 14:17
6. II. Allegretto quasi minuetto 05:18
7. III. Allegro 06:23

Clarinet Trio in A minor, Op. 114
8. I. Allegro alla breve 07:31
9. II. Adagio 07:28
10. III. Andantini grazioso 03:57
11. IV. Finale – allegro 04:25

Personnel:
Ophélie Gaillard, cello
Louis Schwizgebel-Wang, piano
Fabio Di Càsola, clarinet (#8-11)

Download:

mqs.link_BrahmsCellSnatasphlieGaillardLuisSchwizgebelWangFabiDiCsla2013Qbuz2488.2.part1.rar
mqs.link_BrahmsCellSnatasphlieGaillardLuisSchwizgebelWangFabiDiCsla2013Qbuz2488.2.part2.rar

C.P.E Bach Project – Ophelie Gaillard, Pulcinella Orchestra (2014)
FLAC (tracks) 24 bit/96 kHz | 1 CD | Digital Booklet | 1.29 GB
Genre: Classical | Official Digital Download – Source: Qobuz

A portrait, on the tercentenary of the composer’s birth, of Carl Philipp Emanuel Bach (1714-1788), probably the most gifted of the sons of Johann Sebastian Bach. Highly admired in his own century by Haydn, Gluck and Mozart, he stands out today as a brilliant and highly original composer. For CPE Bach, music had to be an expression of personal feelings and to achieve his aim, he revolutionised the established principles of form, harmony and rhythm. The Trio Sonata ‘Sanguineus und Melancholicus’ is a rarity in the composer’s output in that it is a quasi-programmatic work. It presents a conversation between one sanguine (first violin) and the other melancholic (second violin). The same duality is found throughout the recordings presented here, from the well-known Sinfonia No. 5 to the two brilliant cello concertos. Under the bow of cellist Ophélie Gaillard, at the head of the Pulcinella Orchestra, these pieces come as a revelation!

Reviews: “the group’s well-nigh impeccable ensemble and palpable enthusiasm make it an ideal vehicle for CPE Bach at his most stormy and passionate. In the concertos, the energy is lightly handled, Gaillard dancing off-the-string with impressive bow-control.”

Tracklist:

Cello Concerto in A minor, Wq. 170 (H. 432)
1 Allegro assai 10’25
2 Andante 7’21
3 Allegro assai 6’40

Sinfonia no. 5 in B minor, Wq. 182 (H. 661)
4 Allegretto 3’49
5 Larghetto 2’13
6 Presto 3’46

Cello Concerto in A major, Wq. 172 (H. 439)
7 Allegro 6’18
8 Largo 7’51
9 Allegro assai 5’09

Trio Sonata in C minor for two violins and continuo, Wq. 161 (H. 579)
10 Allegretto – Presto 5’00
11 Adagio 4’35
12 Allegro 8’52

Download:

mqs.link_C.P.E.BachPrjectphlieGaillard20149624.part1.rar
mqs.link_C.P.E.BachPrjectphlieGaillard20149624.part2.rar

Carl Philipp Emanuel Bach – Volume 2 – Ophelie Gaillard, Pulcinella Orchestra (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:20:59 minutes | 1,47 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: Qobuz | Digital Booklet | © Aparté/Little Tribeca
Recorded: 7, 8, 9 et 10 septembre 2015 à Paris église luthérienne de Bon Secours

After the success of their first volume Ophélie Gaillard and Pulcinella propose a second disc devoted to Johann Sebastian Bach’s most talented and surprising son, Carl Philipp Emanuel (1714-1788). The Sinfonia in C major expresses multiple emotions, ranging from irrepressible suffering in the Adagio to joyous release and insouciance in the concluding Allegretto, tinged with near-Mozartian grace. The Cello Concerto in B flat reveals the influence of the waning Baroque era and Vivaldi in particular. The Sinfonia in E minor, nicknamed ‘Fandango’ and dating from his Berlin years, is commonly regarded as one of his finest symphonies. The particularly virtuosic Sonata for cello piccolo and keyboard shows to advantage the two soloists of this recording: Ophélie Gaillard and Francesco Corti, whose fieriness is further revealed in the Harpsichord Concerto in D minor.

Tracklist:

Carl Philipp Emanuel Bach (1714-1788)

Sinfonia No. 3 in C major, Wq. 182/3 (H. 659)
1. I. Allegro assai 02:23
2. II. Adagio 02:49
3. III. Allegretto 04:35

Cello Concerto No. 2 in B-flat major, Wq. 171 (H. 436)
4. I. Allegro 07:29
5. II. Adagio 06:40
6. III. Allegro assai 06:18

Sinfonia in E minor, Wq. 178 (H. 653)
7. I. Allegro assai 04:05
8. II. Andante moderato 02:41
9. III. Allegro 03:12

Piccolo Cello Sonata in D major, Wq. 137 (H. 559)
10. I. Adagio, ma non tanto 03:41
11. II. Allegro di molto 09:14
12. III. Arioso 06:21

Harpsichord Concerto in D minor, Wq. 17 (H. 420)
13. I. Allegro 07:32
14. II. Un poco adagio 07:43
15. III. Allegro 06:16

Personnel:
Ophélie Gaillard, cello
Francesco Corti, harpsichord
Pulcinella Orchestra

