Verbier Festival Orchestra, Daniel Harding – Mahler: Symphony No. 9 (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 01:24:25 minutes | 857 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Verbier Festival Gold

Mahler famously stated, that “a symphony must be like a world; it must contain everything”. Guided by this saying the British conductor Daniel Harding and the Verbier Festival Orchestra, capture the colossal spectrum of emotions in Mahler’s last completed symphony (1908–1909). Their performance of the 9th Symphony has been recorded live at the 2017 Verbier Festival and will be released on February 2. The symphony’s rustic second movement is now available to listen to.

Tracklist:

1-1. Verbier Festival Orchestra – Ia-d. Andante comodo (Live) (14:01)
1-2. Verbier Festival Orchestra – Ie. [Horns] (Live) (02:59)
1-3. Verbier Festival Orchestra – If. Bewegter (Live) (01:22)
1-4. Verbier Festival Orchestra – Ig. [Bar 317] (Live) (01:48)
1-5. Verbier Festival Orchestra – Ih. Wie von Anfang (Live) (02:03)
1-6. Verbier Festival Orchestra – Ii. Plötzlich bedeutend langsamer. Lento – und leise (Live) (05:54)
1-7. Verbier Festival Orchestra – IIa. Im Tempo eines gemächlichen Ländlers (Live) (02:42)
1-8. Verbier Festival Orchestra – IIb. Poco più mosso subito (Live) (02:34)
1-9. Verbier Festival Orchestra – IIc. Tempo III (Live) (01:31)
1-10. Verbier Festival Orchestra – IId-e. A tempo II (Live) (02:58)
1-11. Verbier Festival Orchestra – IIf. Tempo I (Live) (01:27)
1-12. Verbier Festival Orchestra – IIg. Tempo II (Live) (01:38)
1-13. Verbier Festival Orchestra – IIh. Tempo I subito (Live) (03:08)
1-14. Verbier Festival Orchestra – III. Rondo-Burleske: a. Allegro assai. Sehr trotzig (Live) (01:53)
1-15. Verbier Festival Orchestra – III. Rondo-Burleske: b. L’istesso tempo I (Live) (01:15)
1-16. Verbier Festival Orchestra – III. Rondo-Burleske: c. Sempre l’istesso tempo (Live) (01:23)
1-17. Verbier Festival Orchestra – III. Rondo-Burleske: d. L’istesso tempo II (Live) (01:28)
1-18. Verbier Festival Orchestra – III. Rondo-Burleske: e. [Bar 347] (Live) (02:45)
1-19. Verbier Festival Orchestra – III. Rondo-Burleske: f. [Clarinets] (Live) (01:43)
1-20. Verbier Festival Orchestra – III. Rondo-Burleske: g. Tempo I subito (Live) (01:36)
1-21. Verbier Festival Orchestra – III. Rondo-Burleske: h. Più stretto (Live) (00:51)
1-22. Verbier Festival Orchestra – IVa. Adagio. Sehr langsam und noch zurückhaltend (Live) (04:05)
1-23. Verbier Festival Orchestra – IVb. Plötzlich wieder sehr langsam (Live) (02:33)
1-24. Verbier Festival Orchestra – IVc. Molto adagio subito (Live) (02:13)
1-25. Verbier Festival Orchestra – IVd. A tempo. Molto adagio (Live) (03:53)
1-26. Verbier Festival Orchestra – IVe. Stets sehr gehalten (Live) (01:55)
1-27. Verbier Festival Orchestra – IVf. Fliessender, doch durchaus nicht eilend (Live) (01:53)
1-28. Verbier Festival Orchestra – IVg. Tempo I. Molto adagio (Live) (05:45)
1-29. Verbier Festival Orchestra – IVh. Adagissimo (Live) (04:54)

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Otto Klemperer – Handel: Messiah, HWV 56 by Otto Klemperer (2024 Remastered, London 1964) (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 02:21:33 minutes | 2,67 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alexandre Bak – Classical Music Reference Recording

Messiah (HWV 56) is an English-language oratorio composed in 1741 by George Frideric Handel. The text was compiled from the King James Bible and the Coverdale Psalter by Charles Jennens. It was first performed in Dublin on 13 April 1742 and received its London premiere a year later. After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music.Handel’s reputation in England, where he had lived since 1712, had been established through his compositions of Italian opera. He turned to English oratorio in the 1730s in response to changes in public taste; Messiah was his sixth work in this genre. Although its structure resembles that of opera, it is not in dramatic form; there are no impersonations of characters and no direct speech. Instead, Jennens’s text is an extended reflection on Jesus as the Messiah called Christ. The text begins in Part I with prophecies by Isaiah and others, and moves to the annunciation to the shepherds, the only “scene” taken from the Gospels. In Part II, Handel concentrates on the Passion of Jesus and ends with the Hallelujah chorus. In Part III he covers Paul’s teachings on the resurrection of the dead and Christ’s glorification in heaven.

