NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 4: Andrea Macinanti

November 24, 2013, 3:16 am

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Artist: Andrea Macinanti, organ.

Album: M.E. Bossi - Complete Organ Works. Vol. 3

Released: 2010

Label: Tactus

Catalog N°: TC 862714

Genre: Classical

File Format: eac_flac_cue_log scans complete, 354mb
Note:

MARCO ENRICO BOSSI (1861-1925)
Marco Enrico Bossi (Born Salò, 1861 – died at sea between New York and Le Havre, 1925), studied at the Milan Conservatory under Polibio Fumagalli (organ), Francesco Sangalli (piano), Carlo Boniforti, Cesare Dominiceti and Amilcare Ponchielli (composition). He was appointed organist and maestro di cappella at Como Cathedral (1881-1889), taught the organ at the Naples conservatory (1890-1895) and was director of the Conservatories and taught composition in Venice (1895-1902), Bologna (1902-11) and Roma (1916-1923). Bossi was a famous performer, composer and teacher (he reorganised the syllabuses of the Conservatories), and was the first internationally famous Italian concert artist. He was conferred the highest ranks in the Kingdom, became an honorary member of the most prestigious foreign and Italian Academies and enjoyed the esteem and friendship of great musicians and men of letters. Amongst these there were Giuseppe Verdi – who wrote from Busseto: “…it goes without saying that all your compositions are written with great mastery…” as well as Arrigo Boito, Giacomo Puccini, Jules Massenet, Camille Saint-Saëns, Giovanni Pascoli and Gabriele D’Annunzio.

01.(Tempo di) Suonata08:27
02.Ouverture op. 308:43
03.Chant du soir04:49
04.Idylle06:34
05.Allegretto04:46
06.Postludio03:54
07.Ave Maria08:08
08.Daphne e Cloe04:34
09.Gaudeamus igitur02:47
10.Salutazione Angelica06:13
11.Interludio04:51
12.Coprifuoco op. 127 n. 305:20
13.Intermezzo lirico04:59
14.Ricercare03:30

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November 26, 2013, 7:53 am

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Classical | Label: MLP/DECCA | Catalog Number: 475 6194 | RAR 3% Rec.

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Review by Daland September 13, 2004

Performance: Sonics:

This collection can be warmly recommended to anyone interested in Russian music and in the art of orchestration. Rimsky-Korsakov was a master of instrumental colour, and this recording - now available in its three-channel version for the first time - demonstrates this in brilliant fashion. The analog-to-SACD transfer has been highly successful and will be balm to the ears of audiophile lovers of classical music. The sound is warm, transparent and full-bodied although the recordings date from the mid-fifties. I was pleasantly surprised by the suite from the opera "Le coq d'or" which I had heard before, but never with such wealth of detail.

1. Capriccio Espagnol, Op.34: 1. Alborada1:14
2. Capriccio Espagnol, Op.34: 2. Variazioni4:39
3. Capriccio Espagnol, Op.34: 3. Alborada1:12
4. Capriccio Espagnol, Op.34: 4. Scena e canto gitano4:58
5. Capriccio Espagnol, Op.34: 5. Fandango asturiano3:16
6. The Golden Cockerel - Arr. by A. Glazunov and M. Shteynberg: 1. Tsar Dodon in his Palace8:57
7. The Golden Cockerel - Arr. by A. Glazunov and M. Shteynberg: 2. Tsar Dodon on Campaign4:08
8. The Golden Cockerel - Arr. by A. Glazunov and M. Shteynberg: 3. Tsar Dodon as Guest of the Queen of Shemakha6:32
9. The Golden Cockerel - Arr. by A. Glazunov and M. Shteynberg: 4. The Wedding and Lamentable End of Dodon6:02
10. Russian Easter Festival, Overture, Op.3615:12
11. Borodin - Polovtsian Dances [Prince Igor, completed by Rimsky-Korsakov & Glazunov]11:19

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NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 5: Andrea Macinanti

November 26, 2013, 7:35 pm

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Artist: Andrea Macinanti, organ.

Album: M.E. Bossi - Complete Organ Works. Vol. 5

Released: 2011

Label: Tactus

Catalog N°: TC 862715

Genre: Classical

File Format: eac_flac_cue_log scans complete, 415mb
Note:

Volume 5 of the Marco Enrico Bossi, Complete Organ Works series, performed by Maestro Andrea Macinanti in Aosta at the S. Maria Assunta Cathedral organ, built by Carlo Vegezzi-Bossi of Turin in 1902 (op. 1095); renovated by Vegezzi-Bossi of Centallo in 1979. Marco Enrico Bossi (Born Salò, 1861 - died at sea between New York and Le Havre, 1925), studied at the Milan Conservatory under Polibio Fumagalli (organ), Francesco Sangalli (piano), Carlo Boniforti, Cesare Dominiceti and Amilcare Ponchielli (composition). He was appointed organist and maestro di cappella at Como Cathedral (1881-1889), taught the organ at the Naples conservatory (1890-1895) and was director of the Conservatories and taught composition in Venice (1895-1902), Bologna (1902-11) and Roma (1916-1923). Bossi was a famous performer, composer and teacher (he reorganised the syllabuses of theConservatories), and was the first internationally famous Italian concert artist. He was conferred the highest ranks in the Kingdom, became an honorary member of the most prestigious foreign and Italian Academies and enjoyed the esteem and friendship of great musicians and men of letters.

01.Prima Sonata op. 60 - 1. Allegro non troppo05:46
02.Prima Sonata op. 60 - 2. Larghetto06:16
03.Prima Sonata op. 60 - 3. Finale \ Toccata [Ciaconna]04:25
04.Scherzo in Fa op. 49 n. 108:22
05.Scherzo in sol minore op. 49 n. 208:09
06.Impromptu à la Chopin op. 49 n. 304:22
07.Inno Trionfale op. 5304:43
08.Seconda Sonata op. 71 - 1. Allegro giusto
09:25
09.Seconda Sonata op. 71 - 2. Poco Andante, quasi Adagio06:42
10.Seconda Sonata op. 71 - 3. Grave \ Allegro06:12
11.Terza Sonata [frammento]00:41
12.Tema e variazioni op. 115 - Maestosamente \ Thème (Andante affettuoso)01:17
13.Tema e variazioni op. 115 - Variation I (Stesso tempo)00:56
14.Tema e variazioni op. 115 - Variation II (A tempo rubato)01:02
15.Tema e variazioni op. 115 - Variation III (Vivacissimo)00:37
16.Tema e variazioni op. 115 - Variation IV (Sostenuto)00:59
17.Tema e variazioni op. 115 - Variation V (Andantino)01:27
18.Tema e variazioni op. 115 - Variation VI (Allegro)00:44
19.Tema e variazioni op. 115 - Variation VII (Alla marcia funebre)01:42
20.Tema e variazioni op. 115 - Variation VIII (Quasi scherzo)00:30
21.Tema e variazioni op. 115 - Variation IX (Pastorale)01:05
22.Tema e variazioni op. 115 - Finale [Fuga]04:11

This fifth volume of the Marco Enrico Bossi complete organ works includes a rich anthology of pieces mainly composed during his early creative period. The disc includes the first two Sonatas, op. 60 and 71, the Innotrionfale of 1885, the two scherzos and the Impromptu op. 49, and Tema e Variazioni op. 115, a work strongly influenced by the music of Schumann.

Marco Enrico Bossi was only 27 when he premiered his First Organ Sonata on 26th May 1888 in the Como Cathedral in front of a huge audience that, amongst others, included Arrigo Boito, Alfredo Catalani and Giacomo Puccini. Two years later he wrote his Second Sonata op. 71, named Honos alit artes, won first prize at the contest organized by Stefano Golinelli in cooperation with Florence Conservatory and the Musica Sacra magazine

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UPGRADE. MLP. Antal Dorati, London SO - Stravinsky: The Firebird (complete ballet), etc. SACD-ISO. FLAC 24bit 88.2kHz 2.0

November 26, 2013, 8:44 pm

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Review by Chris October 20, 2004

Performance: Sonics:

Wow!!! What a disc! This recording climbs right to the top of the list of my most desirable SACDs.
This SACD is in many respects head and shoulders above most of the modern competiton regarding lifelike and truly realistic recording quality of big orchestral music.
Recorded almost half a century ago in purist analogue fashion.Luckily, in those days little else was available!
With only three omnidirectional microphones carefully hung above the front desk players,the result is truly amazing!
It is quite a close sound,with very accurate timbres and a completely coherent take on the whole proceedings.No pernicious spotmiking here! Instead we get a very realistic image of the London Symphony Orchestra spread out semi-circle fashion in front of us.
Not that I've been up on the in front of an orchestra that many times,but I guess this is very close to the sound Dorati heard from his podium.
The only modern recording I have that is quite similar is the recent Rachmaninov 2nd symphony recorded by Channel Classics.
It was also recorded from a conductor's perspective and also without obvious spotmiking.It is a very good, pure DSD recording.But though no doubt excellent too, it was recorded in a different, not quite as open acoustic, as this "classic" Watford Town Hall take was. And there are a couple of times when I think massed strings sound less than excellent there.
Especially in the 3rd movement climax where the otherwise silky strings lose their natural character a bit.
None of that on this old analogue transfer,though.
From barely audible whisperings to the powerful fortissimos in the Firebird ,everything is just open and clear and very ,very realistic.
My only real complaint, apart from a slight tape hiss,is why can't we have more recordings like this one today?
And for the generation, brought up with multimiked CDs,not having heard what a really goood LP is capable of sound-quality-wise ,this SACD will provide an almost perfect introduction to what both analogue and purist miking has got to offer.
Compulsory listening.
Oh,I almost forgot to mention that both the playing and the music is as stunning as the recording.And not only the Firebird.The Song of the Nightingale is also a wonderful work.

