MQS Albums Download

„Although Tommy Flanagan tended to refer to two-piano dates as a gimmick, that’s hardly the case during this superb 1983 concert in Germany with Hank Jones. The two pianists have the kind of feel for one another’s playing that avoids the crash of egos and instead inspires the give and take necessary for each performance to reach its full potential. Immediately, the two veterans captivate their audience with a stunning aggressive improvisation upon Charlie Parker’s ‘Relaxin’ at Camarillo,’ then immediately quiet them with a soft, lyrical interpretation of the gorgeous ballad ‘In a Sentimental Mood.’ They’re clearly having a lot of fun during their upbeat waltz through the popular ballad ‘Someday My Prince Will Come.’ The rest of the concert is every bit as fulfilling, with an inspired treatment of ‘Rockin’ in Rhythm’ getting the nod as the highlight of a memorable evening.“ (Ken Dryden, AMG)

Tracklist:
01 – Relaxin’ At Camarillo
02 – In a Sentimental Mood
03 – Some Day My Prince Will Come
04 – Afternoon in Paris
05 – Au privave
06 – I’m All Smiles
07 – Rockin in Rhythm
08 – Con Alma

Producer & Engineer by Hans Georg Brunner-Schwer.
Recorded live on May 7, 1983 at The Franziskaner Concert Hall, Villingen.
Digitally remastered in 2014.

Musicians:
Hank Jones – Bösendorfer Imperial Concert Grand Piano on “1-4” & Steinway Concert Grand Piano on “5-8”
Tommy Flanagan – Steinway Concert Grand Piano on “1-4” & Bösendorfer Imperial Concert Grand Piano on “5-8”

Download:

mqs.link_HankJnesTmmyFlanaganImAllSmiles19842015HRA24882.rar

The re-release of Hans Koller’s 1966 Relax With My Horns (MPS, Germany) shows a master at the top of his game. For the listeners, the disc is composed, arranged and produced with a sense of cheekiness… Trio of jazz musicians, with overdubbing of up to four saxophones on the session. The sum is a tidy little package of swing, blues and multi-tracked sax that echoes the iconic group Supersax.

In the beginning, America tried to get Viennese saxophonist Hans Koller to emigrate to the States. But the musician, who at the time was a seminal figure in post-war European jazz, refused to move. Still, he performed with Stan Kenton, Lee Konitz, Oscar Pettiford and Kenny Clarke and even co-founded one of Europe’s first jazz-rock fusion bands, Free Sound. While bassist and pianist Hans Rettenbacher is on the disc alongside drummer Rafi Luderitz it’s the sound of that sax choir that seems to carry Relax With My Horns. At just under 30 minutes, it does not tire after each listen. Sure, you get your obligatory blues but you also get two doses of Picasso-inspired free-form flight (“Music For Pablo” and “Music For Pablo 2”).

Influenced by Eric Dolphy, Koller’s playing soars on the recordings. He is equal parts humorous, humble and knowledgeable (particularly with his exceptional ability to over-dub). “The Twister” is a whirling track, zig-zagging all over town while “Half And Half” cracks open in the middle of a march to reveal a unique swing. Though MPS has also re-released Koller’s Vision, it’s actually Relax With My Horns that is the one to own. It’s a short burst of terrific tone while its different feels make it seem as if each track belongs to a different album (except, of course, for the two Picasso pieces).

Tracklist:
01 – Relax
02 – The Sweetest Girl I’ve Ever Known
03 – Music for Pablo I
04 – The Twister
05 – Half and Half
06 – Ziag Hin
07 – Blues for Marina
08 – Music for Pablo II

Produced & Engineered by Hans Georg Brunner-Schwer.
Digitally Remastered.

Musicians:
Hans Koller – saxophone
Hans Rettenbacher – bass, piano
Rafi Luederitz – drums

Download:

mqs.link_HansKllerRelaxWithMyHrns19662015HRA24882.rar

Vision I portrays canonically overlaid sax parts played at breakneck speed before moving into a relaxed bluesy groove, then turns to blistering multi-horn solos. The dirge-like For Dolphy, with the plaintive vocal cries of the altos, was dedicated to the great alto saxophonist Eric Dolphy. The med swing and skewed bluesy feel of For H.G. features the tenor out front. Tryptichon is a challenging angular composition in 3 parts with free improvisation moving from slow to up-tempo and back. With its Dolphyesque melody, Music For Jule is a frenetic excursion with an oblique reference to Monk. For Koller, Ballad For Marlies evokes the essence of a ballad. A Different Theme comprises three phrases played in different times – perfect food for the soloists. Vision II is a free-form ballad with Rittenbacher doubling piano and Koller’s expressive sax solo.

Tracklist:
01 – Vision
02 – For Dolphy
03 – For H.G.
04 – Tryptichon
05 – Music for Jule
06 – Ballade for Marlies
07 – A Different Theme
08 – Vision II

Produced and Engineered by Hans Georg Brunner-Schwer.
Recording Supervisor: Willi Fruth.
Digitally Remastered.

Musicians:
Hans Koller – saxophone
Hans Rettenbacher – bass, piano
Rafi Luederitz – drums

Download:

mqs.link_HansKllerVisin19662015HRA24882.rar

Heartbeast hailing from Hamburg, Germany. Over the past couple of years, singer/songwriter Nala Lakaschus and producers/instrumentalists Helge Hasselberg and Janto Djassi have dedicated themselves to making music with devoted attention to detail. Their different musical backgrounds range from pop, soul and jazz to hip-hop and punk, fusing together to create an unpredictable and unique sound.

They have traveled across continents to record with traditional griots in Senegal as well as contemporary masters such as New York based drummer Jörn Bielfeld. The result is an incomparable live experience with Nala Lakaschus at its center, telling her story to an audience who is being led through dreamy and sometimes gloomy worlds by the band. One foot steps into the electronic future, the other still in the analog past. This, is Heartbeast.

