Lauren White – At Last (2007/2018)
DSD128 (.dsf) 1 bit/5,64 MHz | Time – 49:20 minutes | 3,88 GB
FLAC (tracks) 24-bit/96 kHz | Time – 49:20 minutes | 1,02 GB
Genre: Jazz | Studio Masters, Official Digital Download – Source: nativeDSDmusic| Booklet, Front Cover | © Groove Note Records

Lauren White is an extremely talented 20-year-old from Dallas-Fort Worth who has been studying under the same vocal coach as Norah Jones. Lauren blends the sensuality and vulnerability of Norah Jones with the vocal range of Linda Ronstadt combined with a voice that exhibits both emotional depth as well as nuance and delicacy. Lauren’s first album features a wide array of songs and features Jazz Standards such as Love for Sale (Coel Porter) and At Last (M. Gordan, H. Warren).

Lauren White is one of a seemingly increasing number of vocalists attempting to follow in the footsteps of the highly successful vocalist Norah Jones. Though White has got some jazz chops and a pleasing voice, her debut CD is rather inconsistent, covering standards, pop songs, country and originals. The best tracks feature her with pianist Bill Cunliffe (who knows a thing or two about accompanying singers), while bassist Chuck Berghofer and drummer Mark Ferber lay a solid foundation throughout the album. “My One and Only” is not one of the Gershwin brothers’ well known tunes, but White makes the most of this slinky opener. She doesn’t seem to appreciate the humor in “Mack the Knife” as much as Ella Fitzgerald, so it comes off a little tame. Better is the unusual setting of “My Funny Valentine,” sung with a sense of drama and adding a lush solo by tenor saxophonist Rickey Woodard. But then problems start to appear. Guitarist Anthony Wilson’s dreary arrangement of Cole Porter’s “Love for Sale” and Joe Bagg’s lackluster organ do absolutely nothing for this normally delightful song, while the slow tempo makes the nearly seven minute performance seem like an eternity. The biggest mistake is tackling songs too closely associated with singers outside of jazz, then approaching them in a fashion that’s too similar. “Blue Bayou” was a hit for Linda Ronstadt, while the late Karen Carpenter had a smash with Leon Russell’s “Superstar,” but neither of them is a convincing vehicle on what is supposed to be a jazz vocalist’s date. Woodard is back for country singer Lee Ann Womack’s “Why They Call It Falling,” which sounds like something Norah Jones might perform, but the melody just isn’t memorable. White’s three originals are airplay friendly but not distinctive. In order to succeed as a recording artist, White is going to have to make some tough choices about her direction rather than the scattershot approach on her debut CD. Even her press bio accompanying the disc displays a degree of naïveté, listing Natalie Cole and Michael Bublé as among the “jazz” artists who have inspired her, something that just won’t cut the mustard with seasoned jazz listeners.

Tracklist:
01 – My One & Only
02 – All I Do Is Cry
03 – Blue Bayou
04 – Do You Remember
05 – Mack The Knife
06 – Love For Sale
07 – Brand New Love
08 – Superstar
09 – My Funny Valentine
10 – Why The Call It Falling
11 – At Last

Produced by Joe Harley. Engineered by Michael C. Ross
Recorded on May 17-18, 2006 at Sunset Sound, Hollywood, CA.
Mixed by Michael C. Ross at LAFX. Burbank, CA.

Musicians:
Lauren White – vocals
Bill Cunliffe – piano on “1,5,9”
Anthony Wilson – guitar on “2,4,6,11”
Ricky Woodard – tenor sax on “4,7,9,10”
Brian Piper – piano on “2,3,4,7,8,10”
Joe Bagg – Hammond B-3 organ on “6,11”
Chuck Berghofer – bass
Mark Ferber – drums

DSF DSD128/5.64MHz

mqs.link_LaurenWhiteAtLast20072018NativeDSDmusicDSD128.part1.rar
mqs.link_LaurenWhiteAtLast20072018NativeDSDmusicDSD128.part2.rar
mqs.link_LaurenWhiteAtLast20072018NativeDSDmusicDSD128.part3.rar
mqs.link_LaurenWhiteAtLast20072018NativeDSDmusicDSD128.part4.rar
mqs.link_LaurenWhiteAtLast20072018NativeDSDmusicDSD128.part5.rar

FLAC 24bit/96kHz

mqs.link_LaurenWhiteAtLast20072018FLAC2496.part1.rar
mqs.link_LaurenWhiteAtLast20072018FLAC2496.part2.rar

Laurent Lamarca – Comme un aimant (2018)
FLAC (tracks) 24 bit/44,1 kHz  | Time – 42:14 minutes | 480 MB | Genre: Pop
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Elektra France

Après un premier album sorti en 2013, Laurent Lamarca, découvert notamment grâce à ses nombreuses premières parties (Cabrel, Fréro Delavega, Christophe Maé…) et ses 200 concerts, présente son single «Le vol des cygnes».
Simplicité. Evidence. Plaisir. Générosité : les mots-clés qui vont faire jaillir les nouvelles chansons de ce deuxième opus, «Comme un aimant», dans lequel on retrouve également un duo avec Jeremy Frérot.

Tracklist
1 On est des milliards
2 Croire en toi et moi
3 Bella vida
4 Le vol des cygnes
5 Je veux vivre
6 Je ne dors plus
7 Du tout au rien
8 Main dans la main
9 Un millième
10 Que des rires
11 Le pouvoir des gens (avec Jeremy Frérot)
12 Comme un aimant

Download:

mqs.link_LaurentLamarcaCmmeunaimant2018Qbuz2444.1.rar

Lavinia Meijer – The Glass Effect (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:56:04 minutes | 1,83 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | Booklet, Front Cover | © Sony Classical
Recorded: Muziekgebouw Eindhoven, Netherlands, July 1–6, 2016

This double album includes the theme of Koyaanisqatsi and 10 Etudes by Philip Glass. Lavinia: “This tribute album is about the effect Glass’s music has on me and his influence on the younger generation composers. His music connected me to the younger generation of composers of today: Bryce Dessner, Nico Muhly, Nils Frahm, Ólafur Arnalds and Ellis Ludwig-Leone. They all have been influenced by Glass and created their own musical language. You will hear music of these wonderful composers as well on this album!”