Handel wrote Messiah for modest vocal and instrumental forces, with optional alternate settings for many of the individual numbers. In the years after his death, the work was adapted for performance on a much larger scale, with giant orchestras and choirs. In other efforts to update it, its orchestration was revised and amplified, such as Mozart’s Der Messias. In the late 20th and early 21st centuries, the trend has been towards reproducing a greater fidelity to Handel’s original intentions, although “big Messiah” productions continue to be mounted. A near-complete version was issued on 78 rpm discs in 1928; since then the work has been recorded many times.

Tracklist:

1-1. Otto Klemperer – Messiah, HWV 56, Part I: Sinfonia. Grave, Allegro moderato (Orchestra) (2024 Remastered, London 1964) (04:32)
1-2. Otto Klemperer – Messiah, HWV 56, Part I: Accompagnato. “Comfort Ye my People” (Tenor) (2024 Remastered, London 1964) (03:30)
1-3. Otto Klemperer – Messiah, HWV 56, Part I: Aria. “Ev’ry Valley shall be Exalted” (Tenor) (2024 Remastered, London 1964) (04:02)
1-4. Otto Klemperer – Messiah, HWV 56, Part I: Chorus. “And the Glory, the Glory of the Lord” (2024 Remastered, London 1964) (03:22)
1-5. Otto Klemperer – Messiah, HWV 56, Part I: Accompagnato. “Thus Saith the Lord of Hosts” (Bass) (2024 Remastered, London 1964) (01:50)
1-6. Otto Klemperer – Messiah, HWV 56, Part I: Aria. “But who may Abide the Day of his Coming” (Bass) (2024 Remastered, London 1964) (05:35)
1-7. Otto Klemperer – Messiah, HWV 56, Part I: Chorus. “And he shall Purify” (2024 Remastered, London 1964) (02:51)
1-8. Otto Klemperer – Messiah, HWV 56, Part I: Recitative. “Behold! A Virgin shall Conceive” (Alto) (2024 Remastered, London 1964) (00:28)
1-9. Otto Klemperer – Messiah, HWV 56, Part I: Aria. “O Thou that Tellest good tidings to Zion” (Alto) (2024 Remastered, London 1964) (05:36)
1-10. Otto Klemperer – Messiah, HWV 56, Part I: Chorus. “O Thou That Tellest” (2024 Remastered, London 1964) (02:29)
1-11. Otto Klemperer – Messiah, HWV 56, Part I: Accompagnato. “For Behold, Darkness shall Cover the Earth” (Bass) (2024 Remastered, London 1964) (02:48)
1-12. Otto Klemperer – Messiah, HWV 56, Part I: Aria. “The People that Walked in Darkness” (Bass) (2024 Remastered, London 1964) (04:27)
1-13. Otto Klemperer – Messiah, HWV 56, Part I: Chorus. “For Unto us a Child is Born” (2024 Remastered, London 1964) (04:37)
2-1. Otto Klemperer – Messiah, HWV 56, Part I: Pifa. Larghetto e mezzo piano (Orchestra) (2024 Remastered, London 1964) (03:58)
2-2. Otto Klemperer – Messiah, HWV 56, Part I: Recitative. “There were Shepherds Abiding in the Fields” (Soprano) (2024 Remastered, London 1964) (01:35)
2-3. Otto Klemperer – Messiah, HWV 56, Part I: Chorus. “Glory to God in the Highest” (2024 Remastered, London 1964) (02:17)
2-4. Otto Klemperer – Messiah, HWV 56, Part I: Aria. “Rejoice Greatly,  O Daughter of Zion” (Soprano) (2024 Remastered, London 1964) (05:01)
2-5. Otto Klemperer – Messiah, HWV 56, Part I: Recitative. “Then Shall the Eyes of the Blind be Opened” (Soprano) (2024 Remastered, London 1964) (00:28)
2-6. Otto Klemperer – Messiah, HWV 56, Part I: Aria. “He Shall Feed his Flock like a Shepherd” (Soprano) (2024 Remastered, London 1964) (05:28)
2-7. Otto Klemperer – Messiah, HWV 56, Part I: Chorus. “His Yoke is Easy, His Burthen is Light” (2024 Remastered, London 1964) (02:47)
2-8. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “Behold, the Lamb of God” (2024 Remastered, London 1964) (03:31)