Tracklist:
01 – Egotime
02 – Lose
03 – Butcher
04 – Godfather
05 – Killer
06 – Zero
07 – Bad
08 – Stranger
09 – Zombie
10 – Nomad
11 – Tomorrow

Download:

mqs.link_HeartbeastZer2017Qbuz24441.rar

Having enjoyed a career resurgence since returning to regular touring and recording in 2007, trumpeter and pop icon Herb Alpert celebrates his ten-year run with 2017’s vibrant Music, Vol. 1. As with his more recent releases, Music, Vol. 1 finds him reworking a set of well-curated standards and 20th century pop classics in an electronic-tinged, often dance-oriented style. Included are songs by Irving Berlin, George Gershwin, the Beatles, and others. The difference this time out is that rather than working with any of his longtime collaborators, here Alpert recorded with veteran Dutch producer Jochem van der Saag (Andrea Bocelli, Barbra Streisand, Michael Bublé). The result is an album of kinetic, highly animated arrangements reminiscent of the trumpeter’s classic ’60s easy listening tracks, but with a modern twist. For fans of Alpert’s albums since 2009’s comeback Anything Goes, there is plenty to enjoy here, including his Parisian-chanson-meets-midtempo-ska rendition of the Beatles’ “Michelle” and his similarly genre-bending swing-meets-electro-reggae take on the standard “Strike Up the Band.” We also get similarly effective transmutations like the hip-hop-infused “Unforgettable” (which also features Alpert’s boyish vocals), a ’90s-style new jack swing version of “You Stepped Out of a Dream,” and a jaunty, lounge-ready version of “C’est Si Bon.” While the album has a generally lighter emotional tone than Alpert’s Grammy-nominated 2016 effort Human Nature, we do get his lovingly rendered, orchestral-synth accented take on John Lennon’s “Imagine.” Ultimately, with Alpert having entered his octogenarian decade, it’s life-affirming to hear him continue to deliver such buoyant and creatively engaged albums as this. ~ Matt Collar

Tracklist:
01 – Flamingo
02 – Unforgettable
03 – Michelle
04 – C’est Si Bon
05 – I’m Yours
06 – Cheek To Cheek
07 – Just A Gigolo
08 – Witchcraft
09 – Sugarfoot
10 – Strike Up The Band
11 – You Stepped Out Of A Dream
12 – Imagine

Download:

mqs.link_HerbAlpertMusicVlume12017Qbuz2496.rar

Adulated in his native Japan, drummer Hideo Shiraki led the most famous Japanese jazz group of the early 60’s. His combining jazz and traditional Japanese music brought him an invitation to the 1965 Berlin Jazz Festival and a record date. Three women playing Koto, the traditional Japanese stringed instrument, accompanied the quintet. The results: world music that works. Known in the West as ‘the Cherry Blossom Song’, the traditional Sakura Sakura finds Shiraki employing mallets, fingers, brushes, and sticks in combination with the Kyoto players as jazz and tradition blend. Yosakoi Bushi means ‘better come at night to make love’. There’s a feel of bluesy early Coltrane in the relaxed swing and soprano solo. Yamanaka Bushi is a song from the Yamanaka Onsen, or hot springs. The quintet bathes in the song’s heat, as a young Terumasa Hino displays why he’s a world-renowned trumpeter. Matsuri No Genzo conjures the images of a rural temple feast. After a haunting Koto refrain, everyone has a taste, and Shiraki’s play makes sure there are no leftovers. Hino takes the melody and solos exquisitely on his ballad Alone, Alone And Alone. Suwa is another Hino piece. The Koto takes on an almost Avant-garde role here, with an electronic-sounding accompaniment to the muted trumpet melody. An amazing coalescence of the serene traditional music of Japan and the youthful vitality of jazz.

Tracklist:
01 – Sakura, Sakura
02 – Yosakoi-Bushi
03 – Yamanaka Bushi
04 – Matsuri No Genzo
05 – Alone, Alone And Alone
06 – Suwa

Produced by Joachim E. Berendt. Engineered by Guenther Topel.
Recorded on November 1, 1965 in Berlin, Germany.
Digitally Remastered.

Musicians:
Keiko Nosaka – Koto
Kinuko Shurane – Koto
Sachiko Miyamoto – Koto Bass
Yuzuru Sera – piano
Takeru Muraoka – tenor saxophone, flute
Terumasa Hino – trumpet
Hachiro Kurita – bass
Hideo Shiraki – drums

Download:

mqs.link_HideShirakiQuintet3KtGirlsSakuraSakura19652016HRA24882.rar

Bloomington, Indiana’s Hoops releases its long-anticipated debut album Routines, the follow-up to a highly-acclaimed EP in 2016. Described by Hoops as “a bittersweet and honest record that sounds both warmly familiar and jarringly distinctive”, Routines marks the band’s first time working in a real studio rather than recording in living rooms and basements.