It was five years ago when Lavinia Meijer and Philip Glass first met. It marked the beginning of a new musical journey for Lavinia, exploring minimal music and contemporary composers. In the past year Lavinia started working on transcribing his Etudes for harp, a process Philip Glass himself was very much involved in. He supported and encouraged Lavinia in her arrangement choices of his works. Sony Classical is proud to release Lavinia’s new album The Glass Effect, available digitally on November 4 and CD December 16. It features Glass repertoire as well as other contemporary works inspired by the music of Philip Glass. Lavinia will give a special performance of Glass’ Piano Etudes and Bryce Dessner’s Suites for Harp in Brooklyn, NY on October 19th at National Sawdust (Click HERE for tickets)
Born in South-Korea and at the age of two adopted into a Dutch family, Lavinia started to play the harp at the age of nine. Within two years she was admissioned to study at the young talent class of the conservatory of Utrecht (Bachelor) and later at the conservatory of Amsterdam (Master). At both conservatories she graduated with Honours. Her success at the conservatory of Amsterdam was a prelude on Lavinia’s career to come. She performed only contemporary compositions at her graduation concert, making a firm statement already: Lavinia is here to add new chapters to the history of music.
Besides performing the classic harp repertoire, Lavinia also experiments with electronic music, theatrical music, contemporary music, modern classics, and jazz.
Soon after her graduation Lavinia received the Borletti-Buitoni Trust (London, 2006). In 2007 Lavinia was heralded as the “Rising Star” musician of her generation. She performed solo-recitals at concert halls like Musikverein (Vienna), Carnegie Hall (New York), Philharmonie (Köln), Jerusalem Theater, Seoul Arts Center, Royal Concertgebouw (Amsterdam), Cité-de-la-Musique (Paris), Konzerthus (Stockholm), and Symphony Hall (Birmingham, UK).
Her broad interest to find new sounds on and new compositions for the harp has led her to meet the American composer Philip Glass in 2011. He invited her to his concert in Amsterdam where she performed his Metamorphosis I-V on the harp. “You are the special effect of this evening”, he told Lavinia after the show, and he urged Lavinia to record a full album of Glass’ compostions. The result was overwhelming. Metamorphosis / The Hours received mostly 5 star reviews (not just in the Dutch press), reached certified Platinum and turned Lavinia into a star in her own Country.

Tracklist:

Component1

Philip Glass (b.1937)
Etudes (1994/2012)
1 Etude No. 1 06:27
2 Etude No. 2 06:54
3 Etude No. 5 08:10
4 Etude No. 8 05:05
5 Etude No. 9 03:28
6 Etude No. 12 07:34
7 Etude No. 16 05:21
8 Etude No. 17 08:03
9 Etude No. 18 06:21
10 Etude No. 20 09:18

Component 2
11 Koyaanisqatsi04:11

Bryce Dessner (b.1976)
Suite for Harp
12 Movement I 03:59
13 Movement II 01:28
14 Movement III 06:08

Nico Muhly (1981)
15 Quiet Music 03:54
16 A Hudson Cycle 02:55

Ólafur Arnalds (b.1986)
17 Erla’s Waltz 01:54
18 Tomorrow’s Song 03:06

Nils Frahm (b.1982)
19 Ambre 03:51
20 In the Sky and on the Ground 02:09

Ellis Ludwig-Leone
21 Night Loops 08:50

Philip Glass (b.1937)
22 Lift Off – An Arrangement of Koyaanisqatsi 05:49

Personnel:
Lavinia Meijer, harp

Download:

mqs.link_LaviniaMeijerTheGlassEffect2016Qbuz2496.part1.rar
mqs.link_LaviniaMeijerTheGlassEffect2016Qbuz2496.part2.rar

Led Zeppelin – How The West Was Won (Live) [Remastered] (1972/2003/2018)
FLAC (tracks) 24 bit/96 kHz  | Time – 02:27:23 minutes | 3,05 GB | Genre: Rock
Studio Masters, Official Digital Download – Source: HighResAudio | Front Cover | © Rhino Atlantic, Rhino Records

Led Zeppelin continue their reissue campaign with a new edition of their celebrated live album ‘How The West Was Won’, originally released in 2003, featuring newly remastered audio supervised by Jimmy Page. How the West Was Won has been a long time coming. For a band with such an overarching legacy, the official record of Led Zeppelin’s legendary and unpredictable live act has previously been poorly represented by the disappointing, scattershot soundtrack to The Song Remains the Same. But this triple-disc live set (culled from 1972 Long Beach/LA shows in advance of Houses of the Holy) addresses history with a vengeance, if a few decades late. These shows have rightfully assumed cult status in the bootleg market, showcasing a band at the peak of its creative and performing powers.

The Zep faithful will welcome this belated release as evidence for enduring loyalty, but younger fans may find its diversity and dynamics even more enlightening indeed, whole careers have since been built on the musical ideas Jimmy Page and company throw out here as decorative filler. Crucially rooted in the amped-and-hammered American blues of the guitarist’s former band, the Yardbirds, the marathon work-outs of “Dazed and Confused” and “Whole Lot a Love” (which consume nearly an hour all by themselves) somehow encompass Ricky Nelson, Morocco, James Brown, Holst, Elvis Presley and Muddy Waters amidst their trademark sturm und drang, while the acoustic set that closes out Disc One showcases the band’s and particularly Robert Plant’s good-natured, crypto-Celtic folk appeal with energetic aplomb. Bigger and brasher than just about any rock act that followed in its historic wake, yet ever fan-loyal to its myriad influences, Led Zeppelin’s live juggernaut finally gets the monument it deserves.

For years, Led Zeppelin fans complained that there was one missing item in the group’s catalog: a good live album. It’s not that there weren’t live albums to be had. The Song Remains the Same, of course, was a soundtrack of a live performance, but it was a choppy, uneven performance, lacking the majesty of the group at its peak. BBC Sessions was an excellent, comprehensive double-disc set of their live radio sessions, necessary for any Zeppelin collection (particularly because it contained three songs, all covers, never recorded anywhere else), but some carped that the music suffered from not being taped in front of a large audience, which is how they built their legacy — or, in the parlance of this triple-disc collection of previously unreleased live recordings compiled by Jimmy Page, How the West Was Won. The West in this case is the West Coast of California, since this contains selections from two 1972 concerts in Los Angeles: a show at the LA Forum on June 25, and one two days later at Long Beach Arena. This is the first archival release of live recordings of Zeppelin at their peak and while the wait has been nigh on interminable, the end result is certainly worth the wait. Both of these shows have been heavily bootlegged for years and while those same bootleggers may be frustrated by the sequencing that swaps the two shows interchangeably (they always prefer full shows wherever possible), by picking the best of the two nights, Page has assembled a killer live album that captures the full, majestic sweep of Zeppelin at their glorious peak. And, make no mistake, he tries to shove everything into these three discs — tight, furious blasts of energy; gonzo freak-outs; blues; and rock, a sparkling acoustic set. Like always, the very long numbers — the 25-minute “Dazed and Confused,” the 23-minute “Whole Lotta Love,” the 19-minute “Moby Dick” — are alternately fascinating and indulgent, yet even when they meander, there is a real sense of grandeur, achieving a cinematic scale attempted by few of their peers (certainly no other hard rock or metal band could be this grand; only Queen or David Bowie truly attempted this). But the real power of the band comes through on the shorter songs, where their sound is distilled to its essence. In the studio, Zeppelin was all about subtle colors, textures, and shifts in the arrangement. On-stage, they were similarly epic, but they were looser, wilder, and hit harder; witness how “Black Dog” goes straight for the gut here, while the studio version escalates into a veritable guitar army — it’s the same song, but the song has not remained the same. That’s the case throughout How the West Was Won, where songs that have grown overly familiar through years of play seem fresh and new because of these vigorous, muscular performances. For those who never got to see Zeppelin live, this — or its accompanying two-DVD video set — is as close as they’ll ever get. For those who did see them live, this is a priceless souvenir. For either group, this is absolutely essential, as it is for anybody who really loves hard rock & roll. It doesn’t get much better than this.