2-9. Otto Klemperer – Messiah, HWV 56, Part II: Aria. “He was Despised and Rejected of Men” (Alto) (2024 Remastered, London 1964) (10:08)
2-10. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “Surely he Hath Borne our Griefs” (2024 Remastered, London 1964) (02:49)
2-11. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “And with his Stripes, We are Healed” (2024 Remastered, London 1964) (01:51)
2-12. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “All we like Sheep have gone Astray” (2024 Remastered, London 1964) (04:14)
3-1. Otto Klemperer – Messiah, HWV 56, Part II: Accompagnato. “All They that See him, Laugh him to Scorn” (Tenor) (2024 Remastered, London 1964) (01:03)
3-2. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “He Trusted in God” (2024 Remastered, London 1964) (02:44)
3-3. Otto Klemperer – Messiah, HWV 56, Part II: Accompagnato. “Thy Rebuke Hath Broken His Heart” (Tenor) (2024 Remastered, London 1964) (01:44)
3-4. Otto Klemperer – Messiah, HWV 56, Part II: Arioso. “Behold, and See if there be any Sorrow” (Tenor) (2024 Remastered, London 1964) (01:43)
3-5. Otto Klemperer – Messiah, HWV 56, Part II: Accompagnato. “He was Cut off the Land of the Living” (Tenor) (2024 Remastered, London 1964) (00:28)
3-6. Otto Klemperer – Messiah, HWV 56, Part II: Aria. “But thou did’st not Leave his Soul in Hell” (Tenor) (2024 Remastered, London 1964) (02:55)
3-7. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “Lift up your Heads, O ye Gates” (2024 Remastered, London 1964) (03:19)
3-8. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “The Lord gave the Word” (2024 Remastered, London 1964) (01:11)
3-9. Otto Klemperer – Messiah, HWV 56, Part II: Aria. “How Beautiful are the Feet” (Soprano) (2024 Remastered, London 1964) (02:23)
3-10. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “Their Sound is Gone out into all Lands” (2024 Remastered, London 1964) (01:35)
3-11. Otto Klemperer – Messiah, HWV 56, Part II: Aria. “Why do the Nations so Furiously Rage Together” (Bass) (2024 Remastered, London 1964) (03:19)
3-12. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “Let us Break their Bonds Asunder” (2024 Remastered, London 1964) (01:58)
3-13. Otto Klemperer – Messiah, HWV 56, Part II: Recitative. “He that Dwelleth in Heaven” (Tenor) (2024 Remastered, London 1964) (00:16)
3-14. Otto Klemperer – Messiah, HWV 56, Part II: Aria. “Thou Shalt Break them with a Rod of Iron” (Tenor) (2024 Remastered, London 1964) (02:16)
3-15. Otto Klemperer – Messiah, HWV 56, Part II: Chorus. “Hallelujah” (2024 Remastered, London 1964) (04:15)
3-16. Otto Klemperer – Messiah, HWV 56, Part III: Aria. “I Know that my Redeemer Liveth” (Soprano) (2024 Remastered, London 1964) (06:08)
3-17. Otto Klemperer – Messiah, HWV 56, Part III: Chorus. “Since by Man Came Death” (2024 Remastered, London 1964) (01:57)
3-18. Otto Klemperer – Messiah, HWV 56, Part III: Accompagnato. “Behold, I Tell you a Mystery” (Bass) (2024 Remastered, London 1964) (00:32)
3-19. Otto Klemperer – Messiah, HWV 56, Part III: Aria. “The Trumpet shall Sound” (Bass) (2024 Remastered, London 1964) (04:19)
3-20. Otto Klemperer – Messiah, HWV 56, Part III: Chorus. “Worthy is the Lamb” (2024 Remastered, London 1964) (03:47)
3-21. Otto Klemperer – Messiah, HWV 56, Part III: Chorus. “Amen” (2024 Remastered, London 1964) (03:27)

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Takayuki Mihara – Beethoven: Piano Sonatas Nos. 14, 30 & 31 (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:05:07 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © sonorité