Named after the hoop houses at a day job (not basketball), Bloomington, Indiana’s Hoops make their full-length debut with Routines. It follows a handful of cassettes that landed them a record deal with Fat Possum, and a D.I.Y. EP that generated a certain amount of buzz and anticipation in the indie music press. Given their reverb-heavy, lo-fi complexion, it was intriguing — perhaps alarming to some — to learn that the band logged their first sessions in a professional studio for the album. It turns out that fans of their murky melodicism needn’t have worried: the group ended up doing a second pass on the original recordings, altering some and re-recording others in a family member’s basement to get the desired results. Also making use of vintage synths and ’80s guitar amps to hone that sound, the album opens with the aptly titled “Sun’s Out.” One of several songs that clock in at less than three minutes, it blends harmonic guitars and synths that shimmer, a relaxed groove, and wistful chord progressions for an intro that floats by with a Mona Lisa smile. Later, the recipe sits perfectly on the song “On Top,” an exercise in sympathy and morale-boosting with lyrics like “Keep your head up, you’re doing fine/I know it’s hard, but you’ll be all right.” “Underwater Theme” is a more languid, reflective entry, and the guitar-based instrumental “Benjals” comes off a bit like a proggy dream pop version of the Style Council, with extended chords, noodling, and bouncy syncopation. Throughout, though, the sound is so consistent, alluring, and distinctive that it’s hard to believe that they have all three members contributing songs here. Whatever their process, Hoops seem to have figured it out before this official first impression, an accomplishment even without the solid tunes and disarming spirit. ~ Marcy Donelson

Tracklist:
01 – Sun’s Out
02 – Rules
03 – On Top
04 – Benjals
05 – Burden
06 – On Letting Go
07 – The Way Luv Is
08 – Management
09 – All My Life
10 – Underwater Theme
11 – Worry

Download:

mqs.link_HPSRutines2017Qbuz24441.rar

Huron is back with his long awaited album “Inside Information”. The Berlin based musician has come up with 13 original tracks for his album which sounds somewhere between the IDM/Glitch/Electronica. “Inside Information” is an accomplished coming of age for Huron, a conceptual LP that brings together the elements that worked so well on his previous albums, and mixed it into a robust, coherent statement.

Inside Information is a class in balance and restraint. The sounds and manipulations demonstrated throughout are carefully placed and never feel out of sync, despite the complexity of beats, progression and slowly growing electronic organisms. It’s an album built for intense listening, longing to be played out live in an epic futuristic setting. As far as Intelligent Dance Music goes, this one’s begging to escape any confines you dare to place on it.

On Inside Information we hear the top-notch electronic production that we expect from Huron, Beckoning, glitching rhythms combined with IDM ambience and a subliminal touch of darkness, all with a blanket of gorgeous atmospheres, spacious soundscapes and just the right amount of memorable melodies to keep your brain tuned in. The objects unfurl from within their constructed confines, glitching along the way through their mechanical lifestyles, wrapped over by curtains of cinematic textures, twisted, unhinged, and finally left on their own to breathe and evolve. There is more to the intelligent design behind each and every track that meets the ear.

Tracklist:
01 – HumanTZ05550X
02 – Time To Wait
03 – Waterside
04 – Forest Lover
05 – Mind Reader
06 – Wrong Information
07 – The End Is The Beginning
08 – Hunting The Morning Light
09 – Ghost In The Mirror
10 – Blank Cities
11 – Grow With Him
12 – Rainy And I Love It
13 – Concede

Download:

mqs.link_HurnInsideInfrmatin2017Bandcamp24441.rar

Interestring Quartet is formed by four string musicians specialized in a diverse range of music genres. The name of the band Interestring Quartet is a play on word of the term “Perfect Fourth” in Mandarin, which holds a special meaning in the study of Jazz Harmony and further breaks away from the concept of chord build with major or minor third, to explores the new boundaries of melodic and harmony composition.

Leader of the band and lead violinist Wei-Jun Huang is one of the very few musicians in Taiwan that has obtained a diploma in Jazz performance in Taiwan （Koninklijk Conservatorium Brussel, master of Arts in Music）. After his return back to Taiwan, Huang extended his passion for music into different areas of performing, from Jazz to Pop and even Folk music, Huang builds up the magnitude of his playing style while expanding his own musical experience. Interestring Quartet is the first string quartet in Taiwan that has compositions spanning from Pop, Rock, Avant-garde, Jazz, and Folk, and is heavily anticipated in bringing a new vision to the field of string music.

The lead violinist Wei-Jun Huang wrote the entire album as well as the composition and musical directions. Along with second violinist. Wei-Hsin Liu, Chiee Yeh on viola, and Jiro Yeh on the cello, the band starts its quest to explore the boundless possibilities of string music. They were nominated for 2015 Golden Melody Award for Best Instrumental Composition, Best Instrumental Recording Album, Best Producer of the Year ( Instrumental), Best Instrumental Album, and the Best Crossover Album.

While the general public may still hold the stereotypical image of string music in classical orchestra, or cross-genre musicians such as Bond or Vanessa-Mae, the band believes that string music can be played beyond the rigid bounds of classical music or extravagant showmanship.

Tracklist:
01 – Let’s Play
02 – Witch’s Broom
03 – Len
04 – Quiet Nelson
05 – Mekong
06 – Ducie
07 – Joyce
08 – Chivalry

Musicians:
Wei-Jun Huang – violin
Wei-Hsin Liu – violin
Chiee Yeh – viola
Jiro Yeh – cello

Download:

mqs.link_InterestringQuartetInterestringQuartet20142017HDTracks24441.rar

1. 渡月橋～君想ふ～
2. 渡月橋～君想ふ～ (Instrumental)
3. 渡月橋～君想ふ～ (5.1ch Mix)

Format : FLAC Level8 24Bit 96KHz

Download:

mqs.link_TgetsukyuKimimfu24Bit96KHzFLAC.rar

レーベル Music Ray’n Inc.
配信開始日 2017.07.19
収録曲数全16曲
収録時間 1:14:54
サイズ合計 2.5GB
販売データハイレゾ｜FLAC｜96.0kHz/24bit

http://mora.jp/package/43000001/4580163597778/

豊崎愛生初のベストアルバムをリリース！

2009年の10月にソロデビューを果たし、いままでに15枚のシングルと3枚のオリジナルアルバムをリリースしてきた豊崎愛生初のベストアルバム。つじあやの、奥華子、安藤裕子、たむらぱん、佐藤泰司（シアターブルック）、ROLLYといった数々のアーティストとのコラボを主軸とした多彩な楽曲の中から厳選した15曲を収録。さらに新曲として安藤裕子書き下ろし楽曲を収録！

