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From the early 1800s to the end of the 1960s, Paris was the focal city of the arts world par excellence. La Ville Lumière was the city of intellectualism, a place which drew writers, artists and musicians from all over France and overseas. Paris, where every topic became a theme for discussion, and every discussion a reason to form a group, was the nursery from which every tendency and movement was to bud during the following 150 years. But as always, there were traditionalists who opposed this modern turn, and in a country whose culture was innately non-conformist the stage was set for debate. In the eighteenth century, the French were divided over whether music should follow French tastes or be inclined to the Italian. Then came the Romantics and the Wagnerians, Parnassianism, Naturalism, the Symbolists and the Impressionists, and all the diverse stylistic movements that fell into the melting pot of Expressionism.France was awash with influences, and composers of the time were hugely affected in a way never before seen in history: by inspiration from literature, visual arts and philosophy.

For decades now, Elisabeth Leonskaja has been among the most celebrated pianists of our time. In a world dominated by the media, Elisabeth Leonskaja has remained true to herself and to her music, and in doing so, is following in the footsteps of the great Russian musicians of the Soviet era, such as David Oistrakh, Sviatoslav Richter and Emil Gilels, who never wavered in their focus on the quintessence of music despite working in a very difficult political environment. Her almost legendary modesty still makes her somewhat media-shy today. Yet as soon as she walks out on the stage, audiences can sense the force behind the fact that music is and always has been her life’s work.

Tracklist

1. Elisabeth Leonskaja – Valses nobles et sentimentales, M. 61: I. Modéré – tres franc
2. Elisabeth Leonskaja – Valses nobles et sentimentales, M. 61: II. Assez lent – avec une expession intense
3. Elisabeth Leonskaja – Valses nobles et sentimentales, M. 61: III. Modéré
4. Elisabeth Leonskaja – Valses nobles et sentimentales, M. 61: IV. Assez animé
5. Elisabeth Leonskaja – Valses nobles et sentimentales, M. 61: V. Presque lent – dans un sentiment intime
6. Elisabeth Leonskaja – Valses nobles et sentimentales, M. 61: VI. Vif
7. Elisabeth Leonskaja – Valses nobles et sentimentales, M. 61: VII. Moins vif
8. Elisabeth Leonskaja – Valses nobles et sentimentales, M. 61: VIII. Epilogue – Lent
9. Elisabeth Leonskaja – Piano Sonata No. 1 in F-Sharp Minor, Op. 24: I. Allegro molto moderato e grave
10. Elisabeth Leonskaja – Piano Sonata No. 1 in F-Sharp Minor, Op. 24: II. Presto vivace
11. Elisabeth Leonskaja – Piano Sonata No. 1 in F-Sharp Minor, Op. 24: III. Andante molto espressivo
12. Elisabeth Leonskaja – Préludes pour piano, L. 117, Livre 1: III. Le vent dans la plaine
13. Elisabeth Leonskaja – Préludes pour piano, L. 117, Livre 1: VIII. La fille aux cheveaux de lin
14. Elisabeth Leonskaja – Préludes pour piano, L. 123, Livre 2: XII. Feux d’artifice
15. Elisabeth Leonskaja – La Plus Lente, L. 121

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The concept lying behind pianist Elisabeth Leonskaja’s new recording entitled “Saudade” stems from no set of musicological ideas; nor does it have any programmatic basis. Instead, it derives from an emotional state or feeling. Therein lies its argument and the justification for this programme. The composers and their particular works presented here are deservedly important and carry out an especially meaningful role. Yet, it is the feeling which is important here, and it is the unifying theme of what is the most personal (so far) of the Russian pianist’s recording projects.

Why, then, saudade? For the reason that within the heart of this album resides a feeling. Feelings are enigmatic in terms of definition, can be complicated to translate and, on occasion, more than a single method is needed in order to express them. Portuguese in origin, the word saudade, is difficult to pin down exactly and is nigh on impossible to render into another language. Consequently, other languages (such as Spanish and Galician) tend to use it in its original form. Saudade expresses a fundamental emotional state, close to melancholy, spurred on by one’s distance – in time or space – from someone or something loved; it involves bridging that distance. Often it implies the suppressed awareness that that person or thing will perhaps never return.

Saudade is not merely loneliness; nor is it just yearning; nor does it reflect a sense of either sadness or joy; it is much more than melancholy. It resembles the Welsh hiraeth, the Romanian dor (this was referred to in the context of Elisabeth Leonskaja’s earlier album “Paris” in connection with George Enescu’s Piano Sonata No. 1), and the German Sehnsucht, but the main difference between saudade and other states close to nostalgia lies in how it is perceived by the people who feel it. The sentiment expressed by Leonskaja is a particular one, her own, personal, private, special and non-transferable sentiment. It is a sentiment focused on the very origins of existence and one which finishes with its openness to transcendence. It is what has been experienced and understood; it is a loved one no longer visible but who yet keeps on existing; it is embraces…; perfumes scented which the sense of smell revives only in the mind; melodies, whose intervals, having been detected and comprehended, become part of one’s musical bloodstream; landscapes sketched out at an early age; all the many lives which have been lived; joy and sadness simultaneously; everything that will return no more; all this is saudade.

Tracklist

1. Elisabeth Leonskaja – Piano Sonata in G Major, Op. 37 “Grand Sonata”: I. Moderato e risoluto
2. Elisabeth Leonskaja – Piano Sonata in G Major, Op. 37 “Grand Sonata”: II. Andante non troppo quasi moderato
3. Elisabeth Leonskaja – Piano Sonata in G Major, Op. 37 “Grand Sonata”: III. Scherzo – Allegro giocoso
4. Elisabeth Leonskaja – Piano Sonata in G Major, Op. 37 “Grand Sonata”: IV. Finale – Allegro vivace
5. Elisabeth Leonskaja – Piano Sonata No. 2 in B Minor, Op. 61: I. Allegretto
6. Elisabeth Leonskaja – Piano Sonata No. 2 in B Minor, Op. 61: II. Largo
7. Elisabeth Leonskaja – Piano Sonata No. 2 in B Minor, Op. 61: III. Moderato
8. Elisabeth Leonskaja – Morceaux de fantasie, Op. 3: No. 2. Prelude
9. Elisabeth Leonskaja – Preludes, Op. 32: No. 12. Prelude in G-Sharp Minor. Allegro
10. Elisabeth Leonskaja – Preludes, Op. 23: No. 6. Prelude in E-Flat Major. Andante
11. Elisabeth Leonskaja – Morceaux de fantasie, Op. 3: No. 1. Elegie