Tracklist:
01. LA Drone (Live) [Remastered]
02. Immigrant Song (Live) [Remastered]
03. Heartbreaker (Live) [Remastered]
04. Black Dog (Live) [Remastered]
05. Over The Hills And Far Away (Live) [Remastered]
06. Since I’ve Been Loving You (Live) [Remastered]
07. Stairway To Heaven (Live) [Remastered]
08. Going to California (Live) [Remastered]
09. That’s The Way (Live) [Remastered]
10. Bron-Yr-Aur Stomp (Live) [Remastered]
11. Dazed And Confused (Live) [Remastered]
12. What Is And What Should Never Be (Live) [Remastered]
13. Dancing Days (Live) [Remastered]
14. Moby Dick (Live) [Remastered]
15. Whole Lotta Love (Live) [Remastered]
16. Rock And Roll (Live) [Remastered]
17. The Ocean (Live) [Remastered]
18. Bring It On Home (Live) [Remastered]

Personnel:
John Bonham – drums, percussion, backing vocals, co-lead vocals on “Bron-Yr-Aur Stomp”
John Paul Jones – bass, double bass, bass pedals, keyboards, mandolin, backing vocals
Jimmy Page – acoustic and electric guitar, mandolin, backing vocals
Robert Plant – vocals, harmonica

Download:

mqs.link_LedZeppelinHwTheWestWasWnLive2018HRA2496.part1.rar
mqs.link_LedZeppelinHwTheWestWasWnLive2018HRA2496.part2.rar
mqs.link_LedZeppelinHwTheWestWasWnLive2018HRA2496.part3.rar
mqs.link_LedZeppelinHwTheWestWasWnLive2018HRA2496.part4.rar

Leon Bridges – Good Thing (2018)
FLAC (tracks) 24 bit/48 kHz  | Time – 34:46 minutes | 404 MB | Genre: Soul
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Columbia

On his brilliant 2015 debut album, Coming Home, Texas singer/songwriter Leon Bridges invited comparisons to Sam Cooke and Otis Redding with his authentic take on soul. Good Thing, his 2018 follow-up, finds Bridges leaving the ’50 and ’60s, instead embracing ’70s icons like The Stylistics (“Bet Ain’t Worth the Hand”) and Chic (“You Don’t Know”). More surprises come in “If It Feels Good (Then It Must Be)” and “Bad Bad News,” contemporary jams that show he can swag it out with the likes of Usher and Pharrell too. Bridges’ warm tenor is sturdy and smoky as mesquite wood as he combines deep emotions and nimble wordplay on “Beyond,” “Forgive You,” and “Georgia to Texas”—a moving story of his family’s history.

It’s 2018, Leon Bridges is back! Finally… after a debut album released in 2015, the stunning Coming Home, that was a sort of spirit child of Sam Cooke and Otis Redding, a soul brother mastering every corner of that sixties groove, the young Texan signs off on an even more eclectic disc: Good Thing. On the first track, Bet Ain’t Worth The Hand, he is languid like Curtis Mayfield. Later, he barges in on an 80s funky dance floor with You Don’t Know and If It Feels Good (Then It Must Be). Later again, he opts for a velvety nu soul on Shy… These are the general feelings that emerge after a listen to this sophomore album: he never rests on his laurels and sticks with one particular groove. Thus, a general vintage sentiment exits and incomes a plural groove. At this rate, Leon Bridges might do a bit of auto tuning on his third record…  –  Max Dembo

Tracklist:
01. Bet Ain’t Worth the Hand
02. Bad Bad News
03. Shy
04. Beyond
05. Forgive You
06. Lions
07. If It Feels Good (Then It Must Be)
08. You Don’t Know
09. Mrs.
10. Georgia to Texas

Download:

mqs.link_LenBridgesGdThing2018Qbuz2448.rar

Leszek Możdżer, Lars Danielsson, Zohar Fresco, Atom String Quartet – Leszek Możdżer & Friends: Jazz At Berlin Philharmonic III (Live) (2015)
FLAC (tracks) 24 bit/96kHz | Time – 01:05:39 minutes | 703 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: ProStudioMasters | Booklet, Front Cover | © ACT Music

In May 2014, the innovative and inventive concert series Jazz at Berlin Philharmonic headed east on a musical journey to the jazz stronghold of Poland. Piano virtuoso Leszek Możdżer, revered like a pop star in his homeland, shines on this live recording as he is accompanied by a trio and the Atom String Quartet. Together, Możdżer and his bandmates conjure up a celebrated concert evening that once again shows that a mix of jazz, classical and folk music provides important impulses for the future of European jazz and Poland.

For many, jazz means new ideas, new sounds, and always doing things for the first time, and the same goes for the “Jazz at Berlin Philharmonic” concert series. On these evenings, surprising, unique combinations of musicians and border-crossing projects can be heard in the Kammermusiksaal of the Berlin Philharmonie. This is one of the many reasons why they have nearly always sold out since their inception in November 2012, and part of what makes them a highlight of Berlin’s music scene. On May 7th, 2014, “Jazz at Berlin Philharmonic” headed East on its musical journey to the jazz stronghold of Poland. Whenever the topic of Polish jazz arises, it’s never long before the name Leszek Możdżer is mentioned. The 1971-born piano virtuoso is revered like a pop star in his homeland, his albums routinely make their way into the Polish charts, beating artists such as Sting or Beyoncé to the top spots along the way.

Możdżer’s music is deeply rooted in Polish music tradition while at the same time striving for new horizons. Everything is thrown in, from classical to jazz to pop, all interlaced and in sync with one another. Możdżer’s classical piano education enables him to explore his own worlds of sound with masterful technique. Chopin, the national hero of Polish music, is an ever-present influence but Możdżer also takes cues from modern Polish composers such as Witold Lutosławski, best known for his complex symphonic oeuvres as well as catchy popular “hits”, and Krzysztof Komeda, the founder of an unconventionally lyrical, genuinely Polish jazz sound, and composer for many of Roman Polanski’s films including “Rosemary’s Baby”. For his “Jazz at Berlin Philharmonic”, Możdżer enlisted the help of Swedish bassist and cellist Lars Danielsson, Israeli percussionist Zohar Fresco – perfoming both as a piano / bass duo or trio – and the Atom String Quartet. Without his friends, the concert evening would only have been half the occasion, virtuosity and musicality went hand in hand. Danielsson and Fresco are soul mates of Możdżer, and they have been collaborating closely for ten years now. Performing with the Atom String Quartet was a new experience for all three men, they are one of the world’s finest string quartets and are mentioned in the same breath as the American Kronos Quartet. Outstanding classical technique and a stupendous talent for improvisation enable the quartet to use their instruments with a range that has never been heard before. Together, Leszek Możdżer & Friends, the protagonists in the sold-out Kammermusiksaal, conjured up a celebrated concert evening that once again shows that a mix of jazz, classical and folk music provides important impulses for the future of European jazz and Poland, here with Możdżer on the piano, plays a big part in that.