収録曲

1 – 一千年の散歩中 – 04:59
2 – 春風 SHUN PU – 04:11
3 – シャムロック – 03:58
4 – 片想いのテーマ – 04:19
5 – クローバー – 04:35
6 – オリオンとスパンコール – 04:11
7 – シロツメクサ – 04:21
8 – ほおずき – 04:53
9 – Dill – 04:05
10 – パタパ – 05:09
11 – 叶えたまえ – 04:14
12 – letter writer – 05:17
13 – 君にありがとう – 05:55
14 – music – 04:48
15 – love your life – 05:04
16 – 猫になる – 04:55

Download:

mqs.link_TysakiAkilveyurBest96kHz24bitFLAC.part1.rar
mqs.link_TysakiAkilveyurBest96kHz24bitFLAC.part2.rar

Though it has been recorded live in a concert performance, Franz Lehars successful operetta has plenty of theatrical presence. The cast is strong with to really good singers in the principal roles, Daniel Behle as Graf von Luxemburg and Camilla Nylund as Angèle Didier.

Tracklist

Franz Lehár (1870 – 1948)
Act I
1 Der Graf von Luxemburg, Act I: Introduktion. Karneval! Ja du allerschönste Zeit (Live) 05:09
2 Der Graf von Luxemburg, Act I: Faschingsmarsch (Live) 01:06
3 Der Graf von Luxemburg, Act I: Bohème-Duett. Ein Stübchen so klein (Live) 03:42
4 Der Graf von Luxemburg, Act I: Chanson. Pierre, der schreibt an klein Fleurette (Live) 04:39
5 Der Graf von Luxemburg, Act I: Reminiszenz. So liri, liri, lari, das ganze Moos ging tschari (Live) 00:55
6 Der Graf von Luxemburg, Act I: Lied. Ich bin verliebt, ich muss es ja gestehen (Live) 02:35
7 Der Graf von Luxemburg, Act I: Quintett. Ein Scheck auf die englische Bank! (Live) 02:36
8 Der Graf von Luxemburg, Act I: Entrée. Heut’ noch werd’ ich Ehefrau, doch wer wird mein Mann? (Live) 03:22
9 Der Graf von Luxemburg, Act I: Finale. Frau Gräfin, Sie erlauben wohl, dass ich jetzt gratuliere! (Live) 11:01

Act II
10 Der Graf von Luxemburg, Act II: Introduktion und Lied. Hoch, Evoë, Angèle Didier, hoch uns’rer schönen Diva (Live) 04:30
11 Der Graf von Luxemburg, Act II: Polka Mazurka I (Live) 00:42
12 Der Graf von Luxemburg, Act II: Duett. Sind Sie von Sinnen, Herr Baron (Live) 05:44
13 Der Graf von Luxemburg, Act II: Duett. Schau’n Sie freundlichst mich an (Live) 02:55
14 Der Graf von Luxemburg, Act II: Terzett. Ach, seh’n Sie doch, er ist ganz blass (Live) 05:19
15 Der Graf von Luxemburg, Act II: Trèfle incarnat. Der Handschuh, wie pikant! (Live) 04:15
16 Der Graf von Luxemburg, Act II: Polkatänzer. Ein Löwe war ich im Salon (Live) 02:47
17 Der Graf von Luxemburg, Act II: Finale II. Kommt ein Falter leicht geflattert (Live) 09:26

Act III
18 Der Graf von Luxemburg, Act III: Introduktion. Ist das jetzt endlich der 3. Akt? (Live) 01:46
19 Der Graf von Luxemburg, Act III: Couplet. Was ist das für ‘ne Zeit, liebe Leute? (Live) 03:56
20 D er Graf von Luxemburg, Act III: Reminiszenz-Duett. Wärst du heut’ schon mein Mann (Live) 01:40
21 Der Graf von Luxemburg, Act III: Marsch-Terzett. Packt die Liebe einen Alten justament beim Schopf (Live) 01:59
22 Der Graf von Luxemburg, Act III: Duett. Es duftet nach Trèfle incarnat (Live) 03:05
23 Der Graf von Luxemburg, Act III: Finaletto III. Wir bummeln durch’s Leben, was schert uns das Ziel? (Live) 03:03

Personnel
Daniel Behle, tenor (Graf von Luxemburg)
Camilla Nylund, soprano (Angèle Didier)
Simon Bode, tenor (Armand Brissard)
Sebastian Geyer, baritone (Fürst Basil Basilowitsch)
Margit Neubauer, mezzo-soprano (Gräfin Stasa Kokozow)
Ludwig Mittelhammer, baritone (Sergej Mentschikoff)
Ingyu Hwang, tenor (Pawel von Pawlowitsch)
Gurgen Baveyan, baritone (Pélégrin)
Chor der Oper Frankfurt
Frankfurter Opern- und Museumsorchester
Eun Sun Kim, conductor

Download:

mqs.link_FrankfurterpernundMuseumsrchesterChrderperFrankfurtEunSunKimLehrDerGrafvnLuxemburgLive20172.rar
mqs.link_FrankfurterpernundMuseumsrchesterChrderperFrankfurtEunSunKimLehrDerGrafvnLuxemburgLive20172.rar

British pianist Angela Brownridge presents the second of three Challenge Classics recordings exploring classical and romantic masterpieces. Following a disc of Beethoven Pianos Sonatas, here she performs some of the cornerstones of Chopin’s creative output – the Four Ballades, the Second Piano Sonata and Fantasie, Op.49.