1. Fireworks (Feu D'artifice), fantasy for orchestra, Op. 4
2. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Introduction
3. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. The Enchanted Garden of Kastchei
4. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Appearance of the Firebird, Pursued by Prince Ivan
5. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Dance of the Firebird
6. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Capture of the Firebird by Prince Ivan
7. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Supplication of the Firebird
8. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Appearance of the Enchanted Princesses
9. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. The Princesses' Game with the Golden Apples (Scherzo)
10. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Sudden Appearance of Prince Ivan
11. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Khorovod (Round Dance) of the Princesses
12. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Daybreak
13. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Magic Carillon, Appearance of Kastchei's Monster Guardia
14. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Arrival of Kastchei the Immortal
15. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Dialogue of Kastchei and Prince Ivan
16. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Intercession of the Princesses
17. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Appearance of the Firebird
18. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Dance of Kastchei's Retinue, Enchanted by the Firebird
19. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Infernal Dance of All Kastchei's Subjects
20. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Lullaby (Firebird)
21. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Kastchei's Awakening
22. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 1. Kastchei's Death; Profound Darkness
23. L'oiseau de feu (The Firebird), ballet in 2 scenes for orchestra: Tableau 2. Disappearance of Kastchei's Palace and Magical Creations
24. Tango, for chamber orchestra
25. Chant du rossignol (Song of the Nightingale), symphonic poem for orchestra: Introduction
26. Chant du rossignol (Song of the Nightingale), symphonic poem for orchestra: Chinese March
27. Chant du rossignol (Song of the Nightingale), symphonic poem for orchestra: Song of the Nightingale
28. Chant du rossignol (Song of the Nightingale), symphonic poem for orchestra: The Mechanical Nightingale's Game

Review by Dr. O August 3, 2005

Performance: Sonics (S/MC): /

Now - here is a transfer that really works! These recordings are old (1959 and 1964), but the quality is superb! And under Dorati's deft hand, the performances are unerring and spectacular! (I am still waiting for a transfer of Dorati's justly famous 1812!)
Fireworks: Nice, though not one of Stravinsky's stellar efforts. Yet, it is easy to see why Diaghilev found the young Stravinsky to be so promising as a composer of dance music.
The Firebird: Spectacular and convincing throughout! The sonics are clear and clean. The tempos are very satisfying. This recording stands the "test of time!"
Tango, Scerzo a la Russe, and The Song of the Nightingale: All so wonderfully done! They sound as if they were recorded yesterday! (The Tango is delicious in it's nuancing of sound. One wonders why the Scherzo is not performed more often. It is fun and yummy - a definite "crowd-pleaser.")
Though this is a "3-Channel Stereo" release, one easily forgets and forgives, this being a disc of exceptional quality. A must have!!!

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NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 6: Andrea Macinanti

November 28, 2013, 9:44 am

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Artist: Andrea Macinanti, organ.

Album: M.E. Bossi - Complete Organ Works. Vol. 6

Released: 2011

Label: Tactus

Catalog N°: TC 862716

Genre: Classical

File Format: eac_flac_cue_log scans complete, 378mb
Note:

In this sixth CD of the complete works for organ by Marco Enrico Bossi, three differentinstruments built by three organ-builders are to be found. Each of these had a close working andpersonal relationship with the composer, supporting his ambitious project concerning the reformof the organ in Italy promoted by the Cecilian Movement. These craftsmen were Pacifico Inzoli,Vincenzo Mascioni and William George Trice.

01.Preludio festivo04:22
02.Preghiera05:53
03.Siciliana04:07
04.Offertorio03:51
05.Giga03:09
06.Andante con moto04:22
07.Aspiration05:14
08.Grand Choeur06:27
09.Studio [1908]03:56
10.Studio03:08
11.Marcia Funebre02:37
12.Trio melodico02:16
13.Preludiando 'alla Bach'02:54
14.Studio in trio02:29
15.Studio per organo02:49
16.Offertorio03:29
17.Graduale03:21
18.Canzoncina a Maria vergine02:40
19.Canzoncina a Maria vergine [2]03:17
20.In memoriam04:17
21.Laudate Dominum03:52

On this new CD, the sixth volume in a series of the complete organ works of the Italian composer Marco Enrico Bossi, Andrea Macinanti performs music written by the composer over a period of about 20 years of his career during the latter part of the 19th and the early part of the 20th centuries. The music includes the two sets of Three Pieces, opus 74 and 97, the Three Studies dal Metodo Teorico-Pratico, opus 105, and Five Pieces, opus 113.
For this recording organist Andrea Macinanti has chosen to play on three instruments by Pacifico Inzoli, Vincenzo Mascioni and William George Trice, all of which were built during the composer’s working life. In his booklet notes Macinanti examines the work of these three important organ makers, mentioning in particular the great respect Bossi had for Trice to whom he dedicated his Metodo per organo dated 1893. This is the latest in a series of CDs from Tactus of the complete works of Marco Enrico Bossi which are being released to mark the 150th anniversary of the composer’s birth.

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NEW-UP. ZZT. Antonio Vivaldi - Concerti 'Nuova Stagione': Amandine Beyer, Ensemble Gli Incogniti. Studio Master 24bit-88.2kHz Stereo

October 14, 2013, 11:29 pm

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Studio Master | FLACs - 24bit 88.2kHz stereo, Covers | 1.31GB
Classical | Label: Zig Zag Territoires | Catalog Number: ZZT 310
RAR 3% Rec.

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'Effervescence, humour, lyricism, explosion, concentration, contemplation, impatience, energy... The list could go on forever. Words escape me when trying to determine what fascinates in Antonio Vivaldi's music. This disc represents our particular homage to this ever so generous composer, who gratifies musicians by putting into their hands fabulous tools of diversity, emotion and effectiveness.' Amandine Beyer

5.0 out of 5 stars excellent performance May 29, 2013

By Toby C.S. Langen

The performance is lively, technically just about perfect. The selection of pieces showcases a side of Vivaldi that reminds one of Schmelzer.

Concerto for Violin and Organ in C Major, RV 808
01 - I. Allegro
02 - II. Largo
03 - III. Allegro
Concerto for Cello in A Minor, RV 420
04 - I. Andante
05 - II. Adagio
06 - III. Allegro
Concerto for Traverso in E Minor, RV 431
07 - I. Allegro
08 - II. Andante
09 - III. Allegro
Concerto for Violin in C Major, RV 194
10 - I. Allegro mà poco
11 - II. Largo
12 - III. Allegro
Concerto for Traverso in A Minor, RV 440
13 - I. Allegro non molto
14 - II. Larghetto
15 - III. Allegro
Concerto for Cello in D Major, RV 403
16 - I. Allegro
17 - II. Andante e spiritoso
18 - III. Allegro
Concerto for Violin in D Minor, RV 235
19 - I. Allegro non molto
20 - II. Adagio
21 - III. Allegro
Concerto for Violin and Organ in G Minor, After RV 517
22 - I. Allegro
23 - II. Andante
24 - III. Allegro

Amandine Beyer (solo violin, direction)

Manuel Granatiero (traverso)

Alba Roca (violin)

Flavio Losco violin) (RV 194, RV 235, RV 517, RV880)

Marta Páramo (viola)

Marco Ceccato (solo cello)

Rebeca Ferri (cello) (RV 403, RV 420)

Baldomero Barciela (violone)

María Crisol (bassoon) (RV 431, RV 440)

Francesco Romano (theorbo, Baroque guitar)

Anna Fontana (solo organ, harpsichord)

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UPGRADE. MLP. Dvorak, Bruch, Tchaikovsky - Janos Starker, Antal Dorati, London SO. SACD-ISO. FLAC 24bit 88.2kHz 2CH

November 30, 2013, 4:44 pm

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Sony PS3 SACD to *ISO | DST 1bit-2822,4kHz 2.0, 3.0(5.0) | 3.01GB
FLAC 24bit-88.2kHz 2CH | DR15 (6.00dB Gain) | 1.15GB

Classical | Label: MLP/DECCA | Catalog Number: 4756608-2 | RAR 3% Rec.