Download:

mqslink.xyz_BachC.P.E.Vlume2phelieGaillardPulcinellarchestra2016Qbuz2496.part1.rar
mqslink.xyz_BachC.P.E.Vlume2phelieGaillardPulcinellarchestra2016Qbuz2496.part2.rar

Ophelie Gaillard – Schumann – Liszt (2012)
FLAC (tracks) 24 bit/48kHz | Time – 00:50:09 minutes | 618 MB | Genre: Classical
Official Digital Download – Source: Qobuz | © Aparté/Little Tribeca
Recorded: Radio Romania Concert Hall (Schumann), IRCAM (Liszt)

After Dreams, and the Bach Cello Suites, two recordings that enjoyed both critical and public acclaim, Ophélie Gaillard turns here to Robert Schumann’s Cello Concerto and the complete music for cello and piano of Franz Liszt. The result of this juxtaposition of two worlds, those of two composers of great sensitivity, is a programme captivatingly combining passion with an expression of the mysteries of life. Once again we see the eclecticism that Ophélie Gaillard has always shown. For the Schumann Concerto, this brilliant young cellist is accompanied by the National Radio Orchestra of Romania (which has played with the likes of Yehudi Menuhin, David Oistrakh, Martha Argerich and Mstislav Rostropovich), under the young conductor Tiberiu Soare (a favourite of the singer Angela Gheorghiu).

Schumann, who took up the cello at one time, attains an expressive maturity in his Concerto that enables him to bring out all the warmth and sensuality of the instrument, which he presents in an orchestral setting of admirable depth. For the second part of the programme, Ophélie Gaillard is joined by the fine pianist Delphine Bardin (winner of the coveted Clara Haskil Prize). These pieces show the soberness and bold language that characterise Liszt’s late works. He had tamed his virtuosity considerably by then and his harmony shows him breaking away more and more from tonality (Liszt declared to an astonished Vincent d’Indy that ‘he aspired to do away with tonality’). They also immerse us in surprising environments, sometimes haunting, sometimes very bleak – a world of subtle emotions just waiting to be discovered!

Tracklist:

Robert Schumann (1810-1856)
Cello Concerto in A minor, op. 129
1. I. Allegro – Nicht zu Schnell (48 kHz) 11:20
2. II. Adagio – Langsam (48 kHz) 04:06
3. III. Finale vivace – Sehr Lebhaft (48 kHz) 07:44

Franz Liszt (1811-1886)
4. Première Élégie 05:01
5. Deuxième Élégie 04:44
6. Romance oubliée 03:27
7. Die Zelle in Nonnenwerth 05:30
8. La lugubre gondole 08:22

Personnel:
Ophélie Gaillard: cello
Delphine Bardin: piano
Orchestre de la Radio Nationale Roumaine
Tiberiu Soare, conductor

Download:

mqs.link_phlieGaillardSchumannLiszt20124824.rar

E-girls – E.G. SMILE -E-girls BEST- [FLAC 24bit/48kHz]

E-girls – Pink Champagne [FLAC 24bit/48kHz]

上原れな (Uehara Rena) – Emergence [SACD ISO]

Bela Bartok – Duke Bluebeard’s Castle – Philharmonia Orchestra, Esa-Pekka Salonen (2014) [FLAC 24bit/44,1kHz]

Ludwig van Beethoven – Symphony No. 5 – Glenn Gould (1968/2015) [Qobuz FLAC 24bit/44,1kHz]

Benjamin Britten – Serenade for tenor horn & strings – Aldeburgh Strings (2016) [LINN FLAC 24bit/96kHz]

Bad Company – Live 1977 & 1979 (2016) [Qobuz FLAC 24bit/96kHz]

Big John Patton – Let Em Roll (1965/2016) [Qobuz 24-192]

Bill Evans – Some Other Time: The Lost Session From The Black Forest (1968/2016) [HDTracks DSD128]

Blue Mitchell – The Thing To Do (1965/2016) [Qobuz FLAC 24bit/192kHz]

Booker Ervin – The Freedom Book (1964/2014) [HDTracks FLAC 24bit/44,1kHz]

Bob Dylan – Fallen Angels (2016) [PonoMusic FLAC 24bit/44,1kHz]

Bob Dylan – Tempest (2012) [PonoMusic FLAC 24bit/96kHz]

Ophelie Gaillard – Dreams (2009) [Qobuz FLAC 24bit/44,1kHz]

Ophelie Gaillard, Ensemble Pulcinella – Bach Arias (2012) [Qobuz FLAC 24bit/88,2kHz]

Ophelie Gaillard – Bach: Cello Suites (2011) [Qobuz FLAC 24bit/96kHz]

Ophelie Gaillard, Louis Schwizgebel-Wang, Fabio Di Casola – Brahms: Cello Sonatas (2013) [Qobuz FLAC 24bit/88,2kHz]

Ophelie Gaillard, Pulcinella Orchestra – C.P.E Bach Project (2014) [Qobuz FLAC 24bit/96kHz]

Ophelie Gaillard, Pulcinella Orchestra – C.P.E Bach Project – Volume 2 (2016) [Qobuz FLAC 24bit/96kHz]

Ophelie Gaillard – Schumann – Liszt (2012) [Qobuz FLAC 24bit/48kHz]