In his liner notes Bryce Morrison says: “Today it is difficult to appreciate the impact Chopin’s music had on his first listeners. His mix of Slavonic passion and Gallic precision (his father was of French ancestry) created a world of such imaginative daring that it left his audiences bewitched, bothered and bewildered. Enigmatic to the last Chopin held aloof from such comments and left the more fancifully inclined to draw their own subjective conclusions. Like Fauré after him, Chopin disdained his published tempting tell-tale additions. More pragmatically, Piano Sonata No.2 is Chopin’s darkest, large-scale masterpiece, ranking among the composer’s supreme creations. Remarkably you are left with a work of an astonishing, if wholly novel coherence. The shock of the new continues with the Four Ballades. Finally, the F minor Fantaisie.

“I should add that Chopin’s stature is sometimes questioned by those who claim he composed no operas, symphonies or oratorios. But the answer by this ‘dreamer in strange places’ is that he wrote all of these, but for the piano. As he himself put it, ‘the piano is my solid ground, on that I stand the strongest.’”

Angela Brownridge has performed extensively in all the major London concert halls and throughout the UK as well as Europe, the USA, Canada, the Far East and Australia. She has been a soloist with many leading orchestras and conductors, and Festival engagements include Bath, Edinburgh, Warwick, Newport Rhode Island, Bratislava, Brno, Hong Kong, and Maastricht. Her recorded repertoire is very varied, including some first ever collections of the complete piano music of Barber, Gershwin, Kenneth Leighton and the complete piano concertos of Saint-Saëns.

Tracklist

Frédéric Chopin (1810-1849)
01. Piano Sonata No. 2, Op. 35: Grave. Doppio movimento
02. Piano Sonata No. 2, Op. 35: Scherzo
03. Piano Sonata No. 2, Op. 35: Marche funèbre: Lento
04. Piano Sonata No. 2, Op. 35: Finale. Presto. Sotto voce e legato
05. Ballade No. 1, Op. 23
06. Ballade No. 2, Op. 38
07. Ballade No. 3, Op. 47
08. Ballade No. 4, Op. 52
09. Fantaisie, Op. 49

Download:

mqs.link_FrdricChpinTheFurBalladesAngelaBrwnridge201724192.part1.rar
mqs.link_FrdricChpinTheFurBalladesAngelaBrwnridge201724192.part2.rar

Géza Anda: The Telefunken Recordings – masterpieces of incisive poetry and brilliant technique.
These recordings are characterised by Géza Anda’s distinctive balance of spontaneity and intellectual control, incisive poetry and brilliant technique. Géza Anda bestows upon his audience not only a pianistic and musical moment of glory, but also invites them to witness the birth of a pianistic aestheticism where objectivity and fantasy are no contradiction but are dependent on each other.

Following its ‘Edition Géza Anda’, audite now issues – for the first time on CD – Géza Anda’s Telefunken recordings made in 1950 and 1951. This fifth audite release featuring the Swiss-Hungarian pianist closes a gap which has long been a source of regret to connoisseurs and admirers of Géza Anda’s pianism. Chronologically, the Telefunken recordings are positioned between Anda’s first recordings for Deutsche Grammophon and the later recordings for Columbia and DG. They document the pianist’s transition from brilliant virtuoso to sophisticated musician. The objectivity of his Bach, Haydn and Mozart interpretations and the painstakingly worked out, fantastic world of the Schumann cycles complement each other in characteristic and fascinating fashion.

Comprising Robert Schumann’s Carnaval Op. 9 and his Symphonic Etudes Op. 13, the Telefunken recordings represent two important pillars of Anda’s repertoire. However, they also contain three works which he played only rarely: Johann Sebastian Bach’s Partita No. 2 in C minor, BWV 826, Joseph Haydn’s Sonata in F major, Hob. XVI/23, and Wolfgang Amadeus Mozart’s last Piano Sonata in D major, K. 576. The recording of the Mozart sonata is a particular rarity and treasure as it is the only recording of Anda, the great Mozart interpreter, documenting a performance of a Mozart work for solo piano.

‘These recordings demonstrate the warmth and the charisma of Anda’s personality. The Schumann is crisp and direct, the Haydn and Mozart dance with rhythmic energy.’ (BBC Music Magazine)

„These recordings demonstrate the warmth and the charisma of Anda’s personality. The Schumann is crisp and direct, the Haydn and Mozart dance with…“ (BBC)

Tracklist:

Robert Schumann (1810-1856)
Carnaval, Op. 9
1 Préambule 02:30
2 Pierrot 01:13
3 Arlequin 00:49
4 Valse noble 01:14
5 Eusebius 01:41
6 Florestan 01:06
7 Coquette 01:08
8 Réplique 00:33
9 Papillons 00:49
10 A.s.c.h.-S.c.h.a. (Lettres dansantes) 00:40
11 Chiarina 00:57
12 Chopin 01:29
13 Estrella 00:35
14 Reconnaissance 01:56
15 Pantalon et Colombine 00:51
16 Valse allemande 00:58
17 Paganini 01:16
18 Aveu 00:59
19 Promenade 02:06
20 Pause 00:20
21 Marche des Davidsbündler contre les Philistins 04:03
Symphonic Etudes, Op. 13
22 Thema: Andante 01:17
23 Etude I: Un poco più vivo 00:44
24 Etude II 01:43
25 Etude III: Vivace 01:19
26 Etude IV 00:53
27 Etude V 00:42
28 Etude VI: Agitato 00:46
29 Variation posth. IV 02:07
30 Etude VII: Allegro molto 00:45
31 Variation posth. V 01:29
32 Etude VII I02:18
33 Etude IX: Presto possibile 00:37
34 Etude X 00:37
35 Etude XI: Con espressione 02:03
36 Etude XII (Finale): Allegro brillante 05:44

Johann Sebastian Bach (1685-1750)
Partita No. 2 in C Minor, BWV 826
37 I. Sinfonia 04:30
38 II. Allemande 01:56
39 III. Courante 01:06
40 IV. Sarabande 02:49
41 V. Rondeau 01:20
42 VI. Capriccio 03:30

Joseph Haydn (1732-1809)
Piano Sonata in F Major, Hob. XVI: 23
43 I. Allegro 03:24
44 II. Adagio 03:05
45 III. Presto 03:34

Wolfgang Amadeus Mozart (1756-1791)
Piano Sonata in D Major, K. 576
46 I. Allegro 03:17
47 II. Adagio 04:33
48 III. Allegretto 03:38

Personnel
Géza Anda, piano

Download:

mqs.link_GezaAndaTheTelefunkenRecrdingsSchumannBachHaydnMzart195051Audite95.7202015DEAudite2496.rar

Antonio Carlos Jobim’s 90th anniversary collection.