Tracklist:
01 – Etude No. 2
02 – Praying
03 – Follow My Backlights
04 – Love Pastas
05 – Na 7
06 – Africa
07 – Gsharim
08 – Eden
09 – Hunchback Porn Angel
10 – Winter Song

Produced by Siggi Loch & Leszek Możdżer.
Recorded live in concert at the Berlin Philharmonie (KMS) by Klaus Scheuermann and Piotr Taraszkiewicz.
Mixed and Mastered by Grzegorz Czachor and Klaus Scheuermann. Additional Mixing by Marek Heimbürger.

Musicians:
Leszek Możdżer – piano
Lars Danielsson – bass, cello
Zohar Fresco – percussion

Atom String Quartet:
Dawid Lubowicz – violin
Mateusz Smoczyński – violin
Michał Zaborski – viola
Krzysztof Lenczowski – cello

Download:

mqs.link_LeszekMzdzerFriendsJazzAtBerlinPhilharmnicIII2015PrStudiMasters2448.rar

Leszek Mozdzer, Lars Danielsson, Zohar Fresco – Polska (2013/2014) 
FLAC (tracks) 24 bit/96kHz | Time – 58:02 minutes | 703 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: ProStudioMasters | Booklet, Front Cover | © ACT Music

Polish pianist Leszek Możdżer, a longtime star in his home country, spreads his fame worldwide with Polska, recorded with musical soulmates Lars Danielsson, one of the best jazz bassists in the world and Israeli percussionist Zohar Fresco. The sound on Polska is as much a product of these two musicians as creative mastermind Możdżer himself. Polska’s grand finale is a version of Jimi Hendrix’s Are You Experienced?featuring the Polish Radio Symphony Orchestra.

‘Polska’ would not sound the way it does, if it had not been born in a trio with the Swedish bassist Lars Danielsson and the Israeli percussionist and singer Zohar Fresco. Możdżer found these soul mates ten years ago: the two already showed themselves to be a dream team of intuitive ensemble playing on the Danielsson albums ‘Pasodoble’ (as a duo) and ‘Tarantella’. And Danielsson is not only one of the best jazz bassists (and cellists!) in the world, he also has similar compositional preferences to Możdżer, which can be heard here on his tracks ‘Africa’ and the touching ‘Spirit’. As a member of ‘Bustan Abraham’, ‘Ziryab’ and ‘Noah’, Fresco is one of the Israeli pioneers who began in the eighties joining music from the west with music from the east, Arabian with European. Unperceived here, these three have already recorded two albums in Poland that went double platinum (just like the recent ‘Komeda’)!

Now, no matter where you are, with ‘Polska’ you can discover one of the most fascinating and extraordinary trios in the world with Leszek Możdżer as its creative mastermind. One that sweeps you away with the pulsating ‘KarMa Party’ or simply enchants with the balladesque ‘Norgon’, and one that with the aid of the Polish Symphony Orchestra knows how to provide a grand finale, with a version of Jimi Hendrix’ ‘Are You Experienced?’.

Tracklist:
01 – Chai Peimot
02 – She Said She Was a Painter
03 – Weeks – Shavuot
04 – Yearning for a Nest
05 – Polska
06 – Africa
07 – Karma Party
08 – Norgon
09 – Gsharim
10 – Spirit
11 – Are You Experienced?

Produced by Możdżer/Danielsson/Fresco
Recorded at Alvernia Studios. Recorded, Mixed & Mastered by Tadeusz Mieczkowski.

Musicians:
Leszek Możdżer – piano, celesta, vibraphone, synth
Lars Danielsson – cello, bass
Zohar Fresco – percussion, vocals
+ on track “11”:
Polish Radio Symphony Orchestra
Marcin Nałęcz Niesiołowski – conductor
Ewelina Serafin – flute solo

Download:

mqs.link_LeszekMzdzerLarsDanielssnZharFrescPlska20132014PrStudiMasters2496.part1.rar
mqs.link_LeszekMzdzerLarsDanielssnZharFrescPlska20132014PrStudiMasters2496.part2.rar

Lewis Wright, Kit Downes – Duets (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 32:40 minutes | 519 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: Qobuz | Front Cover | © Signum Records

Award-winning British vibraphonist, composer and drummer Lewis Wright explodes the rhythmic and polyphonic possibilities offered by vibraphone and piano. His new album “Duets” reinforces his claim to be a very serious international musician. If you already thought as much – on the evidence of his exemplary vibes work with Empirical – then Duets adds a further seven case studies of exquisite chamber jazz, beautifully recorded at Air Studios.

The set-up appears simple: vibraphone and grand piano in a sympathetic space, with enough amplification to get the air molecules moving. But heard live, the seven compositions are even more overwhelming and intense than on record. To be in a small club while Downes and Wright hammer out the convoluted hocketing parts of Fortuna – like Louis Andriessen with jazz chords – is to experience a highly pleasurable sensory overload. The compositions are finely crafted, juxtaposing long, through-composed sections with solos within well conceived structures. Wright is a jazz composer who knows how to write tunes that are both launch pad and docking station for improvisation. And he has a true composer’s sense of when less is more: note the chiming, descending, eight-chord sequence that forms a restrained coda to Sati. Wright is not afraid to embrace sentimentality, as in the melody of Kintamani, which would make a good movie theme. The influence of Gary Burton and Chick Corea’s Crystal Silence lurks behind any such instrumental coupling, and Wright graciously acknowledges when introducing Tokyo 81, which he dedicates to the famous duo. He recalls owning a VHS of Burton and Corea’s famous Japanese concert, which he watched repeatedly as a Norfolk schoolboy. Though Wright has established an approach to vibes playing that is notably different to Burton’s, the influence of Corea, Steve Swallow and Mike Gibbs (all of whom contributed tunes to the Crystal Silence duo), surfaces in Wright’s writing from time to time. And tunes such as Fire And Flow and An Absence Of Heart are terrific vehicles for Wright’s dazzling, unabashed virtuosity. Which is what we all still need from jazz, as well as good tunes. What Downes (a childhood friend, also from Norfolk) and Wright do is less American, less folksy, more European than Corea and Burton. The vibes/piano sound is both intimate and cool, and there’s an emotional depth to the music you only get from players who have reached a degree of instrumental mastery and ventured beyond. This extra dimension is demonstrated by Ono No Komachi, a song named after the legendary ninth-century Japanese poet. Downes’s contribution to the duo is generous, yet self-effacing: Duets is very much Wright’s turn in the spotlight. For their encore, having played the entire repertoire from the Duets album, Downes and Wright return to raise the roof with a playful, almost Baroque version of Thelonious Monk’s Reflections. After an evening of original composition, the very familiarity of Monk’s tune acts as a sort of Rorschach test, telling us something about the obsessively detailed way that Wright and Downes make and remodel the music. This is beautifully executed chamber jazz of the highest order.