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This is an exceptional recording, augmented tremendously by the new DSD mastering. It will take you less than a moment or two to discover how diffuse the earlier PCM recording sounds by comparison, and it in itself was one of the better CD transfers to appear in the Living Presence series.
As for performances, nearly all SA-CD enthusiasts will already know that we are graced now with two of the best renditions of the Dvorak Concerto ever to appear on record - and each deserves its rightful place in one's music collection for the emotive senses they can provoke in the listener. Polished as it is, the Starker performance conveys more the sense of authority and bravado than Piatigorsky's RCA, but Piatigorsky gives us an equally competent yet more reserved reading of the score. Each of these can serve different listening needs quite effectively, and both offer convincingly authentic sound.
Edit 5/24/05
It has been pointed out to me by another member that I should look to determine if this is a PCM transfer and it is. Nonetheless, the above assessments stand.

01.Dvorak - Cello Concerto in B Minor, Op. 104 - Allegro15:07
02.Dvorak - Cello Concerto in B Minor, Op. 104 - Adagio ma non Troppo11:10
03.Dvorak - Cello Concerto in B Minor, Op. 104 - Finale - Allegro Moderato11:47
04.Bruch - Kol Nidrei Op. 4709:56
05.Tchaikovsky - Variations on a Rococo Theme, Op. 3315:46

What an unbelievable fillip these magnificent Mercury recordings have been to us SACD lovers - and this is another example! We have "the" classic cello concerto and two substantial fillers on this disc.
The performances, of course, are absolutely fabulous - even in comparison to the classic Rostropovich/Karajan coupling on DG. In comparison to that CD I would say Starker/Dorati push slightly more, Karajan was more "romantic" if I could put it that way. One place where I clearly preferred the Karajan is at the end of the slow movement of the Dvorak where the woodwind interjections are absolutely magical; here at a much faster tempo they don't seem to have the same effect.
The sound is well nigh perfect. Although there is some slight residual tape hiss and you can tell the strings are from a 45 year old master (say in comparison to Ivan Fischer's Dvorak 8/9) I just love the presentation of the orchestra in these Mercury recordings; up close so you can almost feel the instruments in your living room.
Essential!

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NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 7: Andrea Macinanti

December 1, 2013, 8:31 pm

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Artist: Andrea Macinanti, organ.

Album: M.E. Bossi - Complete Organ Works. Vol. 7

Released: 2012

Label: Tactus

Catalog N°: TC 862717

Genre: Classical

File Format: eac_flac_cue_log scans complete, 346mb
Note: WORLD PREMIERE RECORDING

The seventh volume of Marco Enrico Bossi’s Opera Omnia for organ contains the most important and meaningful pieces composedby him between 1906 and 1910, during the fruitful period in which he was the principal of the Liceo Musicale of Bologna. With these pieces, Italian organ literature acquired a new expressive dimension, catalysing the experiences that had already been consolidated in Europe in the course of the 19th century. The programme begins with the extensive Pièce héroïque op. 128, composed in 1906, whose title recalls César Franck’s famous piece. The theme chosen by Bossi reappeared later in Riccardo Zandonai’s Giulietta e Romeo. There follows the powerful Konzertstück op. 130 (1907), probably the most important organ piece composed in Italy. Here Bossi risesto the level of extraordinary creativeness that had been attained by a genius like Max Reger. The programme ends with 5 Pezzi in stile libero (Leggenda, Marcia funebre, Scena pastorale, Hora mystica, Hora gaudiosa), whichwere composed around 1910 and represent the crossroads of the most interesting organ experiences worked out in France, Germany and Italy. For the recording of these important pieces, as always, an instrument that belonged to Bossi’s musical world has been used: the splendid organ made in 1897 by Carlo Vegezzi-Bossi for the Chiesa del Sacro Cuore of Cuneo.

01.Piece heroique op. 12808:15
02.Konzertstuck in C minor, Op. 130a19:32
03.5 Pieces for Organ, Op. 132 - Leggenda07:16
04.5 Pieces for Organ, Op. 132 - Corteggio Funebre09:18
05.5 Pieces for Organ, Op. 132 - Scena pastorale11:02
06.5 Pieces for Organ, Op. 132 - Hora mystica08:43
07.5 Pieces for Organ, Op. 132 - Hora gaudiosa05:48

This is the seventh release of the “Opera Omnia” of Marco Enrico Bossi, the great Italian organist and composer who lived and worked around the turn of the 19th and 20th centuries. As with the previous recordings in the series the performer is Andrea Macinanti, this time playing the organ of the Chiesa del Sacro Cuore in Cuneo.
Volume 7 of the Complete Organ Works by Marco Enrico Bossi contains music written between 1906 and 1910, during the period in which he was the principal of the Liceo Musicale of Bologna. The programme begins with the extensive Pièce héroïque op. 128, and continues with the powerful Konzertstück op. 130. The survey ends with Cinque pezzi in stile libero (Five Pieces in a free style) which were composed around 1910.
Like the previous discs, the organ that Andrea Macinanti plays on this recording is one that belonged to Bossi’s musical world, in this case an instrument made in 1897 by Carlo Vegezzi- Bossi for the Chiesa del Sacro Cuore of Cuneo.

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UPGRADE. Dietrich Buxtehude - Sonatas Op.1,2: L'Estravagante. 2xSACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

December 3, 2013, 3:31 am

≫ Next: NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 8: Andrea Macinanti

≪ Previous: NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 7: Andrea Macinanti

Sony PS3 SACD to ISO | DST 1bit-2822,4kHz 2.0, 5.1 | 2xISO 7.61GB
DST64: DFF(DST) 1bit-2822,4kHz 2CH | 1.94GB
DST64: DFF(DST) 1bit-2822,4kHz MCH | 5.61GB

Classical | Label: ARTS | Catalog Number: 47731-8, 47732-8

RAR 3% Rec.

...The recording on hand shows in a most fascinating way that the compositions, 300 years after the death of this imposing composer, still manage to impress its listeners. However, this is also because of the beautiful interpretation of the renowned ensemble L'Estravagante with its well known musicians Stefano Montanari, Rodney Prada and Maurizio Salerno. linnrecords.com

...I can’t compete with the informative and erudite notes here; this is a must-have baroque issue in hi-res surround. audaud.com (Steven Ritter)

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Sonatas Op.1:

01.Sonata I in fa maggiore BuxWV 252 - Vivace - Lento02:18
02.Sonata I in fa maggiore BuxWV 252 - Allegro - Adagio02:52
03.Sonata I in fa maggiore BuxWV 252 - Andante - Grave02:40
04.Sonata I in fa maggiore BuxWV 252 - Presto01:37
05.Sonata II in sol maggiore BuxWV 253 - Lento - Vivace03:02
06.Sonata II in sol maggiore BuxWV 253 - Adagio - Allegro01:41
07.Sonata II in sol maggiore BuxWV 253 - Arioso02:59
08.Sonata III in la minore BuxWV 254 - Adagio01:47
09.Sonata III in la minore BuxWV 254 - Allegro01:43
10.Sonata III in la minore BuxWV 254 - Lento - Vivace - Largo04:29
11.Sonata III in la minore BuxWV 254 - Presto - Adagio02:13
12.Sonata IV in si bem. magg. BuxWV 255 - Vivace04:30
13.Sonata IV in si bem. magg. BuxWV 255 - Lento - Allegro03:16
14.Sonata V in do maggiore BuxWV 256 - Vivace01:31
15.Sonata V in do maggiore BuxWV 256 - [...]02:07
16.Sonata V in do maggiore BuxWV 256 - Largo - Allegro02:34
17.Sonata V in do maggiore BuxWV 256 - Adagio - Allegro02:42
18.Sonata VI in re minore BuxWV 257 - Grave - Allegro02:13
19.Sonata VI in re minore BuxWV 257 - Con discretione - Adagio03:12
20.Sonata VI in re minore BuxWV 257 - Vivace - Adagio01:20
21.Sonata VI in re minore BuxWV 257 - Poco Presto - Poco Adagio - Presto - Lento02:28
22.Sonata VII in mi minore BuxWV 258 - Allegro - Largo02:26
23.Sonata VII in mi minore BuxWV 258 - Presto - Vivace - Adagio02:26
24.Sonata VII in mi minore BuxWV 258 - Poco presto - Lento - Prestissimo02:17

...These pieces feature remarkable technical complexities, furious virtuosity, an unending reservoir of thoughtful melodic turns, and very warm, burnished scoring. A mixture of French and German styles permeate this music while showing us at the same time the extent of the composer’s rather somber Protestant roots.....