Bossa Nova guitarist and director of João Gilberto / Actor in naomi & goro and solo, and Ito Goro who also works as a producer of Harada Tomoyo, birth parent of Bossa Nova this year, birth of Antonio Carlos „Tribute to Jobim“ album.

Focusing on the classical aspect of Jobim that he was heavily influenced by classical music such as Debussy, Chopin, Satie, and not only famous songs of Jobin composition but also songs which have not been taken up much so far, It is a tribute work that I have played in a chamber music composition with a talental, I listen with a classical minimalistic new arrangement, even worldwide.

Tracklist
1 Chovendo Na Roseira 03:55
2 Two Kites 05:14
3E strada Do Sol 04:38
4 Luiza 03:42
5 Amparo 04:58
6 Jardim Abandonado 05:00
7 Insensatez 04:46
8 Chanson Pour Michelle 04:09
9 Passarim 03:44
10 Arquitetura De Morar 04:38
11 Architect Jobim 04:59

Personnel
Goro Ito, classical guitar, violin
Zeya English, piano
Miki, viola
Kaori Muraji, guitar
Mari Endo, cello
Guests on “Luiza” Village guitar, classical guitar

Produced, Arranged & Mixed by Goro Ito

Download:

mqs.link_GrItEnsembleArchitectJbim20172496Qbuz.part1.rar
mqs.link_GrItEnsembleArchitectJbim20172496Qbuz.part2.rar

Geminiani’s The Art of Playing on the Violin, op. 9 (published in English in 1751) give us a very precious glimpse of what was musical practice in the first half of the 18th century, then considerably in the grip of the Italian influence. The publication began with some 28 exercises, aimed at perfecting technical skills such as double stops, special bowing, arpeggios, chords, ornamentation, shakes, swelling and softening, staccato, scales galore etc., and finished with twelve “examples”, “twelve pieces in different styles for violin and cello with basso continuo for the harpsichord”. What he meant by different styles are dances (courante: no. IV, gavotte: no. VIII, gigue: no. XI), fugues in the style of Corelli’s sonatas (nos. I, II, VII; while nos. IX-XI could be considered a full-fledged sonata da chiesa) as well as slow pieces in the “pathetic” style. These last, full of affectation, are particularly evocative of opera arias. Violonist Gottfried von der Goltz plays these twelve examplesusing several ornamentation techniques as pinpointed by the composer himself in the exercises – according to the liner notes, this would even be a recording premiere, and quite astonishingly it seems this is really the case. The interpreter begins the recording with a free improvisation, like a kind of offhand praeludium, reminding us that Geminiani was known amongst his student as Il Furibondo. So as not to wary the listener, the recording makes use of various continuo combinations, what with harpsichord, theorbo or organ. Von der Goltz completes the album with two of the Twelve Sonatas op. 4 for violin and basso continuo, composed 1739, two pieces which stylistically make the link between the Italian style (Corelli, Vivaldi) and the French (Leclair, Boismortier), several years before the Quarrel of the Buffoons broke out – that moronic Parisian controversy concerning the relative merits of French and Italian music in general, opera in particular.

Tracklist:

Francesco Geminiani (1687-1762)
The Art of Playing on the Violin, Op. 9
1 The Art of Playing on the Violin, Op. 9: Improvisation 01:01
2 The Art of Playing on the Violin, Op. 9: Composition No. 1, Adagio 01:40
3 The Art of Playing on the Violin, Op. 9: Composition No. 2, Allegro 01:48
4 The Art of Playing on the Violin, Op. 9: Composition No. 3, Allegro assa i02:10
5 The Art of Playing on the Violin, Op. 9: Composition No. 4, Allegro assai 02:09
6 The Art of Playing on the Violin, Op. 9: Composition No. 5, Allegro assai 02:33
7 The Art of Playing on the Violin, Op. 9: Composition No. 6, Allegro assai 02:00
8 The Art of Playing on the Violin, Op. 9: Composition No. 7, Andante 02:58
9 The Art of Playing on the Violin, Op. 9: Composition No. 8, Allegro0 1:46
10 The Art of Playing on the Violin, Op. 9: Composition No. 9, Andante moderato 02:20
11 The Art of Playing on the Violin, Op. 9: Composition No. 10, Allegro moderato 02:00
12 The Art of Playing on the Violin, Op. 9: Composition No. 11, Allegro assai 02:39
13 The Art of Playing on the Violin, Op. 9: Composition No. 12, Allegro assai 03:12
Sonata No. 8, Op. 4
14 Sonata No. 8, Op. 4: I. Largo 01:29
15 Sonata No. 8, Op. 4: II. Allegro 05:07
16 Sonata No. 8, Op. 4: III. Andante 03:13
17 Sonata No. 8, Op. 4: IV. Allegro 02:16
Sonata No. 6, Op. 4
18 Sonata No. 6, Op. 4: I. Adagio 02:27
19 Sonata No. 6, Op. 4: II. Allegro 03:19
20 Sonata No. 6, Op. 4: III. Andante 04:19
21 Sonata No. 6, Op. 4: IV. Allegro 03:20