Tracklist:
01 – Fire & Flow
02 – Fortuna
03 – An Absence of Heart
04 – Ono no Komachi
05 – Tokyo ’81
06 – Sati
07 – Kintamani

Produced by Lewis Wright. Engineered by Tom Bailey.
Recorded on February 19-20, 2016 at AIR Studios, London.

Musicians:
Lewis Wright – vibraphone
Kit Downes – piano

Download:

mqs.link_LewisWrightKitDwnesDuets2018Qbuz2496.rar

Libby Morris – Ad-Libby (1966/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 42:40 minutes | 1,55 GB | Genre: Pop, Easy Listening
Studio Master, Official Digital Download – Source: HDTracks | Front Cover | © RCA Records
Recorded: RCA Victor’s Studio A, New York City

Libby Morris (born 1930) is a Canadian comic actress and clown famous for her facial contortions and fast talking. She appeared in several BBC radio shows of the 1950s and moved into TV and film from the 1960s onwards. She then moved on to London, England, where she starred in her own show doing impersonations.

Tracklist:
1 One Of Those Songs 3:22
2 Sand In My Shoes 3:42
3 I Could Fall In Love 4:13
4 My Our Personnal Bird 2:40
5 Alice Blue Gown 3:33
6 Tea For Two 5:42
7 What Are You Trying To Say? 3:02
8 The Phoenix Love Song 2:26
9 It!-That! 2:44
10 Runaround 4:26
11 Tess’s Torch Song 3:15
12 On The Other Side Of The Tracks 3:24

Personnel:
Libby Morris, vocals
Dick Hyman, conductor, arranger

Download:

mqs.link_LibbyMrrisAdLibby19662016HDTracks24192.part1.rar
mqs.link_LibbyMrrisAdLibby19662016HDTracks24192.part2.rar

Gyorgy Ligeti – Concertos – BIT20 Ensemble, Baldur Bronnimann (2016)
FLAC (tracks) 24 bit/96 kHz  | Time – 01:11:30 minutes | 1,12 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: eClassical.com | Booklet, Front Cover | © BIS Records
Recorded: April 2014 at Grieghallen, Bergen, Norway (Piano Concerto); October 2015 at Landås Kirke, Bergen, Norway (Melodien, Cello Concerto); October 2015 at Oseana Kunst- og kultursenter, Os, Norway (Chamber Concerto)

Described as ‘one of the most innovative and influential among progressive figures of his time’, György Ligeti (1923 – 2006) was able to constantly reinvent himself. In his earliest works, written in Communist Hungary, the musical language is often an extension of that of Bartók’s and he kept his most daring compositions to himself. Escaping Hungary in 1956 he was able to revel in the freedom to experiment – with electronic techniques as well as elaborate serialism – but he was forever sceptical of schools and steered his own course throughout life. The 1960s and early 70s were a highly productive period, which saw works such as Lux Aeterna and Lontano, as well as three of the works on the present disc. In the Cello Concerto and the Chamber Concerto, Ligeti in different ways explores the idea of the concerto as something collective, rather than polarised between the one and the many. The Cello Concerto is striking, and even provocative, in that the soloist often seems to aspire to silence and even absence rather than virtuosic display. The Chamber Concerto, on the other hand, dazzles because here all 13 players are unmistakably present, all essential to the design and character of the whole. Like the Cello Concerto – and the Piano Concerto – Melodien can be performed by large orchestra, but also, as on the present recording, with a single string player per part, becoming a natural pendant to the Chamber Concerto. The disc closes with the Piano Concerto from 1988, which Ligeti had begun sketching eight years earlier but was only able to proceed with after having composed his first set of studies for piano solo. Ligeti himself described the five-movement work as a statement of his ‘aesthetic credo’. Performing these complex scores is the Norwegian specialist ensemble BIT 20 under the Swiss conductor Baldur Brönnimann, with soloists Christian Poltéra and Joonas Ahonen, making his first appearance on the BIS label.

Tracklist:

György Ligeti (1923–2006)

Cello Concerto
1 I. 07:02
2 II. (Lo stesso tempo) 09:08

Chamber Concerto for 13 instruments
3 I. Corrente (Fliessend) 04:58
4 II. Calmo, sostenuto 05:59
5 III. Movimento preciso e meccanico 03:51
6 IV. Presto 03:48
7 Melodien for orchestra 12:45

Piano Concerto
8 I. Vivace molto ritmico e preciso 04:00
9 II. Lento e deserto 06:40
10 III. Vivace cantabile 04:16
11 IV. Allegro risoluto, molto ritmico 05:20
12 V. Presto luminoso, fluido, constante, sempre molto ritmico 03:40

Personnel:
Christian Poltéra cello #1,2
Joonas Ahonen piano #8-12
BIT20 Ensemble
Baldur Brönnimann conductor

Download:

mqs.link_LigetiCncertsBIT20EnsembleBaldurBrnnimann2016eClassical2496.part1.rar
mqs.link_LigetiCncertsBIT20EnsembleBaldurBrnnimann2016eClassical2496.part2.rar

Living Voices – Sing Christmas Music + The Little Drummer Boy (1962+65/2016)
FLAC (tracks) 24 bit/192 kHz | Time – 32:17/28:44 minutes | 1,11/1,04 GB | Genre: Holiday
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © RCA/Legacy

RCA’s wildly successful Living Stereo series spawned a number of ensembles with Living in their titles; the two that folks remember these days are The Living Strings and The Living Voices. Both groups were the brainchild of RCA’s trailblazing female producer Ethel Gabriel, who assembled some of the finest studio musicians, arrangers and vocalists for lush, beautifully recorded albums aimed at a middle America eager to give their newly acquired stereo systems a spin. In particular, the two holiday albums featured on this twofer that she released with The Living Voices remain treasured among Christmas music aficionados for their ornate orchestration, innovative arrangements, and, most of all, sweeping stereo sound. The first, 1962’s Sing Christmas Music, had actually come out on the Living Stereo imprint in 1959 as Christmas Surprises from The Ralph Hunter Choir; choir director Hunter garnered two Grammy nominations that year for his album The Wild Wild West. Among the surprises was the introduction of orchestra of toys including the Hunter family s electric train and transformer to Parade of the Wooden Soldiers, and an intriguing rendition of The Indian Christmas Carol, which is credited as being the first North American Christmas song dating back to 1643! The second album, 1965’s The Little Drummer Boy, featured the legendary Anita Kerr Singers and production by Anita Kerr herself; the program varies from recent Broadway fare (Be a Santa from Subways Are for Sleeping; Pine Cones and Holly Berries from Here s Love) to warhorses like Jingle Bells and We Wish You a Merry Christmas to modern classics like Blue Christmas and the title tune.