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In 1962, Ella Fitzgerald was at the height of her powers, about midway through recording her now-iconic series of “songbook” albums and, two years earlier, having released a barnstormer of a live album, Ella in Berlin, that solidified her position as one of the most talented and popular musicians working in the jazz idiom. Her only competition at the time was, essentially, Frank Sinatra and herself. During the course of 1962, she would release three albums: two complementary collaborations with Nelson Riddle that further pushed her into crossover territory without tarnishing her credibility or minimizing her skills, and the oft-overlooked Rhythm is My Business, a hard-swinging set that comes off breezy and soulful, but is a remarkable document of the strength of Fitzgerald and her band during this era. And it’s that strength that’s captured on The Lost Berlin Tapes, recorded in concert at Berlin’s Sportpalast that year. Verve Records founder Norman Granz frequently recorded live sets of many of his acts (Fitzgerald especially), and that’s what accounts for both the existence and the remarkable fidelity of these “lost” tapes. (Though they were never truly lost; Granz had just stashed them away). From a performance perspective, it’s unbelievable that this concert recording sat unheard for more than a half-century. Brimming with energy and benefiting from the confidence that can only come from being at the top of one’s game, Ella and her band careen through 17 songs with a full-throated fervor that’s greeted with an equally enthusiastic response from the crowd. The set both swings incredibly hard and evinces a cool, sophisticated polish, a combination that, again, pretty much only she and Sinatra were delivering at this scale during the era. It’s the sort of casual excellence that’s made to look deceptively easy. (And yes, she aces the version of “Mack the Knife” here.) Releases like this—especially in the aftermath of the devastating Universal fire that destroyed so many iconic album masters and so much unreleased material—prove that, even when we think a barrel has been fully scraped or a vault fully excavated, there will always be warm, welcome surprises to be found in the archives of these legendary artists. – Jason Ferguson

Tracklist

1. Ella Fitzgerald – Cheek To Cheek (Live)
2. Ella Fitzgerald – My Kind Of Boy (Live)
3. Ella Fitzgerald – Cry Me A River (Live)
4. Ella Fitzgerald – I Won’t Dance (Live)
5. Ella Fitzgerald – Someone To Watch Over Me (Live)
6. Ella Fitzgerald – Jersey Bounce (Live)
7. Ella Fitzgerald – Angel Eyes (Live)
8. Ella Fitzgerald – Clap Hands, Here Comes Charlie! (Live)
9. Ella Fitzgerald – Taking A Chance On Love (Live)
10. Ella Fitzgerald – C’est Magnifique (Live)
11. Ella Fitzgerald – Good Morning Heartache (Live)
12. Ella Fitzgerald – Hallelujah, I Love Him So (Live)
13. Ella Fitzgerald – Hallelujah, I Love Him So (Reprise / Live)
14. Ella Fitzgerald – Summertime (Live)
15. Ella Fitzgerald – Mr. Paganini (Live)
16. Ella Fitzgerald – Mack The Knife (Live)
17. Ella Fitzgerald – Wee Baby Blues (Live)

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mqs.link_EllaFitzgeraldEllaTheL0stBerlinTapes20202496.part1.rar
mqs.link_EllaFitzgeraldEllaTheL0stBerlinTapes20202496.part2.rar

Elliott Smith – Elliott Smith (Expanded 25th Anniversary Edition) (1995/2020)
FLAC (tracks) 24-bit/96 kHz | Time – 01:12:35 minutes | 1,56 GB | Genre: Alternative, Indie
Studio Master, Official Digital Download | Front Cover | © Universal Music Group International

When Elliott Smith’s self-titled second album came out in 1995, it was ignored by the press but championed by artists from the Beastie Boys to Fugazi. To commemorate the twenty-fifth anniversary of Elliott Smith, the Kill Rock Stars label is releasing a special deluxe package, which includes a new remastering of the original record; a coffee table book of previously unseen photographs by JJ Gonson with handwritten lyrics, and reminiscences from Smith’s friends and colleagues; and a bonus disc documenting the earliest known recording of Smith performing as a solo act. The set is a revelatory look at an under-appreciated work by an artist whose influence continues to expand seventeen years after his death.

Nothing can get in his way, not even death. A knife to the chest is how Steven Paul Smith aka Elliott Smith left us at the age of 34. The incident was concluded as a suicide without great conviction. But what all the world could agree on was his dazzling career which was firmly dubbed by the rock world as the exploits of a penniless genius who was caught in the wake of grunge which dominated the early 90s. After the post-punk explosion caused by his group Heatmiser, the still unknown icon from Portland very soon expressed his depression on the undisclosed solo album Roman Candle (1993) in which he touched upon the themes of predilection, abandon and disillusion. It was with this eponymous Elliott Smith that he started to experience tangible success, albeit moderate. The somewhat ironically named label Kill Rock Stars did well to promote him, putting Elliott’s face in the front window of record stores. Smith recorded the album once again from home. The sound of this new version was so intimate that one could have imagined his friend Tony Lash, on the sofa, fingers gliding and lips quietly whistling the array of folk ballads. From the opening Needle in the Hay to the closing The Biggest Lie passing through Satellite, he demonstrates the talents for writing melancholic songs with next to nothing. There are some rare touches of drums and a harmonica but all the rest is stripped of all excess. “I personally can’t get more dark than that”, he would later say on the matter, only to then say “I think I’m just about as happy as all the other people I know. Which is occasionally”. Following his worldwide recognition with the Oscar-nominated Miss Misery from Gus Van Sant’s Good Will Hunting then the excellent Either/Or.

For Elliott Smith’s 25th anniversary, Kill Rock Stars has published this new remastered version that benefits from tracks recovered by recording engineer and producer Larry Crane, who uncovered these tracks in the label’s archives. But the highlight of this re-edition is the first live solo performance, recorded in Umbra Penumbra, a cafe in Portland on the 17th September 1994. A true gem of a record! © Charlotte Saintoin

Tracklist:
1. Needle in the Hay (Remastered) (04:17)
2. Christian Brothers (Remastered) (04:31)
3. Clementine (Remastered) (02:46)
4. Southern Belle (Remastered) (03:06)
5. Single File (Remastered) (02:26)
6. Coming Up Roses (Remastered) (03:11)
7. Satellite (Remastered) (02:26)
8. Alphabet Town (Remastered) (04:12)
9. St. Ides Heaven (Remastered) (03:00)
10. Good to Go (Remastered) (02:25)
11. The White Lady Loves You More (Remastered) (02:25)
12. The Biggest Lie (Remastered) (02:40)
13. Some Song (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (02:56)
14. Alphabet Town (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (04:43)
15. Whatever (Folk Song in C) (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (02:53)
16. No Name #4 (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (02:43)
17. Big Decision (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (02:37)
18. Condor Ave (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (03:33)
19. No Name #1 (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (03:18)
20. No Confidence Man (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (04:33)
21. Crazy Fucker (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (03:34)
22. Half Right (Live at Umbra Penumbra, Portland, OR – September 17, 1994) (04:32)

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mqs.link_Elli0ttSmithElli0ttSmith1995Expanded25thAnniversaryEditi0n20202496.part1.rar
mqs.link_Elli0ttSmithElli0ttSmith1995Expanded25thAnniversaryEditi0n20202496.part2.rar

Following the release of the blissful and poignant single ‘Return Me’, acclaimed UK based singer-songwriter Emily Barker has announced that her forthcoming album, ‘A Dark Murmuration of Words’, will be released on 4th September on Thirty Tigers. Emily has also released a lyric video for her beautiful new single, ‘The Woman Who Planted Trees’.

‘The Woman Who Planted Trees’ was inspired by Kenyan activist Wangari Maathai, who founded The Green Belt Movement in order to reforest degraded land to provide food and empower women in her community. Emily’s commanding vocals keep the listener grounded on ‘The Woman Who Planted Trees’, just like the trees and nature that she sings about. Of the single Emily said, “I grew up planting trees with my family along the Blackwood River to help prevent erosion, and in barren paddocks that had been cleared for livestock during colonisation,” she added, “Those lessons stuck with me and I’ve continued to support tree-planting schemes, especially in Australia where there are huge problems with salinity due to swathes of land being cleared by the early settlers.”