Personnel
Gottfried Von Der Goltz, violin

Download:

mqs.link_GttfriedvnderGltzGeminianiTheArtfPlayingntheVilin20172496Qbuz.part1.rar
mqs.link_GttfriedvnderGltzGeminianiTheArtfPlayingntheVilin20172496Qbuz.part2.rar

Kristian Bezuidenhout – Mozart: Piano Concertos, K. 413, 414 & 415 (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:09:27 minutes | 1,16 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Artwork: Digital Booklet | © harmonia mundi

In January 1783 Mozart advertised in the Wiener Zeitung ‘the publication of three new, recently completed piano concertos’, which could even be played with quartet accompaniment – thus enabling him to reach a wider public. In similar vein, he told his father that they were ‘very brilliant and pleasing to the ear . . . Here and there only connoisseurs will derive satisfaction from them – yet in such a way that the non-connoisseur will also be pleased, without knowing why.’ It’s a fair bet that these dazzling performances by Kristian Bezuidenhout and the Freiburger Barockorchester will meet with the same unanimous approval!

“The rounded tone, singing legato in slow movements and crisp articulation he coaxes from the instrument is far removed from the honky-tonk sounds of earlier attempts at period performances of the concertos…This well-known music sounds spontaneous and freshly conceived.” (Sunday Times)

Tracklist:

Wolfgang Amadeus Mozart (1756-1791)
Piano Concerto in A Major, K. 414
1 I. Allegro 10:03
2 II. Andante 07:43
3 III. Rondeau. Allegretto 06:08
Piano Concerto in F Major, K. 413
4 I. Allegro 09:01
5 II. Larghetto 06:41
6 III. Tempo di Menuetto 05:07
Piano Concerto in C Major, K. 415
7 I. Allegro 10:08
8 II. Andante 06:58
9 III. Rondeau. Allegro 07:38

Personnel
Kristian Bezuidenhout, piano
Freiburg Baroque Orchestra
Gottfried von der Goltz, conductor

Download:

mqs.link_GttfriedvnderGltzMzartPianCncertsK.41341441520162496Qbuz.part1.rar
mqs.link_GttfriedvnderGltzMzartPianCncertsK.41341441520162496Qbuz.part2.rar

French pianist Guillaume Bellom creates plenty of dreamy moments in this wonderfully buoyant album. Even the most rumbling passages of Schubert float on an airy sea of sound. Listen as Debussy’s layers unfold with delicate precision as Bellom gives an essential interpretation.

“When you don’t have any money to go on holiday, you must make do by using your imagination,” Debussy wrote, and the first two pieces in his triptych Estampes constitute an exotic travelog; the third piece is stay-at-home music, watching the rain. “Estampes” means print or engraving, and these three pieces are musical depictions of particular moments at particular locales. They also represent an interior journey of sorts, a newly personal idiom for Debussy, who is now seemingly unconcerned with the conventions and expectations of the salon and the concert hall.

“Pagodes” (Pagodas) manages to seem still and flowing at the same time. The stillness comes from the score’s long pedal point, as well as from the harmonic restriction of the pentatonic scale, which is highly characteristic of Asian music. Despite this stasis, the music ultimately conveys smooth motion, thanks to Debussy’s imitation of Javanese gamelan music; it may also be an imitation of the “Laideronette, Empress of the Pagodas” movement from Ravel’s Ma mère l’oye. The music hovers mostly at low and medium dynamic levels, rising for only a couple of sonorous climaxes that soon recede into the softly tinkling texture.

“Soirée dans Grenade” takes listeners to Spain, but again the tour guide is Ravel, whose Habañera covers much the same musical territory. Debussy uses the same rhythm – which, technically, is Cuban rather than Spanish, although the French strongly associated it with the Iberian peninsula. Debussy’s dreamy treatment includes rather Moorish material and, except for two brief outbursts four-fifths of the way through, avoids the fast, fiery, flamenco-inspired effects that foreigners associate with Spanish music. Manuel de Falla thought highly enough of this piece to quote from it in his Homage to Debussy.

The final movement, in the great French keyboard tradition, is a toccata, although Debussy gives it a more fanciful title, “Jardins sous la pluie” (Gardens in the Rain). Judging from the movement’s rapidity, this is quite a downpour, although there’s little evidence of thunder or lightning; the challenge to the player is to maintain a light touch through most of the movement. The piece incorporates fragments of the French nursery songs “Do, do l’enfant do” and “Nous n’irons plus au bois,” suggesting a child unable to go out and play but taking great interest in the rain, watching snug behind some window.

Tracklist:

Franz Schubert (1797-1828)
Piano Sonata in G Major, D. 894
1 I. Molto moderato e cantabile
2 II. Andante
3 III. Menuetto
4 IV. Allegretto

Franz Joseph Haydn (1732-1809)
Piano Sonata in A-Flat Major, Hob. XVI. 46
5 I. Allegro moderato
6 II. Adagio
7 III. Finale. Presto

Claude Debussy (1862-1918)
Estampes, L. 100
8 I. Pagodes
9 II. La soirée dans Grenade
10 III. Jardins sous la pluie

Personnel
Guillaume Bellom (piano)

Download:

mqs.link_GuillaumeBellmSchubertHaydnDebussyWrksfrPian20172496FLAC.part1.rar
mqs.link_GuillaumeBellmSchubertHaydnDebussyWrksfrPian20172496FLAC.part2.rar

Two live recordings of Piano Sextets from the 2016 SPANNUNGEN Festival – a highly regarded Chamber music Festival. Highly rated young artists interpreting chamber music which can only be heard on rare occasions.
The pieces of Mendelssohn and Penderecki do not have only the cast in common, but also its lyrical and romanticism approaches.