The first recording by the up-and-coming Takayuki Mihara is three of Beethoven’s masterpiece piano sonatas. Dedicated to the memory of his former teacher Akiko Sugitani, who passed away suddenly in 2019, the piety that pervades the entire work adds depth to the music. ＜Takayuki Mihara graduated from Kaisei Junior High School and Senior High School, and received his B.S. in Pharmaceutical Sciences from Keio University. Later, she studied under Akiko Sugitani, who became her lifelong teacher. She was fascinated by the gentle yet powerful music of her teacher’s piano playing, and under her guidance, pursued the pursuit of beautiful sound. She performed with the Prima Vista String Quartet and the Polish Silesian Philharmonic Orchestra, and became passionate about bringing out a variety of tones from the piano. In 2009, she won the third prize in the junior high school division of the Asia International Music Competition and the first prize in the junior high school division of the same competition in 2010, and has had opportunities to perform in Japan and abroad, including appearances at the Xi’an Music Academy and the Vienna State University of Music’s Liszt-Saal. In 2010, she won a prize in the Special Division of the 1st European International Piano Competition in Japan, and has continued her studies in order to inherit her teacher’s view of music. In recent years, she has been performing solo concerts at the request of the Christian churches and universities she has attended since childhood, giving concerts with other pianists who are also students of Akiko Sugitani, and performing in concerts organized by the Kaisei Piano Enthusiasts’ Association. He has studied with Nobumichi Koyanagi at the Music School attached to Musashino Academia Musicae and with Kyoniko Yamamoto at the Music School for Children attached to Toho Gakuen School of Music, as well as with the late Akiko Sugitani.

Tracklist:

1-1. Takayuki Mihara – Piano Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo (06:44)
1-2. Takayuki Mihara – Piano Sonata No. 31 in A-Flat Major, Op. 110: II. Allegro molto (02:11)
1-3. Takayuki Mihara – Piano Sonata No. 31 in A-Flat Major, Op. 110: III. Adagio ma non troppo – Allegro ma non troppo (12:49)
1-4. Takayuki Mihara – Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 “Moonlight”: I. Adagio sostenuto (09:16)
1-5. Takayuki Mihara – Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 “Moonlight”: II. Allegretto (02:15)
1-6. Takayuki Mihara – Piano Sonata No. 14 in C-Sharp Minor, Op. 27 No. 2 “Moonlight”: III. Presto agitato (07:09)
1-7. Takayuki Mihara – Piano Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo, sempre legato – Adagio espressivo (04:27)
1-8. Takayuki Mihara – Piano Sonata No. 30 in E Major, Op. 109: II. Prestissimo (02:35)
1-9. Takayuki Mihara – Piano Sonata No. 30 in E Major, Op. 109: III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo (17:38)

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Alexis Valet – Following the Sun (2024-04-19)
FLAC (tracks) 24 bit/96 kHz | Time – 00:48:58 minutes | 1000 MB | Genre: Jazz
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | ©

Tracklist:

1. Alexis Valet – Ups and Downs (00:08:00)
2. Alexis Valet – June (00:08:30)
3. Alexis Valet – Dream of Integrity (00:03:49)
4. Alexis Valet – Laika (00:06:36)
5. Alexis Valet – Following the Sun (00:06:35)
6. Alexis Valet – Cypher (00:05:10)
7. Alexis Valet – Lekeitio (00:04:47)
8. Alexis Valet – Myrtle (00:05:27)

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Resistor – Rise (Remixed and Remastered 2024) (2024-04-19)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:18:25 minutes | 900 MB | Genre: Pop, Rock
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | ©

Tracklist:

1. Resistor – The Secret of the Open Sky (00:06:57)
2. Resistor – Beyond this Masquerade (00:04:37)
3. Resistor – Spaceghetti (00:05:14)
4. Resistor – Ether (00:05:44)
5. Resistor – Mimosa (00:16:04)
6. Resistor – Changing Sides (00:00:32)
7. Resistor – The Land of No Groove (00:39:13)

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Benjamin Alard, Mahler Chamber Orchestra, Pablo Heras-Casado – Stravinsky: Pulcinella Suite – Falla: El Retablo de Maese Pedro & Harpsichord Concerto (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:04 minutes | 1,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © harmonia mundi

The three works on this CD evoke the worlds of commedia dell’arte (Pulcinella), Don Quixote (El retablo de maese Pedro) and picaresque Spain (the Harpsichord Concerto).