Tracklist

1. Emily Barker – Return Me
2. Emily Barker – Geography
3. Emily Barker – The Woman Who Planted Trees
4. Emily Barker – Where Have the Sparrows Gone?
5. Emily Barker – Strange Weather
6. Emily Barker – Machine
7. Emily Barker – When Stars Cannot Be Found
8. Emily Barker – Ordinary
9. Emily Barker – Any More Goodbyes
10. Emily Barker – Sonogram

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mqs.link_EmilyBarkerADarkMurmurati0n0fW0rds20202496.rar
mqs.link_EmilyBarkerADarkMurmurati0n0fW0rds20202496.rar

Hathor Consort, Pluto-Ensemble, Romina Lischka, Marnix De Cat – Animam gementem cano (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:23 minutes | 1,13 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Ramée

With the world premiere recording of a rediscovered Stabat Mater, a late work by the Bohemian master František Tůma, Pluto-Ensemble and Hathor Consort expand the Baroque discography with an emotionally gripping work. The version presented here, one of Tůma’s five settings of the text, long lay forgotten in the Abbey library in Ottobeuren, until Marnix De Cat (artistic director of the Pluto-Ensemble) rediscovered this gem. It is heard here with the Requiem in F minor by Heinrich Ignaz Franz Biber and instrumental works by Biber, his teacher Johann Heinrich Schmelzer and his Salzburg colleague Andreas Christoph Clamer. Animam gementem cano (‘I hymn the grieving soul’ – the first two words quote the Stabat Mater text) takes us on a journey through many of life’s most significant moments: we are confronted with life and death, but also with our personal path towards consciousness. The programme is intended not only to provide comfort for the ‘captive grieving soul’ of every flesh-and-blood human being, but also to offer every curious music lover a voyage of discovery.

Tracklist

1. Pluto-Ensemble – I. Introitus. Requiem (Adagio) & Kyrie
2. Pluto-Ensemble – II. Sequentia. Dies Iræ – Lacrimosa
3. Pluto-Ensemble – III. Offertorium. Domine Jesu – Quam olim Abrahæ
4. Pluto-Ensemble – IV. Sanctus – Osanna – Benedictus
5. Pluto-Ensemble – V. Agnus Dei & Communio
6. Hathor Consort – Sonata IX in G Major
7. Hathor Consort – I. Lamento (Adagio quanto si può)
8. Hathor Consort – II. Gigue (Allegro)
9. Hathor Consort – III. Sarabanda (Adagio, Adagio)
10. Hathor Consort – IV. Saltarello (Alla breve)
11. Hathor Consort – Sonata VIII à 5 in G Major
12. Pluto-Ensemble – I. Stabat Mater (Larghetto)
13. Pluto-Ensemble – II. O quam tristis
14. Pluto-Ensemble – III. Quis est homo (Andante)
15. Pluto-Ensemble – IV. Pro peccatis (Larghetto)
16. Pluto-Ensemble – V. Eia Mater (Andante)
17. Pluto-Ensemble – VI. Sancta Mater
18. Pluto-Ensemble – VII. Fac me tecum (Larghetto)
19. Pluto-Ensemble – VIII. Fac me plagis
20. Pluto-Ensemble – IX. Fac ut animæ

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mqs.link_Hath0rC0ns0rtAnimamgementemcan020202496.part2.rar

This is the debut solo album from former (unique Kendal foursome) Wild Beasts frontman Hayden Thorpe. Written in California, Cornwall and at home in London. The reincarnation of Hayden Thorpe was recorded with Leo Abrahams (Brian Eno/David Byrne) at Hayden’s London home and at Leo’s Cornish studio. Portentous piano announces the Hayden Thorpe album. The easy dulcet tones which are at times cool, calm and collected but can so easily climb to a mercurial falsetto. Emotive and passionate tones are evocative of sadness, time passing and peaceful acceptance.

Tracklist:
1. Diviner (03:23)
2. Straight Lines (03:43)
3. Earthly Needs (04:13)
4. Love Crimes (03:55)
5. Stop Motion (04:15)
6. In My Name (03:38)
7. Anywhen (04:14)
8. Human Knot (03:20)
9. Spherical Time (02:52)
10. Impossible Object (03:37)

Download:

mqs.link_HaydenTh0rpeDiviner20192496.rar

A stream of music, poetry and life flows through Danish singer Helene Blum & fiddler Harald Haugaard’s first joint album. A stream where the individual word, the tone and the individual human being are part of something bigger. Is part of an effervescent stream that has flowed through music, traditions and people for centuries.

Blum & Haugaard themselves have written music and lyrics for much of the album, which also includes new music for poems by some of Denmark’s famous poets and original reinterpretations of traditional Danish folk music. Dreamy songs about seductive love, anxiety or eternal Nordic summer nights meet racy and innovative instrumental pieces.

Strømmen “The Stream” has been recorded in the legendary Copenhagen Medley Studio in collaboration with Blum & Haugaard’s own band, which since the beginning of 2008 has traveled Europe, North America and Japan thin with their integrity, virtuosity and presence and won the audience’s ears and hearts from the Elbphilharmonie Hamburg for major Canadian summer festivals. The Blum & Haugaard Band has won numerous awards such as. the European folk award “Eisener Eversteiner” and has become one of Denmark’s most sought after ensembles internationally.

Cellist Kirstine Elise Pedersen, guitarist Mikkel Grue and percussionist Sune Rahbek complete Blum & Haugaard’s musical universe of through-musical play joy with immediate (unmittelbare) music that doesn’t have to go through the brain to go directly into the soul and hit the roots of the audience. Their music is timeless, but still lets the story flow in the future, and is at one and the same time boring and yet strangely innovative.

In continuation of “Strømmen”, Blum & Haugaard will tour and hit concert halls, festivals, churches and venues in Europe and North America during 2020 and 2021. Everyone is invited into the flow of music and poetry.

Tracklist

1. Helene Blum & Harald Haugaard Band – Over Havet
2. Helene Blum & Harald Haugaard Band – Strømmen
3. Helene Blum & Harald Haugaard Band – Så mange forskellige hænder
4. Helene Blum & Harald Haugaard Band – Boy Under Lime Tree
5. Helene Blum & Harald Haugaard Band – Angst
6. Helene Blum & Harald Haugaard Band – Carls vals
7. Helene Blum & Harald Haugaard Band – Vær tålmodig
8. Helene Blum & Harald Haugaard Band – Dansevise
9. Helene Blum & Harald Haugaard Band – Den hvide hjort
10. Helene Blum & Harald Haugaard Band – Den første sne – Den sidste vinter
11. Helene Blum & Harald Haugaard Band – En yndig og frydefuld sommertid
12. Helene Blum & Harald Haugaard Band – Stranden

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mqs.link_HeleneBlumHaraldHaugaardBandStrmmen202024441.rar

Zoltán Kodály’s later years were dominated by a series of choral works but his early reputation centred upon chamber music, notably two string quartets, a Cello Sonata (8.553160) and the two masterpieces heard on this recording. The Duo for Violin and Cello, Op. 7 combines Classical form with folk influence, while the Sonata for Solo Cello, Op. 8, with its expanded harmonies and tone colours, is one of the greatest solo cello works since Bach’s Cello Suites. György Ligeti continued the Hungarian lineage with his Sonata for Solo Cello, a succinct but pivotal work in his compositional development. Gabriel Schwabe has established himself among the leading cellists of his generation. He is a laureate of numerous national and international competitions, including the Grand Prix Emanuel Feuermann and the Concours Rostropovich in Paris. In 2009, he won the prestigious Pierre Fournier Award in London. He is a regular guest at festivals such as the Jerusalem International Chamber Music Festival, the Kronberg Academy Festival and the Amsterdam Biennale, and has performed with artists including Isabelle Faust, Christian Tetzlaff, Lars Vogt, Kirill Gerstein and Jonathan Gilad.