Tracklist

Felix Mendelssohn (1809 – 1847)
Sextet for Piano, Violin, 2 Violas, Cello and Double Bass in D Major, Op. 110
1 I. Allegro vivace (Live )11:10
2 II. Adagio (Live) 04:13
3 III. Menuetto. Agitato (Live) 02:16
4 IV. Allegro vivace (Live) 09:36

Krzysztof Penderecki (1933)
Sextet for Clarinet, Horn, String Trio and Piano
5 I. Allegro moderato (Live) 10:34
6 II. Larghetto (Live) 21:05

Personnel
Aaron Pilsan, piano
Anna Reszniak, violin
Elisabeth Kufferath, violin
Maya Meron, viola
Gustav Rivinius, cello
Edicson Ruiz, double bass
Jean Johnson, clarinet
Marie-Luise Neunecker, Horn
Byol Kang, violin
Gabriel Schwabe, cello
Danae Dörken, piano

Download:

mqs.link_GustavRiviniusEdicsnRuizMendelsshnPendereckiSextetsLive20172448Qbuz.rar

レーベル Sony Music Labels Inc.
配信開始日 2014.07.02
収録曲数全14曲
収録時間 1:01:46
販売データハイレゾ｜FLAC｜48.0kHz/24bit

http://mora.jp/package/43000001/4988009095653/

UVERworld8枚目となるフルアルバム。
長らくサポートメンバーだった誠果(Manipulator,Sax)がメンバー復帰し、
晴れて6人組という正しい形に戻った、8枚目にして原点ともいえるアルバム。

タイトルの「Ø CHOIR」(ゼロクワイア)は、UVERworld＝合唱隊がゼロ地点、すなわちここから始まる、という意味が込められている。

アニメ「宇宙戦艦ヤマト2199」のオープニングテーマにもなった「Fight For Liberty」や、Vo.TAKUYA∞が夢で見えた風景と夢で聞こえた歌詞とメロディを元に書きあげた「7日目の決意」、ライブでも披露してるUnderworldのカバー「Born Slippy」、映画「MARCHING-明日へ-」のエンディングテーマ「在るべき形」などを含む全14曲を収録。

UVERworld初となるハイレゾ配信となります。
Sterling Soundのチーフ・エンジニアTed Jensenによるマスタリング、
そしてUVERworldならではの緻密に構成された楽曲と音を、より解像度の高い音質でお楽しみいただけます。
是非聴いてください。

UVERworld　担当ディレクター

※「Ø CHOIR」のØ(ゼロ)は0にスラッシュを入れたものが正式表記です。

収録曲

1 – 零HERE – 01:00 16.9MB
2 – IMPACT – 04:25 74.5MB
3 – 誰が言った – 04:45 80.2MB
4 – ナノ・セカンド（album ver.） – 04:55 83.0MB
5 – Fight For Liberty（album ver.） – 04:15 71.7MB
6 – ENOUGH-1 – 04:41 79.0MB
7 – KICKが自由 – 04:06 69.2MB
8 – a LOVELY TONE（album ver.） – 05:13 88.0MB
9 – 7日目の決意 – 06:46 114.2MB
10 – 別世界 – 03:07 52.6MB
11 – Born Slippy – 04:30 75.9MB
12 – Wizard CLUB – 04:10 70.3MB
13 – 在るべき形 – 04:12 70.9MB
14 – 0 choir – 05:41 95.9MB

Download:

mqs.link_UVERwrldCHIR48kHz24bit.part1.rar
mqs.link_UVERwrldCHIR48kHz24bit.part2.rar

Hank Jones, Tommy Flanagan – I’m All Smiles (1984/2015) [HighResAudio FLAC 24bit/88,2kHz]

Hans Koller – Relax With My Horns (1966/2015) [HighResAudio FLAC 24bit/88,2kHz]

Hans Koller – Vision (1966/2015) [HighResAudio FLAC 24bit/88,2kHz]

Heartbeast – Zero (2017) [Qobuz FLAC 24bit/44,1kHz]

Herb Alpert – Music Vol. 1 (2017) [Qobuz FLAC 24bit/96kHz]

Hideo Shiraki Quintet + 3 Koto Girls – Sakura Sakura (1965/2016) [HighResAudio FLAC 24bit/88,2kHz]

Hoops – Routines (2017) [Qobuz FLAC 24bit/44,1kHz]

Huron – Inside Information (2017) [Bandcamp FLAC 24bit/44,1kHz]

Interestring Quartet – Interestring Quartet (2014/2017) [HDTracks FLAC 24bit/44,1kHz]

倉木麻衣 (Mai Kuraki) –渡月橋～君想ふ～ [FLAC 24bit/96kHz]

豊崎愛生 (Aki Toyosaki) – love your Best [Mora FLAC 24bit/96kHz]

Frankfurter Opern- und Museumsorchester – Lehar: Der Graf von Luxemburg (Live) (2017) [FLAC 24bit/96kHz]

Angela Brownridge – Chopin: The Four Ballades (2017) [FLAC 24bit/192kHz]

Geza Anda – The Telefunken Recordings (2015) [FLAC 24bit/96kHz]

Goro Ito Ensemble – Architect Jobim (2017) [Qobuz FLAC 24bit/96kHz]

Gottfried von der Goltz – Geminiani: The Art of Playing on the Violin (2017) [Qobuz FLAC 24bit/96kHz]

Kristian Bezuidenhout – Mozart: Piano Concertos, K. 413, 414 & 415 (2016) [Qobuz FLAC 24bit/96kHz]

Guillaume Bellom – Schubert, Haydn & Debussy: Works for Piano (2017) [Qobuz FLAC 24bit/96kHz]

Gustav Rivinius & Edicson Ruiz – Mendelssohn & Penderecki: Sextets (2017) [Qobuz FLAC 24bit/48kHz]

UVERworld – 0 CHOIR [Mora FLAC 24bit/48kHz]