The fantastic music of Dieterich Buxtehude enthused many people all over the world. Johann Sebastian Bach, Georg Friedrich Handel and Johann Mattheson came to visit him in Lübeck and took classes to elaborate their organ play and their composing skills. Besides his vocal music and the music for keyboard only two publications of his trio-sonatas are preserved.

With the release on hand ARTS presents the second part of Buxtehude's trio-sonatas, the Sonatas op. 2. They are recorded by the ensemble L'Estravagante who present a remarkable example of Buxtehude's most beautiful music. Their interpretation makes it easy to understand why contemporaries of Buxtehude found these works so fascinating.

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Sonatas Op.2:

01. Sonata I in la maggiore BuxWV 259 - Allegro 01:20
02. Sonata I in la maggiore BuxWV 259 - Adagio - Allegro 02:28
03. Sonata I in la maggiore BuxWV 259 - Grave - Vivace - Lento 03:19
04. Sonata I in la maggiore BuxWV 259 - Poco adagio Presto 01:58
05. Sonata II in re maggiore BuxWV 260 - Adagio - Allegro - Largo 03:22
06. Sonata II in re maggiore BuxWV 260 - Arietta 06:35
07. Sonata II in re maggiore BuxWV 260 - Largo - Vivace 02:21
08. Sonata III in sol minore BuxWV 261 - Vivace - Lento 02:52
09. Sonata III in sol minore BuxWV 261 - Allegro - Lento 01:35
10. Sonata III in sol minore BuxWV 261 - Andante - Grave 04:33
11. Sonata III in sol minore BuxWV 261 - Gigue 02:00
12. Sonata IV in do minore BuxWV 262 - Poco adagio 01:39
13. Sonata IV in do minore BuxWV 262 - Allegro 01:27
14. Sonata IV in do minore BuxWV 262 - Lento - [...] - Vivace 04:30
15. Sonata V in la maggiore BuxWV 263 - Allegro 00:58
16. Sonata V in la maggiore BuxWV 263 - Solo 01:19
17. Sonata V in la maggiore BuxWV 263 - Concitato 02:11
18. Sonata V in la maggiore BuxWV 263 - Adagio (solo) 01:18
19. Sonata V in la maggiore BuxWV 263 - Allegro - Adagio 01:22
20. Sonata V in la maggiore BuxWV 263 - [...] - Poco presto 02:09
21. Sonata VI in mi maggiore BuxWV 264 - Grave - Vivace 03:46
22. Sonata VI in mi maggiore BuxWV 264 - Adagio - Poco presto - Lento 04:01
23. Sonata VI in mi maggiore BuxWV 264 - Allegro 01:33
24. Sonata VII in fa maggiore BuxWV 265 - Adagio - [...] 03:00
25. Sonata VII in fa maggiore BuxWV 265 - Lento - Vivace 02:42
26. Sonata VII in fa maggiore BuxWV 265 - Largo - Allegro 02:47

Composer - Dietrich Buxtehude (1637-1707)

Performer - L'Estravagante. Stefano Montanari (violine), Rodney Prada (Viola da Gamba), Maurizio Solerno (clavecin)

DST

To reduce the space and bandwidth requirements of Direct Stream Digital (DSD), a lossless data compression method called Direct Stream Transfer (DST) is used. DST compression is compulsory for multi-channel regions and optional for stereo regions. This typically compresses by a factor of between two and three, allowing a disc to contain 80 minutes of both 2-channel and 5.1-channel sound.^[27]

Direct Stream Transfer compression was also standardized as an amendment to MPEG-4 Audio standard (ISO/IEC 14496-3:2001/Amd 6:2005 – Lossless coding of oversampled audio) in 2005.^[28]^[29] It contains the DSD and DST definitions as described in the Super Audio CD Specification.^[30] The MPEG-4 DST provides lossless coding of oversampled audio signals. Target applications of DST is archiving and storage of 1-bit oversampled audio signals and SA-CD.^[31]^[32]^[33] A reference implementation of MPEG-4 DST was published as ISO/IEC 14496-5:2001/Amd.10:2007 in 2007.^[34]^[35]

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NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 8: Andrea Macinanti

December 4, 2013, 10:41 am

≫ Next: NEW-UP. MLP. Fennell Conducts Sousa - Frederick Fennell, Eastman Wind Ensemble. SACD-ISO. FLAC 24bit 88.2kHz 2CH-MCH

≪ Previous: UPGRADE. Dietrich Buxtehude - Sonatas Op.1,2: L'Estravagante. 2xSACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

Artist: Andrea Macinanti, organ.

Album: M.E. Bossi - Complete Organ Works. Vol. 8

Released: 2012

Label: Tactus

Catalog N°: TC 862718

Genre: Classical

File Format: eac_flac_cue_log scans complete, 382mb
Note: Organs:
Pacifico Inzoli (1891) - Chiesa San Giovanni Battista, Adro (BS)
Vincenzo Mascioni (1901) - Chiesa di S. Stefano, Lenno (CO)
Giovanni Tamburini Op. 71 (1920) - Chiesa di S. Maria dei Servi, Rimini
Franz Zanin (1993) - Chiesa di San Giacomo nel Carmine, Imola (BO)

The eighth volume of Bossi’s Omnia for organ contains some extraordinary sound documents, in keeping with Tactus’s publishing policy of using only instruments from the period in which the composer lived, and if possible instruments used by him. The first organ is the one made in 1920 by Giovanni Tamburini from Crema for the Chiesa dei Servi in Rimini: Bossi performed on it in August 1924, shortly before sailing for his triumphal American tour. Through the remarkably mellow, fascinating timbre resources of the Tamburini organ, pieces composed by Bossi between 1908 and 1924 are brought back to life, in a perfect temporal position with respect to the organ’s dating. For the Solo di Clarinetto [1920] and the archaic-sounding Aria da chiesa [1908], we have chosen the Vincenzo Mascioni organ (1901) in the church of Lenno (Como): it has a particularly beautiful clarinet register. The programme is completed by Bossi’s pieces for two organs, which bear witness to the survival of the ancient custom of creating a dialogue between the two instruments. The colossal Fantasia [1889] and the Entrata pontificale [1890] have been recorded by Andrea Macinanti and Francesco Tasini on the Franz Zanin organs of the Church of the Carmine in Imola.

01.Andrea Macinanti · Francesco Tasini / Fantasia a due organi op. 64a 10:46
02.Marche Héroïque op. 72 07:15
03.Osanna - Studio per Organo 05:34
04.Fatemi la grazia 05:42
05.Marcia dei Bardi 09:34
06.Ave Maria 05:58
07.Letizia celeste 03:22
08.Alla Marcia 05:37
09.Solo di clarinetto 04:45
10.Aria da chiesa 03:19
11.Andrea Macinanti · Francesco Tasini / Entrata Pontificale 04:44

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NEW-UP. MLP. Fennell Conducts Sousa - Frederick Fennell, Eastman Wind Ensemble. SACD-ISO. FLAC 24bit 88.2kHz 2CH-MCH

December 5, 2013, 9:44 am

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≪ Previous: NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 8: Andrea Macinanti

Classical | Label: MLP/DECCA | Catalog Number: 475 6182 | RAR 3% Rec.

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5.0 out of 5 stars Sousa/Fennell/SACD January 26, 2009

By David F. Rogers

These are unquestionably outstanding performances that have been recognized since the original LP's were released in the late '50's. I have only heard the stereo mix from the SACD because the only multichannel amp I have is in my video system, which is nowhere near as good as my audio system. The SACD stereo mix beats the LP by a significant margin, and this is not an easy admission for me to make, being an analog junkie until I got my first SACD player a few weeks ago. Don't get me wrong - the LP is still as good as ever, but the lack of surface noise, compression, and inner groove distortion does make a difference. My redbook CD will sit on the shelf. Enjoy.

1. Sound Off!, march for band
2. Nobles of the Mystic Shrine, march for band
3. Saber and Spurs, march for band
4. The Picador, march for band
5. Our Flirtation, march for band
6. The High School Cadets, march for band
7. The Invincible Eagle, march for band
8. Bullets and Bayonets, march for band
9. The Liberty Bell, march for band
10. Riders for the Flag, march for band
11. Solid Men To the Front!, march for band
12. The Gallant Seventh, march for band
13. The Rifle Regiment, march for band
14. The Pride of the Wolverines, march for band
15. Golden Jubilee, march for band
16. The Gridiron Club, march for band
17. New Mexico, march for band
18. Sesquicentennial Exposition March, march for band
19. The Black Horse Troop, march for band
20. The Wildcats (Salute to Kansas), march for band
21. Manhattan Beach, march for band
22. Ancient and Honorable Artillery Company, march for band
23. The National Game, march for band
24. The Glory of the Yankee Navy, march for band

5.0 out of 5 stars some obscure marches with great sound. December 6, 2012

By Richard D. Guba

Not all of the marches are well known, but they all sound great. You may think you would be bored listening to an entire CD of marches, but give it a try. The SACD sound is very nice.