Living Voices – Sing Christmas Music (1962/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 32:17 minutes | 1,16 GB
Studio Master, Official Digital Download | Artwork: Front cover

Tracklist:
01 – Santa Claus Is Comin’ to Town
02 – Parade of the Wooden Soldiers
03 – Jingle Bells
04 – Winter Wonderland
05 – The Christmas Song (Chestnuts Roasting on an Open Fire)
06 – White Christmas
07 – Wassail Song
08 – Carol Medley: Joy to the World / God Rest Ye Merry, Gentlemen / Hark! The Herald Angels Sing
09 – The First Noël
10 – Indian Christmas Carol
11 – Latin Lullaby (Canción de Cuna)
12 – Silent Night
Arranged & Conducted by Ralph Hunter.
Recorded at RCA Victor Studios, Nashville.

Living Voices – The Little Drummer Boy (1965/2016)
FLAC (tracks) 24-bit/192 kHz | Time – 28:44 minutes | 1,09 GB
Studio Master, Official Digital Download | Artwork: Front cover

Tracklist:
01 – Medley: Jingle Bells / Sleigh Ride
02 – A Holly Jolly Christmas
03 – Medley: Silver Bells / Little Christmas Tree Waltz
04 – Be a Santa
05 – Medley: Pine Cones and Holly Berries (It’s Beginning to Look Like Christmas) / We Wish You a Merry Christmas
06 – The Little Drummer Boy
07 – Do You Hear What I Hear
08 – I Heard the Bells on Christmas Day
09 – Blue Christmas
10 – What Are You Doing New Year’s Eve

Arranged & Conducted by Anita Kerr.
Recorded at RCA Victor Studios, Nashville.

Download:

mqs.link_LivingVicesSingChristmasMusic19622016HDTracks24192.part1.rar
mqs.link_LivingVicesSingChristmasMusic19622016HDTracks24192.part2.rar

mqs.link_LivingVicesTheLittleDrummerBy19652016HDTracks24192.part1.rar
mqs.link_LivingVicesTheLittleDrummerBy19652016HDTracks24192.part2.rar

Louis Armstrong and His All Stars – Satch Plays Fats (1955/1986) 
FLAC (tracks) 24 bit/192 kHz | Time – 32:16 minutes | 693 MB | Genre: Jazz
Studio Masters, Official Digital Download – Source: HDTracks | Front Cover | © Columbia Records
Recorded: New York, April 26-27 & May 3, 1955

In 1955, Louis Armstrong, along with vocalist Velma Middleton, got into the studio to pay tribute to the late Fats Waller. All the standards are here: “Honeysuckle Rose,” “Squeeze Me,” “Ain’t Misbehavin,” rendered in fine and mellow but gently, genially swinging fashion. Armstrong’s trumpet is superb and his voice carries the good-time spirit of Waller’s music.

Louis Armstrong and Fats Waller only worked together twice, briefly in 1925 in Erskine Tate’s band and four years later in the New York revue Connie’s Hot Chocolates. But Waller made an indelible enough impression for Satchmo to record the tribute album Satch Plays Fats: The Music of Fats Waller in 1955, when such ideas were new. The nine tracks feature Armstrong ably supported by his All-Stars on such classics as “Honeysuckle Rose,” “Squeeze Me,” and “Ain’t Misbehavin’.” The mid-’50s was a fertile time for Armstrong, and this makes for a stellar package. –AllMusic Review by Cub Koda

Tracklist:
1 Honeysuckle Rose 2:58
2 Blue Turning Grey Over You 4:44
3 I’m Crazy ‘Bout My Baby (And My Baby Is Crazy ‘Bout Me) 4:28
4 Squeeze Me 5:04
5 Keepin’ Out Of Mischief Now 3:20
6 All That Meat And No Potatoes 5:15
7 I’ve Got A Feeling I’m Falling 3:13
8 (What Did I Do To Be So) Black And Blue 4:39
9 Ain’t Misbehavin’ 4:37

Personnel:
Louis Armstrong, trumpet, vocals
Trummy Young, trombone
Barney Bigard, clarinet
Billy Kyle, piano
Arvell Shaw, bass
Barrett Deems, drums
Velma Middleton, vocals

Download

mqs.link_LuisArmstrngandHisAllStarsSatchPlaysFats19551986HDTracks24192.rar

產品名稱: 愛的根源 (SACD) (限量編號版)
歌手名稱: 譚詠麟 (歌手)
推出日期: 2015-12-17
語言: 粵語
製作來源地: 中國香港
光碟格式: Super Audio CD
出品商: 環球唱片(香港)

yesasia

內容簡介／曲目
無懈可撃．十款中文流行錄音巨著SACD．強勢壓軸

限量獨立1000張編號
原裝封面、底式樣
終極聲效．質高量限

1.愛的根源 [電影「君子好逑」主題曲]
2.夏日寒風
3.都市戀歌 [電影「君子好逑」插曲]
4.愛在深秋
5.我愛雀斑
6.誰可改變 [電視劇「天師執位」主題曲]
7.捕風的漢子
8.酒紅色的心
9.欠了你
10.觸電舞

SACD ISO

mqs.link_AlanTamSACDIS.part1.rar
mqs.link_AlanTamSACDIS.part2.rar

FLAC 24-96

產品名稱: 鄧麗君極品之選 (SACD)
歌手名稱: 鄧麗君 (歌手)
推出日期: 2014-08-06
語言: 國語
製作來源地: 中國香港
光碟格式: Super Audio CD, 鐳射唱片

yesasia

香港环球公司在2002-03年间推出的歌手精选系列SACD,德国制造,音质非常出众。邓丽君有两辑,此次发布的第一辑大多数都是耳熟能详的传唱之作,值得欣赏回味。除邓丽君之外,许冠杰、关正杰、谭咏麟、李克勤、陈慧娴等歌手都有此系列的唱片。
SACD是目前最高端的唱片制式，更高的采样率和Bit率使得其音质大幅度提升，目前已经有越来越多的SACD唱片问世。环球公司更是在2002年为诸多知名华语歌手推出了一个“极品之选天碟SACD”系列，已故的一代歌后邓丽君自然在其中占有一席之地。唱片中荟萃了邓丽君演唱生涯中19首国粤语精品，大多数都是知名度很高的作品。SACD的透彻而富底蕴的音色魅力自然无须过多言辞来赞美。

曲目
01. 再見！我的愛人
02. 淚的小雨
03. 你在我心中
04. 小村之戀
05. 月亮代表我的心
06. 山茶花
07. 夜來香
08. 千言萬語
09. 甜蜜蜜
10. 你怎麼說
11. 雪中情
12. 浪子心情
13. 海韻
14. 恰似你的溫柔
15. 但願人長久
16. 有誰知我此時情
17. 想你想斷腸
18. 酒醉的探戈
19. 我只在乎你

SACD to DSD DFF

mqs.link_1SACD2002TeresaTangDSD.part1.rar
mqs.link_1SACD2002TeresaTangDSD.part2.rar
mqs.link_1SACD2002TeresaTangDSD.part3.rar

SACD ISO

產品名稱: Reincarnated Love (SACD) (限量編號版)
歌手名稱: 劉美君 (歌手)
推出日期: 2017-08-10
語言: 英語
製作來源地: 中國香港
光碟格式: Super Audio CD
出品商: 環球唱片(香港)

yesasia

內容簡介／曲目
1000 numbered

Prudence Liew劉美君 – 首張在studio現場同步錄音英語大碟, 演繹10首經典金曲. 包括”Superstar”, “Ocean Deep”, “We’re All Alone” , “The Look of Love”及”Stay Awhile” 等.