Tracklist:
1. Hellen Weiß & Gabriel Schwabe – Duo for Violin & Cello in D Minor, Op. 7: I. Allegro serioso, non troppo (08:48)
2. Hellen Weiß & Gabriel Schwabe – Duo for Violin & Cello in D Minor, Op. 7: II. Adagio (08:24)
3. Hellen Weiß & Gabriel Schwabe – Duo for Violin & Cello in D Minor, Op. 7: III. Maestoso e largamente, ma non troppo lento – Presto (09:23)
4. Gabriel Schwabe – Cello Sonata: I. Dialogo (03:59)
5. Gabriel Schwabe – Cello Sonata: II. Capriccio (03:52)
6. Gabriel Schwabe – Cello Sonata in B Minor, Op. 8: I. Allegro maestoso ma appassionato (08:22)
7. Gabriel Schwabe – Cello Sonata in B Minor, Op. 8: II. Adagio con grand’ espressione (10:58)
8. Gabriel Schwabe – Cello Sonata in B Minor, Op. 8: III. Allegro molto vivace (11:23)

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Hélène Grimaud has announced her new studio album, The Messenger, will be released on 2 October 2020. For her latest concept album Hélène Grimaud has created a fascinating pianistic dialogue between Mozart and the Ukrainian-born contemporary composer Valentin Silvestrov. Watch the video for the first single, the third movement of Mozart’s Piano Concerto No. 20, released today.

The recording sessions for The Messenger took place at the start of this year at an historic Mozart site in Salzburg, the Great Hall of the University, where Hélène Grimaud was joined by the Camerata Salzburg. The album includes three works by Mozart: the unfinished Fantasia in D minor K 397, the famous Piano Concerto in D minor K 466, and the Fantasia in C minor K 475. They are presented in chronological order of composition and all three are among the relatively small number of works in Mozart’s vast output written in minor keys. Hélène Grimaud noted, “minor keys were suggestive of confrontations with fate or destiny” for Mozart. She said it took her “many years of inner cultivation to fully recognise those burning, unpredictable currents rippling beneath the transcendental beauty. That is when playing this music became a necessity.”

Valentin Silvestrov’s The Messenger (1996) offers both a response to, and an echo of, Mozart’s music – the idea of acknowledging and paying tribute to what has gone before is central to his art as a composer. The Messenger starts with a theme reminiscent of Mozart and, like a messenger, creates a connection between the present and the world that existed before. Hélène Grimaud is passionate about Silvestrov’s music, which some describe as post-modernist or even neoclassical. “Like Arvo Pärt, Silvestrov’s music is harmonic, which far from being a weakness, is an enlightenment in its own right and very powerful in its simplicity,” noted Hélène. The composer’s own words hint at why this is for her so intriguing, “I do not write new music. My music is a response to and an echo of what already exists”.

Having reached the middle of her life, the pianist Hélène Grimaud is thinking about Time; that Mighty Sculptor evoked by Marguerite Yourcenar, the thing that weaves our destinies and gets us all in the end. Exploring the past to better understand the present, Hélène Grimaud finds some answers in pieces by Mozart and the Ukrainian composer Valentin Silvestrov. You can feel the time passing like a gentle breeze, creating a dreamlike nostalgia-filled atmosphere.
On top of these existential thoughts, there’s the pandemic that hit the world at the beginning of 2020 – the very time Hélène Grimaud started recording this album. The crisis is having ramifications in all parts of society. It’s affected each and every one of us. It’s weakened the economy. It’s provoked questions and reactions within artistic communities who are pretty good at expressing emotions.
It took Hélène Grimaud a little time to tame Mozart’s music, settling for nothing short of perfection. Performing either alone or with the Salzburg Camerata in the dark minor tones of the two sublime Fantasias surrounding Concerto No. 20, she chose to perform K. 466 – one of Mozart’s most burning, rebellious compositions, full of lightning and foreboding atmospheres. Grimaud praises the dishevelled Romanticism by drawing from Beethoven (whose cadenzas she uses for this concerto). The result is radical and seems to relieve her anxiety… and seemingly ours as well. – François Hudry

Tracklist

1. Hélène Grimaud – Mozart: Fantasia No. 3 in D Minor, K. 397
2. Hélène Grimaud – I. Allegro (Cadenza Beethoven)
3. Hélène Grimaud – II. Romance
4. Hélène Grimaud – III. Rondo. Allegro assai (Cadenza Beethoven)
5. Hélène Grimaud – Mozart: Fantasia No. 4 in C Minor, K. 475
6. Hélène Grimaud – Silvestrov: The Messenger (For Piano and Strings)
7. Hélène Grimaud – I. Wedding Waltz
8. Hélène Grimaud – II. Postlude
9. Hélène Grimaud – III. Morning Serenade
10. Hélène Grimaud – Silvestrov: The Messenger (For Piano Solo)

Download:

mqs.link_HlneGrimaudTheMessenger20202496.part1.rar
mqs.link_HlneGrimaudTheMessenger20202496.part2.rar

Three works by Polish composers of great stature: the music of Karol Szymanowski is now very well known; he was responsible for the first real flowering of Polish music after Chopin, developing from the Romantic to expressionism to modernism. His Op. 9 violin sonata is his earliest chamber composition, written when he was 22 and found immediate success with audiences of not all of the critics at the time. Andrzej Panufnik, who later became a British citizen, is also an early work and as his Op. 1 (he did not give opus numbers to any other work) symbolizes the beginning of his great career. Elements of modernism, Romanticism and jazz inspire this superb work. It is heard here in the composers revised version from 1977. For Grazyna Bacewicz, chamber music played a very important role alongside concert works; she summed up the 200 years from Chopin to Rachmaninoff as a great virtuoso composer and performer on both violin and piano. The fourth piano sonata is generally considered her greatest described by one critic as contemporary Brahms.