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NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 9: Andrea Macinanti

December 7, 2013, 5:45 am

≫ Next: NEW-UP. BIS. Amadeus Mozart - Violin Concertos 1, 2 & 4, Rondo, Adagio: Richard Tognetti, Australian CO. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

≪ Previous: NEW-UP. MLP. Fennell Conducts Sousa - Frederick Fennell, Eastman Wind Ensemble. SACD-ISO. FLAC 24bit 88.2kHz 2CH-MCH

Artist: Andrea Macinanti, organ.

Album: M.E. Bossi - Complete Organ Works. Vol. 9

Released: 2013

Label: Tactus

Catalog N°: TC 862719

Genre: Classical

File Format: eac_flac_cue_log scans complete, 323mb
Note:

The ninth volume of Marco Enrico Bossi’s complete works contains some of the most significant compositions from the period of his artistic maturity, recorded here for the first time.
An impressive work is the organ version of the Prologue of Malombra (Rapsodia in tre momenti collegati), the opera based on Antonio Fogazzaro’s text, which started a surge of inspiration in Bossi in 1908, but unfortunately was never completed.
Another precious musical discovery also refers to Malombra: the finale of the third act of the opera, expressly composed by Bossi for organ. This work is rich in pathos: it is a dramatic, magnificent passacaglia that reveals the grandness of the composer’s view of Fogazzaro’s famous novel.
The programme is completed by an anthology formed of Op.118, which was published in Leipzig and Milan in 1900. It is a great testimony to Bossi’s skill in the exploration of the organ’s resources of expression, ranging from the utterly Italian cantabile quality of the Melodia to the compact, solid counterpoint structure of the central section of the Finale, which evokes Bach’s maturest works.

01.Rapsodia in tre momenti collegati13:19
02.Per la fine del terzo atto di Malombra05:27
03.Praludio04:24
04.Fughetta03:33
05.Pastorale04:56
06.Angelus05:08
07.Toccata di concerto05:38
08.Melodia04:13
09.Invocazione05:16
10.Marcia festiva05:06
11.Intermezzo03:26
12.Finale05:07

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NEW-UP. BIS. Amadeus Mozart - Violin Concertos 1, 2 & 4, Rondo, Adagio: Richard Tognetti, Australian CO. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

December 8, 2013, 1:47 am

≫ Next: UPGRADE. MLP. Tchaikovsky - The Nutcracker: Antal Dorati, LSO. 2xSACD-ISO. FLAC 24bit 88.2kHz 2CH-MCH

≪ Previous: NEW-UP. TACTUS ORGAN MUSIC. M.E. Bossi - Complete Organ Works. Vol. 9: Andrea Macinanti

Sony PS3 SACD to *ISO | DST 1bit-2822,4kHz 2CH-MCH | 3.51GB
DST64: DFF(DST) 1bit-2822,4kHz 2CH | 1.03GB
DST64: DFF(DST) 1bit-2822,4kHz MCH | 2.45GB

Classical | Label: BIS | Catalog Number: SACD-1755 | RAR 3% Rec.

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Completing the cycle of Mozart’s violin concertos, begun on BIS-SACD-1754, Richard Tognetti and his Australian Chamber Orchestra offer us the first, second and fourth concerto, along with two shorter works for violin and orchestra: the Adagio in E major and the Rondo in C major. All Mozart’s works in this genre were written during a few years quite early in his career, and as Mozart specialist John Irving explains in his liner notes, the composer, who by all accounts was a fine violinist, may have been making a bid for a better position as Konzertmeister at the court in Salzburg where he already held a less distinguished post. In spite of their early dates, the concertos demonstrate very clearly Mozart’s tremendous development, and the fourth concerto in particular displays the confidence of the composer both in handling his material and in teasing the audience with the narrative he creates. In his own comments on the recording, Tognetti writes of his and the orchestra’s decision to use gut strings, period wind instruments and a lower than usual pitch, in aim to create ‘a sound which we know Mozart would have recognised’. But as there is no way for us to know what ‘authentic’ Mozart violin playing sounds like, Tognetti’s approach has been ‘simply to look at the notes Mozart wrote down, and start from there, creating a hybrid hopefully carrying an embodiment of truth’. The result is highly convincing, as reviews of the previous disc show. The German website klassik-heute.de has given it top marks, describing the performances as ‘uncommonly fascinating… full of wit, emotion and sheer joy of playing.’ The reviewer in The Observer (UK) recommended the disc highly, for its ‘beautifully nuanced’ and ‘transcendent’ performances, and ‘gloriously exciting, tangy edged, alert and playful sound.’ In International Record Review, finally, his colleague found the disc ‘wonderfully refreshing ... a constant delight’ with a recorded sound ‘beyond praise’, going on to state that ‘Tognetti finds a musical substance in these works that is matched by very few rival versions.’

Concerto for Violin no 1 in B flat major, K 207
1. Allegro moderato
2. Adagio
3. Presto

4. Rondo for Violin and Orchestra in C major, K 371

Concerto for Violin no 4 in D major, K 218
5. Allegro
6. Andante cantabile
7. Rondeau. Andante grazioso - Allegro ma non tropo

8. Adagio for Violin and Orchestra in E major, K 261

Concerto for Violin no 2 in D major, K 211
9. Allegro moderato
10. Andante
11. Rondeau. Allegro

Richard Tognetti, violin and leader
Australian Chamber Orchestra, orchestra

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UPGRADE. MLP. Tchaikovsky - The Nutcracker: Antal Dorati, LSO. 2xSACD-ISO. FLAC 24bit 88.2kHz 2CH-MCH

December 8, 2013, 9:08 pm

≫ Next: NEW-RIP. Tchaikovsky: Sixth Symphony, Dumka - Christoph Eschenbach, The Philadelphia Orchestra. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

≪ Previous: NEW-UP. BIS. Amadeus Mozart - Violin Concertos 1, 2 & 4, Rondo, Adagio: Richard Tognetti, Australian CO. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

Classical | Label: MLP/DECCA | Catalog Number: 4756623 | RAR 3% Rec.

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...The Mercury Living Presence SACD reissues sound fantastic, and this disc is at the top of that stellar class. The sound is detailed, transparent; containing the right combination of sparkling warmth and brightness. The balance is somewhat engineered in bringing out each melody line with such clarity, but it's natural enough. There is sufficient dynamic contrast throughout the recording with zero shrillness. I wasn't able to discern any artifacts or distortion often associated with vintage tape recordings either. As far as I'm concerned, this may be the best sounding classical recording in my large collection of SACD's and RBCD's.
Dorati and the two fine orchestras clearly understood Tchaikovsky and obviously enjoyed performing these works. The performances are reference standard quality.
Top Recommendation!!!