Telling their stories with colour, rhythm and humour, the Mahler Chamber Orchestra, Pablo Heras-Casado and Benjamin Alard (playing a sumptuous Pleyel harpsichord) invite us to an exhilarating firework display.

Tracklist:

1. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: I. El Pregón (00:55)
2. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: II. La Sinfonía de Maese Pedro (03:05)
3. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: III. La Corte de Carlomagno (02:03)
4. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: IV. La Entrada de Carlomagno (03:29)
5. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: V. Melisendra (03:43)
6. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: VI. El Suplicio del Moro (01:19)
7. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: VII. Los Pirineos (02:01)
8. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: VIII. La Fuga (03:01)
9. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: IX. La Persecución (01:37)
10. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: El Retablo de Maese Pedro: X. Final (04:51)
11. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: Harpsichord Concerto: I. Allegro (03:10)
12. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: Harpsichord Concerto: II. Lento (giubiloso e energico) (05:46)
13. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Falla: Harpsichord Concerto: III. Vivace (flessibile, scherzando) (04:16)
14. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: I. Sinfonia. Allegro moderato (01:53)
15. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: II. Serenata. Larghetto (03:11)
16. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: III. Scherzino – Allegro – Andantino (04:22)
17. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: IV. Tarantella (01:55)
18. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: V. Toccata. Allegro (00:58)
19. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: VI. Gavotta (con due variazioni). Allegro moderato – Allegretto – Allegro più tosto moderato (04:11)
20. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: VII. Vivo (01:35)
21. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: VIII. Minuetto. Molto moderato (02:35)
22. Benjamin Alard, Mahler Chamber Orchestra & Pablo Heras-Casado – Stravinsky: Pulcinella Suite: IX. Finale. Allegro assai (01:57)

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Volker Hartung, Cologne New Philharmonic Orchestra – C.P.E Bach & J.C. Bach: Cello Concertos (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 36:18 minutes | 383 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © JPK Musik

Bach, C P E: Cello Concerto No. 3 in A major, Wq. 172 (H439); Bach, J C: Cello Concerto in C minor.

Tracklist:

1-1. Volker Hartung – Cello Concerto in A Major, Wq. 172: I. Allegro (07:11)
1-2. Volker Hartung – Cello Concerto in A Major, Wq. 172: II. Largo maesto (09:03)
1-3. Volker Hartung – Cello Concerto in A Major, Wq. 172: III. Allegro assai (05:24)
1-4. Volker Hartung – Cello Concerto in C Minor, W. C77: I. Allegro molto maestoso (04:21)
1-5. Volker Hartung – Cello Concerto in C Minor, W. C77: II. Adagio molto espressivo (06:38)
1-6. Volker Hartung – Cello Concerto in C Minor, W. C77: III. Allegro molto energico (03:40)

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East of the River – Ija Mia: Soundscape of the Sephardic Diaspora (2024-04-19)
FLAC (tracks) 24 bit/88,2 kHz | Time – 00:41:44 minutes | 818 MB | Genre: Classique
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | ©

Tracklist:

1. East of the River – Ija Mia (00:03:28)
2. East of the River – Adio Kerida (00:03:33)
3. East of the River – Porke Yorach (00:05:58)
4. East of the River – Ein Keloheinu (00:04:04)
5. East of the River – Anzi dice la nuestra novia (00:02:42)
6. East of the River – Oud Taksim (00:01:13)
7. East of the River – Achot Ketana (00:03:57)
8. East of the River – Yigdal (00:04:47)
9. East of the River – Kürdi Taksim (00:00:51)
10. East of the River – Kürdi Peşrev (00:03:29)
11. East of the River – Shir Hashirim (00:04:36)
12. East of the River – Hicaz Sirto (00:03:00)

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Tarja – What Lies Beneath (Special Edition 2024) (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 02:26:06 minutes | 1,64 GB | Genre: Metal, Symphonic Power Metal, Female Vocal
Studio Masters, Official Digital Download | Front Cover | © earMUSIC

‘What Lies Beneath’ is the second rock studio album by Finnish solo artist Tarja. Originally released in 2010, it is considered a classic and must-have for both fans and critics and includes timeless Tarja hits like ‘Until My Last Breath’, ‘I Feel Immortal’ and ‘Falling Awake’.