Tracklist:

01. Violin Sonata in D Minor, Op. 9, M. 9 I. Allegro moderato, patetico
02. Violin Sonata in D Minor, Op. 9, M. 9 II. Andantino tranquillo e dolce
03. Violin Sonata in D Minor, Op. 9, M. 9 III. Finale. Allegro molto, quasi presto
04. Piano Trio, Op. 1 I. Poco adagio
05. Piano Trio, Op. 1 II. Largo
06. Piano Trio, Op. 1 III. Presto
07. Violin Sonata No. 4 I. Moderato
08. Violin Sonata No. 4 II. Andante ma non troppo
09. Violin Sonata No. 4 III. Scherzo. Molto vivo
10. Violin Sonata No. 4 IV. Finale. Con passione

Download:

mqs.link_HubermanDu020thCenturyP0lishChamberMusic20202448.rar

Hubert Bommer is Musician and a Composer of Pianomusic from Switzerland. Bommer understand his music as an expression of emotions and introduces to your attention its new album modern piano music

Tracklist:

01. Let Go
02. What I Let Go Comes Back
03. When I Love I Let Go
04. Let Go and Keep It in Your Heart
05. Respect Means Letting Go
06. Not Own but Love
07. A Flower Wilts When You Pick It
08. You Mean a Lot to Me
09. Embrace and Let Go
10. In the End There Is Nothing but the Heart

Download:

mqs.link_HubertB0mmerLetG020202496.part1.rar
mqs.link_HubertB0mmerLetG020202496.part2.rar

Following Brutalism (2017) and Joy as an Act of Resistance (2018), two releases that garnered global critical acclaim, IDLES return with their highly anticipated third album – Ultra Mono. Sonically constructed to capture the feeling of a hip-hop record (including production contribution from Kenny Beats), the album doubles down on the vitriolic sneer and blunt social commentary of their past work. Not far beneath the surface of their self-admitted sloganeering lies a deeply complex and brutally relevant album that chews up clichés and spits them out as high art for the masses. This is momentary acceptance of the self. This is Ultra Mono.

After toiling in obscurity for nearly a decade, the Bristol, England, band Idles broke through in 2017—earning accolades for their big, heavy, ferocious sound (singer Joe Talbot has vehemently, repeatedly rejected the easy “punk” label) and lyrics railing against toxic masculinity, white privilege and over-reaching government. In 2020, with their third album, IDLES is not saying anything many people aren’t already feeling, but there’s something undeniably cathartic about saying it with such fury: Sometimes it’s just enough to yell out “This means war! Anti-war!” while klaxon guitars wail on the song “War,” or “Consent! Consent! Consent! Consent!” on “Ne Touche Pas Moi” (“don’t touch me”). Tapping into the Western world’s emotional disorder of the moment, “Anxiety” spits: “Our government hates the poor/ Cold leaders’ cold class war/ Given drugs you can’t afford/ So the poor can’t buy the cure.” That reliable old chestnut of a punching bag, the British royal family, makes plenty of appearances, including on the sonar-warp “Reigns.” “I’m guessing it is hard for you to see, that that that that empathy will kick down your throne,” Talbot heckles the Windsors on “Kill Them With Kindness,” which opens with a pretty jewel-box tune before sliding sideways into appealingly funky, Jesus Lizard-esque guitar and a strutting beat. And here’s the thing: While Talbot gets all the front-man attention, it’s the musicians who really shock and awe. Guitarists Lee Kiernan and Mark Bowen create a dialogue of needling Wire-esque riffs on the irresistible “Model Village” (“Model low crime rate in the village/ Model race, model hate, model village,” Talbot rails against mindless patriotism). Drummer Jon Beavis and bassist Adam Devonshire tattoo relentless, and relentlessly catchy, rhythm on tracks like “Anxiety” and “Grounds” (“Not a single thing has ever been mended/ by you standing there and saying you’re offended,” Talbot jeers on that one, taking a swipe at the trend of virtue-signaling). “Mr. Motivator” rides a wave of racing guitar and gun-shot drums to underscore Talbot’s battle cry: “Let’s seize the day/ all hold hands/ chase the pricks away.” Absurdly coupling toxic masculinity and feminist power, Talbot chants,”Like Conor McGregor with a samurai sword on rollerblades/ Like Vasyl Lomachenko after four pints of Gatorade/ Like Kathleen Hanna with bear claws grabbing Trump by the pussy … Like Frida Kahlo painting ‘arm the poor’ on your fuck-off wall.” Then he follows it all up with a wink: “How do you like them clichés?” And when things take a wild left turn with “A Hymn”—haunted by spooky, hazy guitars and droning lyrics—it’s like everything goes out of focus for a minute. The change in perspective is not just a breather, it’s a peek into what more these hard-chargers can offer. – Shelly Ridenour

Tracklist

1. Idles – War
2. Idles – Grounds
3. Idles – Mr. Motivator
4. Idles – Anxiety
5. Idles – Kill Them With Kindness (feat. Jamie Cullum & David Yow)
6. Idles – Model Village
7. Idles – Ne Touche Pas Moi (feat. Jehnny Beth)
8. Idles – Carcinogenic
9. Idles – Reigns
10. Idles – The Lover
11. Idles – A Hymn
12. Idles – Danke

Download:

mqs.link_IdlesUltraM0n020202448.rar

The latest album ‘Encounter’ by the German-Russian pianist is a particularly astonishing one, blending the diverse works of great composers such as Bach, Brahms and Morton Feldman. While the 2020 health crisis, due to the covid19 virus, has caused great anxiety among the general population it has also ignited the imagination of artists and musicians alike. Locked down in his apartment like so many us, the pianist Igor Levitt broadcasted a daily, live performance on his social media, even going as far as playing a 20 hour piece, Vexations by Erik Satie. ‘Encounter’, the product of Levitt’s self-isolation during lockdown, brings together an intelligent and pleasing array of composers. From Bach arranged by Busoni at the Palais de Mari, or the latest work from Morton Feldman for solo piano, to Brahms arranged by Reger, these are intimate connections between composers, as much as they are moments of solidarity at a time or great loneliness and isolation. Levitt’s poignant introspection and devotion to humanity shines throughout his album. – François Hudry

Tracklist

1. Igor Levit – 10 Chorale Preludes, BV B 27: No. 1, Komm, Gott Schöpfer, Heiliger Geist, BWV 667
2. Igor Levit – 10 Chorale Preludes, BV B 27: No. 2, Wachet auf, ruft uns die Stimme, BWV 645
3. Igor Levit – 10 Chorale Preludes, BV B 27: No. 3, Nun komm, der Heiden Heiland, BWV 659
4. Igor Levit – 10 Chorale Preludes, BV B 27: No. 4, Nun freut euch, lieben Christen gmein, BWV 734
5. Igor Levit – 10 Chorale Preludes, BV B 27: No. 5, Ich ruf zu dir, Herr Jesu Christ, BWV 639
6. Igor Levit – 10 Chorale Preludes, BV B 27: No. 6, Herr Gott, nun schleuß den Himmel auf, BWV 617
7. Igor Levit – 10 Chorale Preludes, BV B 27: No. 7a, Durch Adams Fall ist ganz verderbt, BWV 637
8. Igor Levit – 10 Chorale Preludes, BV B 27: No. 7b, Durch Adams Fall ist ganz verderbt. Fuga, BWV 705
9. Igor Levit – 10 Chorale Preludes, BV B 27: No. 8, In dir ist Freude, BWV 615
10. Igor Levit – 10 Chorale Preludes, BV B 27: No. 9, Jesus Christus, unser Heiland, BWV 665
11. Igor Levit – 6 Chorale Preludes, BV B 50: Herzlich tut mich erfreuen, Op. 122/4
12. Igor Levit – 6 Chorale Preludes, BV B 50: Schmücke dich, o liebe Seele, Op. 122/5
13. Igor Levit – 6 Chorale Preludes, BV B 50: Es ist ein Ros entsprungen, Op. 122/8
14. Igor Levit – 6 Chorale Preludes, BV B 50: Herzlich tut mich verlangen, Op. 122/9
15. Igor Levit – 6 Chorale Preludes, BV B 50: Herzlich tut mich verlangen, Op. 122/10
16. Igor Levit – 6 Chorale Preludes, BV B 50: O Welt, ich muss dich lassen, Op. 122/11
17. Igor Levit – Vier ernste Gesänge: Denn es gehet dem Menschen wie dem Vieh, Op. 121/1
18. Igor Levit – Vier ernste Gesänge: Ich wandte mich und sahe an alle, Op. 121/2
19. Igor Levit – Vier ernste Gesänge: O Tod, wie bitter bist du, Op. 121/3
20. Igor Levit – Vier ernste Gesänge: Wenn ich mit Menschen- und mit Engelszungen redete, Op. 121/4
21. Igor Levit – Nachtlied, Op. 138/3 (Transcription for Piano)
22. Igor Levit – Palais de Mari