Disc 1

01.Overture03:05

02.Act I Tableau I - Decorating and Lighting the Tree03:47

03. - March02:15

04. - Dance Scene - Galop and Dance of the Parents02:14

05. - Scene - Presents for the Children05:06

06. - Scene and the Grandfather Dance05:45

07. - Scene - The Guests Depart - Children Go to Bed - The Spell Begins05:53

08. - The Nutcracker Battles the Army of the Mouse King02:58

09.Act I Tableau II - Journey through the Snow03:31

10. - Waltz of the Snowflakes06:23

Disc 2

01.Act II - Scene - Arrival in Fairyland04:09

02. - Festival in Honor of the Children and Prince Charming04:34

03.Act II - Character Dances - Chocolate (Spanish Dance)01:07

04. - Coffee (Arabian Dance)02:44

05. - Tea (Chinese Dance)00:58

06. - Russian Dance (Trepak)01:02

07. - Dance of the Toy Flutes02:12

08. - Dance of the Clowns02:55

09.Act II - Waltz of the Flowers06:04

10.Act II - Dances of the Sugar Plum Fairy & Prince Charming - Pas de Deux04:10

11. - Dance of Prince Charming00:38

12. - Dance of the Sugar Plum Fairy02:04

13. - Coda01:19

14.Act II - Waltz Finale and...03:18

15.Act II - Apotheosis01:37

16.Streicherserenade C-dur op. 48 - Andante non troppo - Allegro moderato10:44

17. - Walzer (Moderato - Tempo di Valse)03:52

18. - Elegie (Larghetto elegianco)08:00

19. - Finale (Tema Russo - Andante - Allegro con spirito)07:29

...This Mercury set was recorded in 1962 at the Watford Town Hall on 35mm magnetic film. The coupling, Tchaikovsky's 'Serenade for Strings', was recorded by the Philharmonia Hungarica ( an emigre orchestra comprising many refugees following the Hungarian uprising of 1956 ) in Vienna in 1956, on ordinary tape.
Dorati himself recorded the complete Nutcracker no less than three times. The first was the world premiere on record, in mono with the Minneapolis orchestra in 1953 for Mercury; and finally in 1975, with the Concertgebouw Orchestra, a beautifully burnished performance gloriously recorded by the Philips engineers in the Concertgebouw Hall. ( This recording sounds very well in its latest CD incarnation in the Philips 50th anniversary series.) This was no accident, for Dorati had been appointed director of the Russian ballet of Monte Carlo in 1933, and in 1941 of the American Ballet Theater.
Whether this implies his recordings are 'balletic' is another matter. Hearing this work in a ballet performance is rather different, for the conductors here are understandably keener to emphasise the first beat in the bar for the benefit of the dancers. Moreover, the divertissement of character dances in Act 2, from which the bulk of the 'Nutcracker Suite' is traditionally sourced, comprise a hotch-potch of tempi, depending on the proclivities of the solo dancers.
In a nutshell, this Mercury performance is the fleetest and most 'symphonic' Nutcracker rendition I've heard. There are relatively few repeats in the dances, so comparison timings are rather more reliable than is often the case. Dorati here clocks in at about 79 minutes, whereas most complete performances, such as his Concertgebouw one, are in the mid-80s. The second fastest is Gergiev's 1998 recording on Philips 462114 with the Maryinsky Orchestra, which zipped through in 81 minutes. Incidentally, this Philips recording is appealing as sound, recorded on customised valve equipment. It is one of the most analogue sounding digital recordings from the Universal stable, although the bloom on the strings was rather constricted from the vagaries of the recording venue. However, the timbral distinctiveness which marked, say, Mravinsky's pre-1978 Leningrad PO ( many of this orchestra's best musicians emigrated to Israel and the USA when the opportunity arose ) has dissipated in favour of the all-round homogenised competence which marks the top tier orchestras in the age of globalisation...

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NEW-RIP. Tchaikovsky: Sixth Symphony, Dumka - Christoph Eschenbach, The Philadelphia Orchestra. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

December 8, 2013, 10:15 pm

≫ Next: NEW-UP. BIS. Amadeus Mozart - Violin Concertos 3 & 5, Sinfonia Concertanto: Richard Tognetti, Australian CO. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

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Artist: Christoph Eschenbach, The Philadelphia Orchestra

Album: Tchaikovsky: Sixth Symphony, Dumka

Released: 2008

Label: Ondine

Catalog N°: ODE 1131-5

Genre: Classical

Sony PS3 SACD to ISO | DST 1bit-2822,4kHz 2CH-MCH | 2.78GB

DST64: DFF(DST) 1bit-2822,4kHz 2CH | 832MB

DST64: DFF(DST) 1bit-2822,4kHz MCH | 1.98GB

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This last and best instalment in Eschenbach's survey of Tchaikovsky's later symphonies. A live recording in which both conductor and orchestra seem to find the right temperament for a truly memorable performance of this formidable masterpiece.
Many listeners discover this work very early in their acquaintance with classical music, and it leaves a powerful impression. This account presents a view of the work as an organically-planned symphony, rather than a collection of fine movements. It reminded me once more of how concentrated and concise Tchaikovsky's Romantic vision in this piece. Eschenbach's understanding and grip of the Pathétique's architectural and emotional structure is a key element in generating this particular performance.
From the introductory woody-toned bassoon solo, this fine orchestra takes us on a sure path through the first movement. The allegro, never rushed, boils with tension and energy. The strings articulate with commitment and precision, and rest is only found as the transition takes us to the famous second subject, played with angelic string tone and not a trace of swooning sentimentality. A startling whiplash orchestral chord announcing the development section precipitates an urgently passionate turmoil, full of rarely-heard detail, so transparent is the recording of the orchestra's miraculous internal balancing. Searing brass fanfares, thunderous timpani and growling double basses bear the music into its dénouement, where the trombone fanfares are as taut as coiled springs. All energy spent, the second subject's return is drained and sanguine, but builds to a fervent climax, utterly devoid of Hollywood overtones.
The Philadelphia's 5/4 waltz moves along balletically, sung with grace by the warm-toned cellos and decorated lightly with pizzicato violin descants. Its trio smiles wistfully, rather than complaining or carping. The orchestra are fully on their mettle for the march/scherzo, one of Tchaikovsky's most dazzling scorings. Some conductors take this at a great clip to make it into an orchestral concerto, so the audience have no choice but to applaud it, thus ruining the impact of the slow Finale. In keeping with his oversight of the overall symphonic structure, Eschenbach's approach is broader, giving the march a wry humour, with swagger and cheek. The pointed rhythm and vivid phrasing from all members of the orchestra is highly infectious, and the march moves from climax to climax with unerring wit and instrumental polish. The bass drum has a most effective 'slam' and the brass players are suitably uninhibited. Wind solos are superbly poised and caught 'on the wing', inspired by the long takes of live performance.
The middle movements of the symphony are not mere divertissments as often portrayed; they both have their darker moments which Eschenbach clearly points out. Tchaikovsky's finale therefore is the resolution of the despair, surely autobiographical, so nakedly exposed in the First movement. The famous Philadelphia string choir sing their hearts out, in a wonderfully balanced opening threnody, the violas in particular so clear in their countermelodies. Eschenbach's slow pace is stately and elegaic, not funereal and lachrymose as often heard, so this potent psychological drama plays out with nobility and dignity. This finale finds resigned acceptance in the downward-stepping second theme, the tonal lustre of the cellos and basses in the final page being almost overwhelmingly emotive.
After the heated emotions of the symphony, the cool, clear tones of Eschenbach's playing of the Dumka Op. 59 comes like a cleansing sorbet after a rich meal. I wonder how many listeners would guess its composer on first hearing. It works like a Slavic version of one of Liszt's Hungarian Rhapsodies, and gives Eschenbach an opportunity to display his other talents, exposing us to another facet of Tchaikovsky at the same time. A good programming decision.
The high quality of the Philadelphia recordings is by now well-known. They are made by Polyhymnia International with PCM at 88.2 kHz 24bit and are simply exemplary in balance, transparency and multichannel perspective. Capturing every detail of the sound produced by this world-class orchestra, they are fine demonstrations of merging art with technology.
Tchaikovsky lovers will surely want to hear this disc. The outstanding performance is achieved by devoted fidelity to the score by all concerned. And it made me think that Ondine might hopefully record Manfred with this team. What a wonder that could be.

01.Symphony No. 6 - Adagio. Allegro non troppo19:55

02.Symphony No. 6 - Allegro con grazia08:01
03.Symphony No. 6 - Allegro molto vivace09:11
04.Symphony No. 6 - Finale. Adagio lamentoso - Andante12:44
05.Dumka, Op. 69 - Russian rustic scene09:42

R E V I E W S:

Eschenbach (...) delivers an outstanding performance on all counts. (...) The listener is wrapped in the sonic splendor that Tchaikovsky composed and the engineers have delivered. (The symphony) is a near 50 minute outing of sublime musicianship and sound that both the neophyte and disciplined listener will enjoy. (...) strongly recommended.
Richard S. Foster, Hi-Fi+, issue 63, Recording 10 / Music 9

Eschenbach's interpretation of the "Pathétique" Symphony is the best in his traversal of the big three Tchaikovsky symphonies. Ondine has captured the acoustics of Verizan Hall accurately in what must be considered a model for multichannel sound in the way it enhances instrumental imaging and ambient information.
Arthur Lintgen, Fanfare Magazine, November/December 2008, The Want List 2008