This year, the album will be re-issued for the first time as 2CD Special Edition and, for the first time, as Heavyweight 2LP Vinyl (Gatefold, 180g, black). Both formats feature a beautifully restored artwork, and all tracks are remastered at Sterling Sound for superb sound quality for the ultimate 2024 ‘What Lies Beneath’-experience. Out on April 12th, 2024.

The 2CD Special Edition includes the 14 original album tracks and a special bonus CD including alternative versions, single edits, and remixes – for the first time all combined on this Bonus CD. It also includes ‘The Good Die Young’ performed by the Scorpions & Tarja, originally included as bonus track on 2010s Limited Dreamers Boxset.

Tracklist:

01. Tarja – Anteroom of Death (04:44)
02. Tarja – Until My Last Breath (04:25)
03. Tarja – Naiad (07:09)
04. Tarja – Dark Star (04:42)
05. Tarja – Underneath (05:28)
06. Tarja – Little Lies (04:37)
07. Tarja – Still of the Night (06:36)
08. Tarja – Rivers of Lust (04:25)
09. Tarja – In for a Kill (04:41)
10. Tarja – I Feel Immortal (04:42)
11. Tarja – We Are (04:17)
12. Tarja – Falling Awake (05:16)
13. Tarja – The Archive of Lost Dreams (04:52)
14. Tarja – Crimson Deep (07:35)
15. Tarja – Dark Star (Tarja Lead Vocals Version) (04:42)
16. Tarja – Montañas de Silencio (04:28)
17. Tarja – If You Believe (06:55)
18. Tarja – The Crying Moon (03:56)
19. Tarja – Underneath (Orchestral Version) (05:03)
20. Tarja – I Feel Immortal (Single Edit) (04:29)
21. Tarja – Falling Awake – Jason Hook Solo (04:43)
22. Tarja – Naiad (Instrumental Extended Version) (11:35)
23. Tarja – Underneath (04:27)
24. Tarja – If You Believe – Piano Version (04:13)
25. Tarja – Falling Awake – Julián Barrett Solo (05:04)
26. Tarja – Underneath – Radio Version (04:27)
27. Tarja – I Feel Immortal – Radio Remix (04:31)
28. Tarja – Until My Last Breath – Single Version (03:52)

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Nour Ayadi – Carnaval (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:07 minutes | 1011 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Scala Music

Born in Casablanca, pianist Nour Ayadi is celebrated as a sensation in France. She began her studies at the famous Paris Conservatory at the age of 17 and went on to take part in numerous international piano competitions. The press and fellow musicians speak of her special joy of playing. For the Scala Music label, Ayadi has recorded a program in which the craziness of a carnival invites you to dance, forget and lose, and in which she ventures an unusual rapprochement between Schumann and Poulenc.

Tracklist:

1-1. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 1, Préambule (03:36)
1-2. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 2, Le comble de la distinction (01:18)
1-3. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 2, Le cœur sur la main (02:46)
1-4. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 3, La désinvolture et la discrétion (01:10)
1-5. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 2, La suite dans les idées (02:11)
1-6. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 2, Le charme enjôleur (02:33)
1-7. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 2, Le contentement de soi (01:12)
1-8. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 2, Le goût du malheur (02:23)
1-9. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 2, L’alerte vieillesse (01:12)
1-10. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 3, Cadence (02:06)
1-11. Nour Ayadi – Les Soirées de Nazelles, FP 84: No. 4, Final (04:40)
1-12. Nour Ayadi – Trois Novelettes, FP 47: No. 1 in C Major (02:41)
1-13. Nour Ayadi – Trois Novelettes, FP 47: No. 2 in B-Flat Minor (01:45)
1-14. Nour Ayadi – Trois Novelettes, FP 47: No. 3 in E Minor (Sur un thème de Manuel de Falla “El Amor brujo”) (02:55)
1-15. Nour Ayadi – Huit Novelettes, Op. 21: No. 4 in D Major (03:43)
1-16. Nour Ayadi – Huit Novelettes, Op. 21: No. 6 in A Major (04:20)
1-17. Nour Ayadi – Carnaval de Vienne, Op. 26: I. Allegro (08:39)
1-18. Nour Ayadi – Carnaval de Vienne, Op. 26: II. Romanze (02:50)
1-19. Nour Ayadi – Carnaval de Vienne, Op. 26: III. Scherzino (02:07)
1-20. Nour Ayadi – Carnaval de Vienne, Op. 26: IV. Intermezzo (02:14)
1-21. Nour Ayadi – Carnaval de Vienne, Op. 26: V. Finale (05:36)

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