Download:

mqs.link_Ig0rLevitEnc0unter20202496.part1.rar
mqs.link_Ig0rLevitEnc0unter20202496.part2.rar

From the symphony to the song would seem to be an enormous step: from the largest form for the largest orchestra to the smallest form for the smallest ensemble. Gustav Mahler nonetheless brought them together and interwove them in previous symphonies as well as in ‘Das Lied von der Erde’. “The long, endlessly stretched crescendo on the single note “e” (filled with so much desire) leads to the final part of Abschied, which I can only describe with the word ‘cosmic’. The voice is surrounded by floating meteors, objects, particles or stars, which move in various directions and speeds. We have left the atmosphere and look back on the beautiful green and blue planet.” – Iván Fischer, conductor

Founded in 1983 by Iván Fischer and Zoltán Kocsis, the Budapest Festival Orchestra has quickly cemented itself as one of the best formations in the world thanks to an exceptional ensemble of soloists, its cohesion and a particular warmth in its string sections. Numerous recordings have come to confirm their reputation of holding a extremely vast repertoire which dominates the works of Bartók, Kodály and Dvořák. It must now fight for its existence in the midst of considerable cuts imposed by the Hungarian government whose political ideas are opposed to those of the conductor and his musicians.

Recorded in 2017 at the Palais des Arts in Budapest after a series of concerts, this new version of The Song of the Earth by Gustav Mahler gets off to a striking start with an almost telluric force. The power and fragility of the tenor Robert Dean Smith is paradoxically moving when faced with the amplitude of the timbre and eloquent, authentic voice of the alto Gerhild Romberger, who’s singing is accurate and homogenous across all registers.

At the podium, Iván Fischer sends forth the best of his imagination and a sense of subtlety by literally sculpting each lied until the deeply moving Abschied (“Adieu”) finale in which the tormented harmony opens a door to nothingness, in an almost serial atmosphere where the air becomes scarce. A great interpretation. – François Hudry

Tracklist:
1. Iván Fischer, Budapest Festival Orchestra & Robert Dean Smith – Das Lied von der Erde: I. Das Trinklied vom Jammer der Erde (07:53)
2. Iván Fischer, Budapest Festival Orchestra & Gerhild Romberger – Das Lied von der Erde: II. Der Einsame im Herbst (09:12)
3. Iván Fischer, Budapest Festival Orchestra & Robert Dean Smith – Das Lied von der Erde: III. Von der Jugend (03:10)
4. Iván Fischer, Budapest Festival Orchestra & Gerhild Romberger – Das Lied von der Erde: IV. Von der Schönheit (07:09)
5. Iván Fischer, Budapest Festival Orchestra & Robert Dean Smith – Das Lied von der Erde: V. Der Trunkene im Frühling (04:24)
6. Iván Fischer, Budapest Festival Orchestra & Gerhild Romberger – Das Lied von der Erde: VI. Der Abschied (29:35)

Download:

mqs.link_IvnFischerGustavMahlerDasLiedv0nderErde202024192.part1.rar
mqs.link_IvnFischerGustavMahlerDasLiedv0nderErde202024192.part2.rar
mqs.link_IvnFischerGustavMahlerDasLiedv0nderErde202024192.part3.rar

Star mezzo-soprano Jamie Barton presents a recital of songs by American composer Jake Heggie, with the composer at the piano. UNEXPECTED SHADOWS is a celebration in words and music of powerful, exceptional women. The program contains four song cycles, a standalone art song, and an opera aria.

The Work at Hand, set to poetry of the late Laura Morefield, contemplates the brave fight against cancer that she, and millions like her, went through. Matt Haimovitz’ cello playing adds an extra layer to this profoundly moving song cycle. Iconic Legacies, with texts by Gene Scheer, offers four portraits of remarkable First Ladies. Scheer also wrote texts for Statuesque, inspired by five iconic sculptures of women and the deeply human stories within them. Of Gods & Cats, based on poetry by Gavin Dillard, offers playful parodies on religious allegories. Music, set to a text by Sister Helen Prejean, addresses the transformative, healing, and humanizing power of music, while the “Ice Cube Aria” from Heggie’s opera If I Were You, with a libretto by Gene Scheer, shows the female demon Brittomara reflecting on the delicious predictability of human nature.

Award-winning mezzo-soprano Jamie Barton, just named BBC Music Magazine’s 2020 Personality of the Year, makes her PENTATONE debut. Jake Heggie has a vast discography with the label, including the opera It’s a Wonderful Life (2017) and song recital albums by Melody Moore, Lisa Delan and Joyce DiDonato. The same applies to Matt Haimovitz, who has released several albums on PENTATONE, from contemporary classical and jazz and rock covers to Bach’s complete cello suites.

Tracklist

1. Jamie Barton, Jake Heggie, Matt Haimovitz – The Breaking Waves: No. 3, Music
2. Jamie Barton, Jake Heggie, Matt Haimovitz – The Work at Hand (Version for Voice, Piano & Cello): No. 1, Original Origami
3. Jamie Barton, Jake Heggie, Matt Haimovitz – The Work at Hand (Version for Voice, Piano & Cello): No. 2, Warrior 1
4. Jamie Barton, Jake Heggie, Matt Haimovitz – The Work at Hand (Version for Voice, Piano & Cello): No. 3, The Slow Seconds
5. Jamie Barton, Jake Heggie, Matt Haimovitz – If I Were You: I Don’t Have to Do a Thing
6. Jamie Barton, Jake Heggie, Matt Haimovitz – Iconic Legacies (First Ladies at the Smithsonian): No. 1, Eleanor Roosevelt [Marian Anderson’s Mink Coat]
7. Jamie Barton, Jake Heggie, Matt Haimovitz – Iconic Legacies (First Ladies at the Smithsonian): No. 2, Mary Todd Lincoln [Abraham Lincoln’s Hat]
8. Jamie Barton, Jake Heggie, Matt Haimovitz – Iconic Legacies (First Ladies at the Smithsonian): No. 3, Jacqueline Kennedy Onassis [White House Christmas Card, 1963]
9. Jamie Barton, Jake Heggie, Matt Haimovitz – Iconic Legacies (First Ladies at the Smithsonian): No. 4, Barbara Bush [The Muppets]
10. Jamie Barton, Jake Heggie, Matt Haimovitz – Of Gods and Cats: No. 1, In the Beginning
11. Jamie Barton, Jake Heggie, Matt Haimovitz – Of Gods and Cats: No. 2, Once Upon a Universe
12. Jamie Barton, Jake Heggie, Matt Haimovitz – Statuesque: No. 1, Henry Moore Reclining Figure in Elmwood
13. Jamie Barton, Jake Heggie, Matt Haimovitz – Statuesque: No. 2, Pablo Picasso Head of a Woman, 1932
14. Jamie Barton, Jake Heggie, Matt Haimovitz – Statuesque: No. 3, Hatshepsut the Divine Potter
15. Jamie Barton, Jake Heggie, Matt Haimovitz – Statuesque: No. 4, Alberto Giacometti Standing Woman, 1948
16. Jamie Barton, Jake Heggie, Matt Haimovitz – Statuesque: No. 5, Winged Victory We’re Through