(...) played with thrilling ferocity, grace and poignancy in this live recording by the Philadelphia under Christoph Eschenbach. This must be one of the finest performances on disc.
Anthony Holden, The Observer, August 3, 2008
Playing of vintage American class, as here, makes a wonderful difference. So does Eschenbach's way of zeroing in on the music's essence rather than on its extremes; the detail is immaculate, the poetry beautiful. Eschenbach also hits a near-perfect, not-too-quick tempo in the march-like third movement so that this builds up huge momentum and excitement.
Malcolm Hayes, Classic FM Magazine, August 2008, ****
Do we really need yet another Pathétique? In this case, the answer is "yes". The sheen of the Philadelphia strings and the orchestra's mellow wind bring their own qualities to a performance that, under Christoph Eschenbach, has real fire and passion.
Matthew Rye, The Daily Telegraph, July 26, 2008
(...) the latest instalment of Christoph Eschenbach's riveting, if maddening, Tchaikovsky series.
Tim Ashley, The Guardian, July 11, 2008
This is the finest and most expressive playing on disc since Bernstein's enthralling (and sprawling) 1986 version with the New York Philharmonic.
Victor Carr Jr., ClassicsToday.com, July 2008, Disc of the Month, Artistic Quality 10 / Sound Quality 10
(...) a vivid, deeply passionate performance.
Rick Jones, The Times, June 28, 2008
This lack of sentimentality is crucial to the impact of Eschenbach's bold, disciplined reading of the "Pathétique" Symphony. There's real ferocity behind the string melodies and the clarity of the textures is astounding.
Anna Picard, The Independant, June 22, 2008

Building on a legacy... - One might well call The Philadelphia Orchestra playing a Tchaikovsky symphony the perfect marriage. Few ensembles have built such a legacy and strong association with the great Russian master. This recording features the final Symphony No. 6 'Pathétique'. Written in the last year of his life, this most melancholic of Tchaikovsky's symphonies is forever associated with the tragedy of his sudden death in 1893. As an added bonus, the disc includes the seldom-heard piano masterpiece Dumka, performed by Christoph Eschenbach on piano.
With this release, The Philadelphia Orchestra and Christoph Eschenbach have now completed their recordings of the last three Tchaikovsky symphonies for Ondine. Enthusiastic press and success followed on the release of the previous recordings of Tchaikovsky's Fourth (ODE 1104-5) and Fifth (ODE 1076-5) Symphonies, coupled each with one half of The Seasons. Finest SACD recording technology highlights the unique spirit of a live performance of the legendary Orchestra, as well as of its world-renowned and magnificent "Philadelphia Sound".

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NEW-UP. BIS. Amadeus Mozart - Violin Concertos 3 & 5, Sinfonia Concertanto: Richard Tognetti, Australian CO. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

December 9, 2013, 9:27 pm

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Sony PS3 SACD to *ISO | DST 1bit-2822,4kHz 2CH-MCH | 3.82GB
DST64: DFF(DST) 1bit-2822,4kHz 2CH | 1.12GB
DST64: DFF(DST) 1bit-2822,4kHz MCH | 2.69GB

Classical | Label: BIS | Catalog Number: SACD-1754 | RAR 3% Rec.

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Experiencing the Australian Chamber Orchestra and their leader Richard Tognetti in concert has been described in The Times (UK) as 'like taking a swig of a vitamin drink', while a reviewer in the San Francisco Chronicle was struck by 'the sort of fleet rhythmic control and tonal purity that most chamber groups can only envy.' As demonstrated by this recording of Mozart's violin concertos (the first of two discs), both statements also apply to the team's performances in the studio. These are works which exist in countless versions on disc, and in interpretations of the most varying kind. Even so, Tognetti and his band from the very first tutti chord of Concerto No.3 manage to create a rare sense of expectancy, building sonorities that feel constantly fresh and new, and infusing even the most innocuous figure in the accompaniment with an uncommon rhythmic and dynamic vitality. Contributing to this is the fact that the strings (soloist and tutti) play on gut strings, while the wind players perform on replicas of instruments from Mozart's time. At the same time all hard-line dogmatism has been avoided: as Tognetti writes in his own introduction to the recording 'we know what the treatises say, and that they diverge like different chefs describing the same dish. And we know that Mozart was the most strikingly original of musicians, and thus may have done nothing like what the experts' dissertations directed. So we simply look at the notes he wrote down, and start from there.' It is certainly a philosophy that seems to work, especially for a team - Tognetti has been the leader and artistic director of the ACO for more than 20 years - with a relationship between tutti players and soloist that is so close as to seem almost telepathic.

01.Concerto No.3: I. Allegro08:51
02.II. Adagio06:47
03.III. Rondeau06:40
04.Concerto No.5: I. Allegro aperto10:01
05.II. Adagio09:04
06.III. Rondeau08:58
07.Sinfonia concertante: I. Allegro maestoso13:01
08.II. Andante09:57
09.III. Presto06:28

Richard Tognetti, violin and leader
Christopher Moore, viola
Australian Chamber Orchestra, orchestra

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NEW-UP. HDTT. Mel Butler - C.B. Fisk organ of Downtown Presbyterian Church Rochester. DSD128: DFF(DSD) 1bit-5.64MHz 2CH

December 11, 2013, 10:46 am

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≪ Previous: NEW-UP. BIS. Amadeus Mozart - Violin Concertos 3 & 5, Sinfonia Concertanto: Richard Tognetti, Australian CO. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

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Classical, Organ | RAR 3% Rec.

Title: Mel Butler plays the C.B. Fisk organ from the
Downtown Presbyterian Church Rochester, NY
Artist: Mel Butler, organ
Recording Info: Transferred from the original
2-track 15ips master tapes / DBX encoded
Producer: John Proffitt Engineer: John Proffitt
Recorded 1983

Mel Butler is Canon Musician of Saint Mark's Episcopal Cathedral, Seattle, and has taught organ improvisation and church music at the University of Washington. Also a professional violist, he performs regularly with the Onyx Chamber Players in Seattle. Prior to arriving in Seattle in 1991, he was for many years Organist/Choirmaster of the Downtown Presbyterian Church in Rochester, NY. During that time he was also Associate Professor of Church Music at the Eastman School of Music, a violist with the Rochester Philharmonic Orchestra, and Music Director and Conductor of the Rochester Bach Festival Chorus. During the Viet Nam War, he served his country as violist in the U.S. Navy String Quartet.

Mel Butler has performed in major concert halls, churches, and cathedrals in the U.S., the U.K. and Japan. He often presents master classes and lectures on various aspects of church music, choral conducting, hymn playing, and improvisation, and has appeared as a lecturer and recitalist for conventions of the American Guild of Organists, the Organ Historical Society, and the Association of Anglican Musicians. His organ CD’s, on the Loft and ReZound labels include French on the Flentrop, Out of This World (with the Boston

Brass), all recorded on the Saint Mark’s Cathedral Flentrop; The Marion Camp Oliver Organ, recorded on the Fritts organ at Saint Mark’s; and Tournemire in Oberlin recorded on the C. B. Fisk organ at Oberlin College. His choral recordings with the Saint Mark’s Cathedral Choir appear on the Loft and Gothic labels.

Originally from Burlington, NC, Mel received the Bachelor of Music degree from the Oberlin Conservatory of Music, studying organ with Garth Peacock, and the Master of Music and Doctor of Musical Arts degrees from the Eastman School of Music, studying with David Craighead.

1) Cesar Franck - Chorale No 3 in a 11:51
2) Nicolas de Grigny - Three movements from Veni Creator 7:53
3) Louis Vierne - Carillon de Westminster 7:07
4) Nicholas Bruhns - Praeludiumin EMinor 8:18
5) J.S. Bach Three Chorale Preludes 8:29
6) Herbert Howells Scilliano for a High Ceremony 7:28
7) Olivier Messian Les Oiseaux Pentecote: Commmunion 5:14
Total Play Time: 56:20

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UPGRADE. MLP. Hanson - Symphonies No. 1 and 2, etc.: Howard Hanson, Eastman-Rochester Orchestra. SACD-ISO. DST64: DFF(DST) 1bit-2822,4kHz 2CH-MCH

December 15, 2013, 12:59 pm

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Sony PS3 SACD to *ISO | DST 1bit-2822,4kHz 2.0, 3.0(5.0) | 2.95GB
DST64: DFF(DST) 1bit-2822,4kHz 2CH | 1.19GB
DST64: DFF(DST) 1bit-2822,4kHz MCH | 1.77GB

Classical | Label: MLP/DECCA | Catalog Number: 4756181 | RAR 3% Rec.