著名製作人及樂手Earnest Lau (hi-fi德)/ Ted Lo / Eugene Pao / Barry Chung/Damon Lau全力參與.,格林美得獎engineer -Bernie Grundman負責混音.

01. I’ll Have To Say I Love You In A Song
02. We’re All Alone
03. (If Loving You Is Wrong) I Don’t Want To Be Right
04. Ocean Deep
05. The Look Of Love
06. Girls Just Want To Have Fun
07. Stay Awhile
08. I Don’t Like To Sleep Alone
09. Torn Between Two Lovers
10. Superstar

SACD ISO

mqs.link_ReincarnatedLve2017SACDIS.rar

SACD DSF

Audio Format: 24bit/48kHz
Release date: 2018-09-19
Label: T-Palette Records
Catalog number: TPRV-0034

https://ototoy.jp/_/default/p/122005

収録内容

01 – ただいまの魔法 (Tadaima no Mahou)
02 – スウィート・リグレット (Sweet Regret)
03 – ただいまの魔法(inst) (WEB only)
04 – スウィート・リグレット(inst) (WEB only)

Download:

mqs.link_Kaede2018.09.19TadaimanMahu.rar

Audio Format: 24bit/96kHz
Release date: 2018-09-19
Label: avex trax
Catalog number: ANTCD-29026

https://ototoy.jp/_/default/p/128774

Vocal、 ベース演奏、 全作詞、 1部作曲も担当するバンドプロジェクト 【PEDRO】として全7曲収録のミニアルバムでのデビュー。 現6名のメンバー中、 1番最後となる2016年8月にBiSHに加入したアユニ・D そのルックスと目に見えて成長を続けるパフォーマンス能力の高さから 今やBiSHの顔とも言えるメンバーの1人で、 独特の世界観と感性が特に同世代や同性ファンの大きな支持を受ける。 加入当初に作詞を担当した 「本当本気」 は BiSHの代表曲の1つであり、 その無限大のポテンシャルが まさかのソロバンドプロジェクトとしていよいよ始動する。

収録曲

1. ゴミ屑ロンリネス (03:29)
2. GALILEO (03:14)
3. 自律神経出張中 (03:42)
4. 甘くないトーキョー (03:14)
5. MAD DANCE (02:58)
6. ハッピーに生きてくれ (03:21)
7. うた (05:43)

Total length: 25:41

Download:

mqs.link_Pedrzzsea24bit48kHzFLAC.rar

Audio Format: 24bit/48kHz
Release date: 2018-09-26
Label: ENS Entertainment Inc.
Catalog number: ANTCD-29214

https://ototoy.jp/_/default/p/132147

“ 当時は、あんなにつらい経験だったことが、
今では、 胸が熱くなるような、かけがえのない時間に”

『For キミに贈る歌』セルフライナーノーツ
相手をいくら大切に思っていても、どうにもできないこと。
大切だと思っているからこそ、決断をしなきゃいけない時など、
そんな場面は、きっと一度はあると思います。

あの時こうしていれば良かったのかな？とか、
もっと歩み寄ってたら、何か違ってたかな？
とか、考えるほど「かな？」が、いっぱい。

当時の自分にとっては、つらい経験だったはずが振り返ると、
胸が熱くなるような、かけがえのない時間になっていたりする。

大切な人を思い浮かべながら聴ける
そんな曲になってほしいです。

また、菅原紗由理のデビュー曲に「キミに贈る歌」という曲があるんですけど、
改名後に、改めて自分と向き合えた時、THE SxPLAYが歌う
「キミに贈る歌」を改めて作りたいと思ってできた曲です。

この曲を書くまでは、
過去を振り返ることも違う気がして、
前を向くことに必死で、走り続けてました。

そんな中、経験した初の中国ツアーと北京での2ヶ月一人暮らしを通して、
固く閉じていた扉を一つ一つこじ開けていくみたいに、
大切なことに気づかされる瞬間を沢山もらいました。

『For キミに贈る歌』に加え、自分の始まりを振り返るきっかけになった
中国での経験と原点となる楽曲も、日本を超えて沢山の人に知ってもらいたい。
そんな思いも込めて、中国語でセルフカバーをしました。
『キミに贈る歌(China Ver.)』も是非、一緒に聴いてみてください。

収録内容

1 – For キミに贈る歌 04:27
2 – キミに贈る歌 – Chinese ver. 04:25

Download:

mqs.link_THESxPLAYFrKiminikuruUtaFLACRecchkuHiRes24bit48kHz.rar

Gustav Mahler – Symphony No. 4 – Miah Persson, Budapest Festival Orchestra, Ivan Fischer (2009)
DSF Stereo DSD64/2.82MHz | Time – 56:40 minutes | 1,03 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet |  © Channel Classics Records B.V.
Recorded: Palace of Arts, Budapest, Hungary, September 2008

There is a unique purity and transparency in Mahler’s 4th Symphony. The enchanting slay bells take us to his inner child, to his dreams of angels, fairy tales, angst and pure, divine love. This child-like symphony needed a different orchestra: no dark tuba, no heavy trombones, no large arsenal of massive brass. A chamber orchestra in fact, where the clarinets act as mock trumpets, the solo violin tunes his strings sharper in order to scare us and the lightness of the whole orchestra lifts us up to his lovely, childish vision of paradise. –Iván Fischer

Fans of Gustav Mahler’s joyous Symphony No. 4 in G major will relish this buoyant performance by Ivan Fischer and the Budapest Festival Orchestra, featuring soprano Miah Persson, for it is wholly in keeping with the light tone and merry spirit of the score and is as delightful as any other recording on the market. Along with the Second and Third symphonies, this is one of the so-called Wunderhorn symphonies because of its radiant setting of the German poem, “Das himmlische Leben” in the Finale, and because of the incorporation of related themes from Mahler’s Des Knaben Wunderhorn. It expresses the youthful energy and magical sweetness of the first period in Mahler’s symphonic style and is the culmination of this charming phase, before the onset of darker things in the Fifth, Sixth, and Seventh symphonies. Fischer and his musicians are in a light and playful mood, and their reading is cheerful, energetic, and irresistibly gemütlich in its warmth and happiness. Some listeners may quibble over Fischer’s seemingly casual use of rubato, which in spots can seem a little too arbitrary, but on the whole this remains a well-balanced and spirited performance, and the slight changes of tempo serve to give the symphony a gentle Viennese flavor that seems indispensable. The DSD multi-channel sound on this SACD is stunning in its clarity, wide in its dimensions, and vibrant in its tone colors, so there is much to rejoice over in this sublime recording. –AllMusic Review by Blair Sanderson

Tracklist:

Gustav Mahler (1860-1911)
Symphony No. 4 in G major (1892, 1899-1900; rev.1910)
1 I. Bedachtig, nicht eilen 14:26
2 II. In gemachlicher Bewegung, ohne Hast 7:54
3 III. Ruhevoll, poco adagio 18:00
4 IV. Sehr behaglich 6:59

Personnel:
Miah Persson, soprano
Budapest Festival Orchestra
Iván Fischer, conductor

Download:

mqs.link_MahlerSymphnyN.4MiahPerssnBudapestFestivalrchestraIvnFischer2009nativeDSDmusicDSD64.part1.r.rar
mqs.link_MahlerSymphnyN.4MiahPerssnBudapestFestivalrchestraIvnFischer2009nativeDSDmusicDSD64.part2.r.rar
mqs.link_MahlerSymphnyN.4MiahPerssnBudapestFestivalrchestraIvnFischer2009nativeDSDmusicDSD64.part3.r.rar

Gustav Mahler – Symphony No. 5 – Miah Persson, Budapest Festival Orchestra, Ivan Fischer (2013)
DSF Stereo DSD64/2.82MHz | Time – 01:14:12 minutes | 2,93 GB | Genre: Classical
Official Digital Download – Source: nativeDSDmusic | Digital Booklet |  © Channel Classics Records B.V.
Recorded: Palace of Arts, Budapest, Hungary, September 2012

The Fifth is the most Jewish of all Mahler’s symphonies. The first movement takes usto the unmistakable mood of Jewish lamentation, the finale to the childlike visionof messianic joy.As we know, Mahler converted to Catholicism. Views may differ as to whether hisdecision was opportunistic or a question of religious conviction. Christianity plays animportant part in much of Mahler’s music, though not in this particular work.Perhaps I may take the liberty of referring briefly to my own family. My ancestors(like Mahler’s) were merchants in a small shtetl in the Habsburg Empire. They wereobservant Jews. My grandfather, three years older than Gustav Mahler, decided toleave this religious lifestyle behind him when he went to study in Vienna. My fatherand his brothers were brought up without any religious education. They adoredGoethe, Mozart, Beethoven and Richard Wagner. One of the four brothers convertedto Catholicism when he married a daughter of a converted family. Later, underNazi occupation, when it seemed for a while that converting might help them avoiddeportation, two of my uncles and an aunt became Catholics; the other members of thefamily did not.Whether or not these decisions were opportunistic was never discussed in myfamily. Nobody cared – these were considered unimportant, personal decisions, partlydictated by circumstances. Converts or no converts, nobody practised any religion andeverybody adored culture. And they all hummed tunes like those in Mahler’s FifthSymphony. –Iván Fischer

This is, I think, the fifth Mahler symphony recording from Iván Fischer and the Budapest Festival Orchestra so it looks as if a cycle is evolving. Reviews of previous issues are listed at the foot of this review. This is the first of these Mahler performances that I’ve heard and I believe the team have also recorded the Sixth.
There’s much to admire here: the orchestral playing is top-class and the excellent recording reports the sound of the orchestra with great clarity. I see that in reviewing the Second Symphony Michael Greenhalgh commented on Fischer’s attention to detail. That trait is in evidence here as well. A satisfying amount of Mahler’s polyphonic writing is clearly audible without any artificial highlighting.
In a note in the booklet, the conductor describes the Fifth as Mahler’s ‘most Jewish’ symphony. In support of this contention he mentions particularly the first and last movements. We’ll come to the finale in due course, but speaking of the first movement Fischer refers to ‘the unmistakeable mood of Jewish lamentation’. That’s an interesting observation though I’m not sure just how vividly the lamentation comes across. Fischer’s view of the movement doesn’t grab the listener by the throat in the manner of, say, Bernstein (review) or Tennstedt (review). However, it’s a convincing reading. The pacing is intelligent and there’s excellent, though not overdone, weight in the orchestral sound. Fischer doesn’t overplay his hand in this movement and that approach brings its own rewards. I’ve heard more turbulent accounts of the second movement – Fischer’s reading is not as scalding and highly charged as either Bernstein or Tennstedt are at times – but the movement ‘works’ in his hands.
The first time I played the central scherzo I thought that the core tempo was a bit on the steady side; some conductors take it more quickly. However, any relative steadiness is only a matter of degree. I became convinced, above all, perhaps, because the Budapest players articulate the rhythms crisply. I enjoyed this nicely nuanced reading which benefits from some acute and tangy playing. I can’t see that the principal horn player is named in the booklet: he should be, because he plays his vital part splendidly.
Over the years we’ve experienced on disc quite a wide variety of approaches to the tempo of the famous Adagietto. Some conductors – Bernstein and Tennstedt among them – opt for a very expansive treatment of the music while others move it on at a more flowing, less sentimental pace. I’ve come to prefer the latter approach, not least because it rids us of those dreadful Death in Venice associations. Fischer takes 10:42, which puts him among the more expansive interpreters of this movement – though he’s by no means the slowest. Even so, I didn’t feel that the music sounded unduly slow. Fischer phrases it well and his string players – and the harpist – play it quite beautifully.
I mentioned earlier Fischer’s view of the “Jewishness” of this symphony. He describes the finale as ‘the childlike vision of messianic joy’. I don’t think I’d go that far but the movement is one of the happiest, most extrovert movements in Mahler’s output. Here it’s played with great spirit and virtuosity. I like the fact that when the chorale that we first glimpsed in the second movement comes back as the crowning moment (14:27) Fischer makes it sound exultant yet, by maintaining his tempo, he avoids any overblown rhetoric.
I enjoyed this performance of the Fifth. I don’t think it displaces Barshai (review), Barbirolli (review), Bernstein or Tennstedt in my personal pantheon of great Fifths – and all those readings bring different perspectives on this score. It still offers much to the listener and I’m sure I will be listening to it with pleasure in the future. –John Quinn, MusicWeb International

Tracklist:

Gustav Mahler (1860-1911)

Symphony No. 5 in C-Sharp Minor (1902)
1. I. Trauermarsch. In gemessenem Schritt. Streng. Wie ein Kondukt 13.00
2. II. Stürmisch bewegt, mit größter Vehemenz 15.09
3. III. Scherzo. Kräftig, nicht zu schnell 19.39
4. IV. Adagietto. Sehr langsam 10.42
5. V. Rondo-Finale. Allegro – Allegro giocoso. Frisch 15.42

Personnel:
Budapest Festival Orchestra
Iván Fischer, conductor

Download:

mqs.link_MahlerSymphnyN.5BudapestFestivalrchestraIvnFischer2013nativeDSDmusicDSD64.part1.rar
mqs.link_MahlerSymphnyN.5BudapestFestivalrchestraIvnFischer2013nativeDSDmusicDSD64.part2.rar
mqs.link_MahlerSymphnyN.5BudapestFestivalrchestraIvnFischer2013nativeDSDmusicDSD64.part3.rar
mqs.link_MahlerSymphnyN.5BudapestFestivalrchestraIvnFischer2013nativeDSDmusicDSD64.part4.rar