Download:

mqs.link_JamieBart0nJakeHeggieMattHaim0vitzJakeHeggieUnexpectedShad0ws20202496.part1.rar
mqs.link_JamieBart0nJakeHeggieMattHaim0vitzJakeHeggieUnexpectedShad0ws20202496.part2.rar

When Håkon Storm and Jan Wiese first met and played together in the spring of 2017, they uncovered the potential for a particular kind of music – a unique and interesting kind of jazz. Of the many excellent guitarists on the Oslo scene, Håvard Caspersen was asked to join a few months later. The oboe and English horn in combination with the various guitars created a fascinating and rich blend of timbres. Håkon and Håvard represents the elite of Norwegian jazz guitarists with several albums on Curling Legs and a wide range of high level collaborations and performances. Both are renowned for teaching guitar-talents at Norwegian Academy of Music and privately. Jan is one of few oboists who has devoted a lifetime career to playing improvised music. He is an extraordinary musician with an international reach who makes music that crosses boundaries with skill, inventiveness and imagination.

Tracklist

1. Jan Wiese, Håvard Caspersen & Håkon Storm – Speedbrain
2. Jan Wiese, Håvard Caspersen & Håkon Storm – Waltzing
3. Jan Wiese, Håvard Caspersen & Håkon Storm – Oslo in June
4. Jan Wiese, Håvard Caspersen & Håkon Storm – Ballare triste
5. Jan Wiese, Håvard Caspersen & Håkon Storm – La Fanfara
6. Jan Wiese, Håvard Caspersen & Håkon Storm – Reaching out
7. Jan Wiese, Håvard Caspersen & Håkon Storm – Log House I
8. Jan Wiese, Håvard Caspersen & Håkon Storm – Log House II
9. Jan Wiese, Håvard Caspersen & Håkon Storm – Log House III
10. Jan Wiese, Håvard Caspersen & Håkon Storm – Slideout

Download:

mqs.link_JanWieseHvardCaspersenHk0nSt0rmL0gH0use20202448.rar

Following his acclaimed recording of sonatas by contemporaries of Beethoven, Jean-Efflam Bavouzet further celebrates the great composer’s anniversary year with this set of the complete Piano Concertos.

Electing to direct the Swedish Chamber Orchestra from the keyboard, Jean-Efflam writes: ‘To play a concerto under a conductor who shares and enriches one’s vision of the work concerned is one of the greatest joys in the life of a soloist. Nevertheless, one can also admit that some aspects of performing without a conductor may prove advantageous. Rehearsal time is generally speaking made longer by the process of working out the different protocol of gestures from the soloist and the leader in coordinating the ensemble playing. As this work proceeds a creative bond is forged, resulting in an artistic osmosis, a common vision of the work, in which compromise has no place. For the pianist there is also the delight of appearing face to face with the entire orchestra, in direct visual communication, the musicians perhaps more likely to take personal initiatives, thus multiplying the pleasure of a genuine participation, dialogue, and musical exchange’.

The cadenzas used in this recording are all Beethoven’s, from the set that he wrote out in 1809, and so are contemporaneous with the Fifth Concerto. The set includes also the Quintet for Piano and Winds, Op. 16.

Tracklist:
Disc 1 (01:02:21)
1. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 2 in B-Flat Major, Op. 19: I. Allegro con brio (13:01)
2. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 2 in B-Flat Major, Op. 19: II. Adagio (08:14)
3. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 2 in B-Flat Major, Op. 19: III. Rondo. Molto allegro (06:00)
4. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 1 in C Major, Op. 15: I. Allegro con brio (16:43)
5. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 1 in C Major, Op. 15: II. Largo (09:42)
6. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 1 in C Major, Op. 15: III. Rondo. Allegro (08:41)

Disc 2 (01:05:22)
1. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 3 in C Minor, Op. 37: I. Allegro con brio (15:46)
2. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 3 in C Minor, Op. 37: II. Largo (08:55)
3. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 3 in C Minor, Op. 37: III. Rondo. Allegro – Presto (08:58)
4. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 4 in G Major, Op. 58: I. Allegro moderato (17:51)
5. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 4 in G Major, Op. 58: II. Andante con moto (04:18)
6. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 4 in G Major, Op. 58: III. Rondo. Vivace – Presto (09:34)

Disc 3 (01:01:08)
1. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 5 in E-Flat Major, Op. 73 “Emperor”: I. Allegro (18:57)
2. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 5 in E-Flat Major, Op. 73 “Emperor”: II. Adagio un poco mosso (07:31)
3. Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Piano Concerto No. 5 in E-Flat Major, Op. 73 “Emperor”: III. Rondo. Allegro (09:47)
4. Jean-Efflam Bavouzet, Karin Egardt, Kevin Spagnolo, Mikael Lindstrom & Terése Larsson – Quintet in E-Flat Major, Op. 16: I. Allegro ma non troppo (12:40)
5. Jean-Efflam Bavouzet, Karin Egardt, Kevin Spagnolo, Mikael Lindstrom & Terése Larsson – Quintet in E-Flat Major, Op. 16: II. Andante cantabile (06:34)
6. Jean-Efflam Bavouzet, Karin Egardt, Kevin Spagnolo, Mikael Lindstrom & Terése Larsson – Quintet in E-Flat Major, Op. 16: III. Rondo. Allegro ma non troppo (05:39)

Download:

mqs.link_JeanEfflamBav0uzetSwedishChamber0rchestraBeeth0venPian0C0ncert0s20202496.part1.rar
mqs.link_JeanEfflamBav0uzetSwedishChamber0rchestraBeeth0venPian0C0ncert0s20202496.part2.rar
mqs.link_JeanEfflamBav0uzetSwedishChamber0rchestraBeeth0venPian0C0ncert0s20202496.part3.rar

Honegger: The Symphony No. 2 for strings and trumpet by Arthur Honegger was commissioned in 1937 by Paul Sacher to mark the tenth anniversary of the chamber orchestra Basler Kammerorchester. Progress was slow, however, in part due to the interruption of the Second World War. The music is primarily for strings alone and is very turbulent and troubled until the trumpet soloist enters near the end of the music, giving this mostly tragic work a hopeful ending.

Roussel: For his sixtieth birthday in 1929, there was a festival in Paris of three concerts devoted to his music. One of the concerts included of a collection of commissioned piano pieces, Homage à Albert Roussel, written by several prominent composers, including Jacques Ibert, Francis Poulenc and Arthur Honegger. He considered this a singular honor and listed it as a highpoint of his career. Roussel never attained the acclaim and lasting popularity of some of his contemporaries, but he was an important composer, with an international reputation. A good deal of his music continues to be performed and enjoyed, never having left the repertoire.

Schmitt: The Janiana Symphony was composed in 1941 at Schmitt’s summer home in Artiguemy, high in the Pyrenees Mountains. As alluded to in its title, the symphony was dedicated to Jane Evrard, France’s first female professional orchestral conductor, and her Orchestre féminin de Paris. This was an ensemble of 25 women musicians Maestra Evrard founded in 1930, and for which other French composers such as Albert Roussel, Jean Rivier and Jean-Yves Daniel-Lesur also wrote scores.

Conductor and musicologist Jean-François Paillard was one of the most visible French exponents of Baroque music from the 1960s onward. Paillard earned a degree in mathematics from the Sorbonne, but he turned to music soon after. He attended the Paris Conservatory as a musicology student, where he won first prize in music history; he later studied conducting at the Salzburg Mozarteum with Igor Markevitch. He formed the Ensemble Jean-Marie Leclair in 1952, which was renamed the Jean-François Paillard Chamber Orchestra the following year. Comprised of a dozen string players and a harpsichord, the group paralleled such small-scale English ensembles as the Boyd Neel Orchestra in performing Baroque-era works – especially those from France – as well as contemporary works for string orchestra. As the public’s interest in Baroque music rose, the orchestra’s popularity grew and was aided by a series of international tours covering dozens of countries. The group’s recordings on Erato – which included the standard Baroque repertory such as Bach’s Brandenburg Concertos and the Orchestral Suites, as well as pieces by Couperin and Rameau – were initially easier to find in Europe. But when RCA Victor picked up the Erato catalog for U.S. distribution in the 1970s, Paillard’s records were snapped up by American listeners. Lightning struck for Paillard late in the decade with his recording of the Canon in D by Johann Pachelbel. Paillard’s ran nearly twice as long as most rival recordings, by virtue of its uniquely slow tempo and its finely delineated parts for the strings, both bowed and pizzicato. Paillard further benefited when Victor issued it on a full-priced LP and paired it with Fasch’s Trumpet Concerto and grouped with various RCA artists on a budget-priced compilation LP called Go for Baroque. Sales of Go for Baroque moved faster than Beatles’ albums were sold. Paillard’s performances and recordings have also included works by Roussel and Debussy. He has worked with such celebrated soloists as Maurice André and Jean-Pierre Rampal. Paillard has won numerous Grand Prix du Disque awards in France and Prix Edison awards in Holland and his release of Rameau’s Les Indes galantes remains a highly regarded recording. Later in his career, Paillard turned more to guest conducting orchestras around the world and his avid interest in the sciences.

Tracklist

1. Jean-François Paillard – Symphony No. 2 in D Major: I. Molto moderato
2. Jean-François Paillard – Symphony No. 2 in D Major: II. Adagio mesto
3. Jean-François Paillard – Symphony No. 2 in D Major: III. Vivace, non troppo
4. Jean-François Paillard – Sinfonietta, Op. 52: I. Allegro molto
5. Jean-François Paillard – Sinfonietta, Op. 52: II. Andante
6. Jean-François Paillard – Sinfonietta, Op. 52: III. Allegro
7. Jean-François Paillard – Janiana, Op. 101: I. Assez animé
8. Jean-François Paillard – Janiana, Op. 101: II. Musette d’allure joyeuse
9. Jean-François Paillard – Janiana, Op. 101: III. Chorale. Grave
10. Jean-François Paillard – Janiana, Op. 101: IV. Avec entrain, sans précipitation

Download:

mqs.link_JeanFran0isPaillardH0neggerSymph0nieN0.2p0urc0rdes1966Remastered202024192.part1.rar
mqs.link_JeanFran0isPaillardH0neggerSymph0nieN0.2p0urc0rdes1966Remastered202024192.part2.rar

Jennine Bailey jazz and blues songstress. Singer, performer and recording artist Jennine Bailey “puts her own soulful and unique stamp on everything she sings” She regularly headlines at festivals all over New Zealand, playing to sell out crowds and getting standing ovations.

Tracklist

1. Jennine Bailey – I’m in the Mood for Love
2. Jennine Bailey – Night and Day
3. Jennine Bailey – Say It Isn’t So
4. Jennine Bailey – No Moon at All
5. Jennine Bailey – If You Never Come to Me
6. Jennine Bailey – Sunday Kind of Love
7. Jennine Bailey – Moonlight in Vermont
8. Jennine Bailey – Perhaps, Perhaps, Perhaps
9. Jennine Bailey – How Long Has This Been Going On
10. Jennine Bailey – Now or Never
11. Jennine Bailey – Wild Is the Wind

Download:

mqs.link_JennineBaileyIntheM00df0rL0ve202024441.rar

Elisabeth Leonskaja – Paris (2013/2020) [FLAC 24bit/96kHz]

Elisabeth Leonskaja – Saudade (2017/2020) [FLAC 24bit/96kHz]

Ella Fitzgerald – Ella – The Lost Berlin Tapes (2020) [FLAC 24bit/96kHz]

Elliott Smith – Elliott Smith (Expanded 25th Anniversary Edition) (1995/2020) [FLAC 24bit/96kHz]

Emily Barker – A Dark Murmuration of Words (2020) [FLAC 24bit/96kHz]

Hathor Consort – Animam gementem cano (2020) [FLAC 24bit/96kHz]

Hayden Thorpe – Diviner (2019) [FLAC 24bit/96kHz]

Helene Blum & Harald Haugaard Band – Strommen (2020) [FLAC 24bit/44,1kHz]

Hellen Weiss & Gabriel Schwabe – Kodaly & Ligeti: Cello Works (2020) [FLAC 24bit/96kHz]

Helene Grimaud – The Messenger (2020) [FLAC 24bit/96kHz]

Huberman Duo & Huberman Piano Trio – 20th Century Polish Chamber Music (2020) [FLAC 24bit/48kHz]

Hubert Bommer – Let Go (2020) [FLAC 24bit/96kHz]

Idles – Ultra Mono (2020) [FLAC 24bit/48kHz]

Igor Levit – Encounter (2020) [FLAC 24bit/96kHz]

Ivan Fischer – Gustav Mahler: Das Lied von der Erde (2020) [FLAC 24bit/192kHz]

Jamie Barton, Jake Heggie, Matt Haimovitz – Jake Heggie – Unexpected Shadows (2020) [FLAC 24bit/96kHz]

Jan Wiese, Havard Caspersen & Hakon Storm – Log House (2020) [FLAC 24bit/48kHz]

Jean-Efflam Bavouzet & Swedish Chamber Orchestra – Beethoven: Piano Concertos (2020) [FLAC 24bit/96kHz]

Jean-Francois Paillard – Honegger – Symphonie No. 2 pour cordes (1966/2020) [FLAC 24bit/192kHz]

Jennine Bailey – In the Mood for Love (2020) [FLAC 24bit/44,1kHz]