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This as a review comparing the Telarc and the Mercury Living Presense Howard Hanson SACDs listened to in 2 channel Stereo:
Hanson: Symphony No. 1 "Nordic", Symphony No. 2 "Romantic", Song of Democracy
Howard Hanson (conductor), Eastman-Rochester Orchestra, Eastman School of Music Chorus
Mercury Living Presence SACD 475 618-1
Howard Hanson: Fanfare for the Signal Corps, Suite from Merry Mount, Bold Island Suite, Symphony No. 2 Op. 30 "Romantic", Erich Kunzel (conductor) Cincinnati Pops Orchestra
Telarc SACD-60649
Folks this is all the Howard Hanson on SACD so far, I hope much more Hanson is released, both Hanson the composer and Hanson the conductor.
Let me state I like both of these SACDs but for different reasons.
So let’s start with the one work that is common to both SACDs: The Symphony No. 2 “Romantic”
Hanson’s MLP version is vastly superior to the Kunzel Telarc not only in performance but in sonics. The warm deep bass of the Paavo Jarvi Dvorak SACD is not here, the Telarc sound is very good but the Mercury has more and deeper bass, more impact and more excitement. Plus the Hanson’s is a better conductor of his own works than Erich Kunzel is.
The other works on the Mercury Living Presence SACD is the First Symphony which is a very exciting and wonderful piece and the Song for Democracy which has vocals and they are very well blended with the orchestra with lots of sparkling high percussion and tops the disc of nicely.
The sound on the Telarc Howard Hanson SACD is pale by comparison. The music here is less exciting, less rhythmic and more “easy listening”.
A fantastic sounding Mercury Living Presense and highly recommended.
Happy listening,
Teresa

01.Symphony Nº 1 in E Minor Op. 21 (Nordic) - Andante Solenne - Allegro con Forza11:33
02.Symphony Nº 1 in E Minor Op. 21 (Nordic) - Andante Teneramente con Semplicita05:44
03.Symphony Nº 1 in E Minor Op. 21 (Nordic) - Allegro con Fuoco09:24
04.Symphony Nº 2 Op. 30 (Romantic) - Adagio - Allegro Moderato13:58
05.Symphony Nº 2 Op. 30 (Romantic) - Andante con Tenerezza06:36
06.Symphony Nº 2 Op. 30 (Romantic) - Allegro con Brio07:19
07.Song of Democracy12:03

If you do not own the redbook release of this superb disc I would strongly suggest running, not walking, to the nearest hi-fi store and snatching it up. It is one fantastic purchase.
It is a shame more listeners today are not familiar with Hanson's music. He championed American music during his long tenure at the Eastman School and we are lucky to have these recordings conducted by the composer. The music is by turns romantic, inspiring, gentle and exciting and gets better with repeat listening.
The sound quality of these transfers is outstanding and capture the fine acoustic of the Eastman Theater. The years between 1958 and 1962 were probably the best for the Mercury sound, before Bob Fine turned everything over to Robert Eberenz. The latter achieved some super sound, but Fine really had a touch when everything was in place. All three works presented here were recorded in 1957 and 1958. The three-channel versions presented here for the first time only improve on the already excellent sound of the redbook release, with a large, deep soundstage and up-close miking that brings out piano passages beautifully; just listen to to track number 4, the first movement of Symphony No. 2. Film fans will recognize bits of this movement from the end titles to the film "Alien".
As with all Mercury 3-track, half-inch transfers tape hiss is moderate in level and may bother some listeners accustomed to digital silence, but only at first. The music is simply too good and you'll soon be listening past the hiss and besides--who wants to hear non-Dolby tapes with a high end that has been equalized to remove the hiss? Not I!
A simply wonderful disc of great music in sound that is beyond reproach. Please do yourself the favor of experiencing this marvellous document. Most highly recommended.

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NEW-UP. HDTT. John Antill - Corroboree, Suite from Ballet / Morton Gould - Interplay, Ballet Music. DST64: DFF(DST) 2CH

December 15, 2013, 10:38 pm

≫ Next: NEW-UP. Prokofiev - Alexander Nevsky: Leonard Slatkin. Rimsky-Korsakov - Scheherazade: Jerzy Semkow. St. Louis Symphony. Audio DVD-Video

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highdeftapetransfers.com | DST64: DFF 1bit-2822,4kHz 2CH, SCANS | 1.39GB

Classical, Organ | RAR 3% Rec.

Artist(s): Sir Eugene Goossens conducts The London Symphony Orch
Morton Gould and his Orchestra
Recording Info: Antill: Transferred from a Everest 2-track tape
Bert Whyte Producer / Engineer Recorded: 1959
Gould: Producer: Joseph Habig Engineer: Lewis Layton
Recorded: 1961

High Definition Tape Transfers reissues are available in these formats, though not all their titles in all the formats: DSD 64 or 128, DXD, 24/96K DVD-V. 24/192K DVD-Audio, HQCD, and standard CD. They take commercial open reels tapes and recently also commercial LPs of music which meet the public domain copyright laws, process them using very high quality gear, and release them as either standard CDs or as the various hi-res stereo formats. (No MP3s.)
This 1959 recording of Antill’s Corroboree, engineered by Bert Whyte, has been an audiophile cult favorite ever since. The extraordinary suite from a ballet seems to be the only thing out there by the Australian composer, who created a percussion-heavy suite from which we have here five-movements—a musical evocation of an Australian Aboriginal dance ceremony. Conductor Goossens is responsible for having discovered the unusual, primitive-sounding work when he took over the Sydney Symphony Orchestra. In some ways it is a sort of Australian counterpart to Stravinsky’s Rite of Spring. (By the way, there’s also a competing CD of the work performed by the Sydney Symphony; it doesn’t equal the fidelity of this one.)
The five selected movements are: Welcome Ceremony, Dance to the Evening Star, A Rain Dance, Procession of Totems, and Closing Fire Ceremony. Although it’s full of violent orchestral sounds with a strong emphasis on the percussion section, there are also sections at lower volumes with the percussion contributing to interesting coloristic effects. There’s no digeridoos in it, but plenty of low-register eerie sounds nevertheless. (If such a work were composed today, there probably would be.) One of the online reviewers brought up a very interesting point on the several works which supported the Futurist movement of the early 20th century—machine-music works such as Mossolov’s Iron Foundry and Honegger’s Pacific 231. Namely how the primitive evocations in the music of the Antill and Stravinsky works also easily portray the machine world.
I once had the original Everest LP of Corroboree, but got rid of it when I received the few Everest SACD reissues made by the Omega Record Group in 2001. That one was one of the few SACDs aside from the Mercury Living Presence and RCA Living Stereo series that was three discrete channels across the front. (It is currently selling on Amazon for $300!) (The upcoming Everest reissue CDs and SACDs will both be mixed down from three channels to two.) Naturally I did an A/B comparison of that with this HDTT 96/24 reissue. When using the Direct setting on my preamp, the three-channel Everest came out ahead sonically, but not by a huge margin. However, when I switched to the ProLogic IIz with height channels setting, the SACD and the HDTT DVD-R sounded identical. There was a loss of the extreme low bass end on both, but both created welcome center channel sound that made the stereo stage more deep and detailed. Considering the price difference, I would say the decision is easy here.
I have the RCA standard CD reissue of the Morton Gould work; it was also released in 1961 on an RCA 4-track open reel tape. And of course the HDTT reissue is vastly superior sonically. The work was originally a piano concerto written for Jose Iturbi, but choreographer Jerome Robbins heard it on the radio and decided it would be perfect as dance music for his new ballet. It fits right in with the style of George Gershwin, and even has a Blues movement. It now has a new title of Interplay, and as no other pianist is credited, it is presumably Gould himself who is the soloist. The work is in four movements.
—John Sunier

John Antill, whose Corroboree created such a sensation when Eugene Goossens conducted the world premiere of the Suite in Sidney, August 18, 1946, was born at Ashfield, New South Wales, in 1904. He showed enormous musical aptitude as a child,

and in 1925 went to Sydney to complete his musical studies at the Conservatorium there. Most of his professional career has been associated with the Australian Broadcasting Commission, where he has held a variety of posts including that of Music Editor. While Corroboree has done most to make Antill's name known beyond the confines of

Australia, he also composed a number of symphonic works, a set of Five Australian Songs, an opera The Music Critic, and much film music...read more

Antill Corroboree Suite from Ballet
1) Welcome Ceremony
2) Dance To The Evening Star
3) A Rain Dance
4) Procession Of Totems
5) Closing Fire Ceremony
Gould Interplay Ballet Music
6) With drive and vigor
7) Gavotte
8) Blues
9) Very fast, with verve and gusto
Total Play Time: 39:59

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NEW-UP. Prokofiev - Alexander Nevsky: Leonard Slatkin. Rimsky-Korsakov - Scheherazade: Jerzy Semkow. St. Louis Symphony. Audio DVD-Video

December 16, 2013, 8:17 am

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Audio DVD-Video ISO | LPCM 24bit-96kHz 2.0 | 3.04GB

Classical | Label: Classic Records | Catalog Number: DAD 1021

RAR 3% Rec.

Produced and recorded by the Grammy winning team, Marc Aubort and Joanna Nickrenz for Vox. This stunning performance was mixed to 2-track and trasferred directly from the original 4-track tapes to 24/96 by Marc Aubort of Elite Recording in New York City. Don't turn the volume control up too much or you may shake the entire house. Not to be missed!

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1. Alexander Nevsky, Op.78 - 1. Russia under the Mongolian Yoke
2. Alexander Nevsky, Op.78 - 2. Song about Alexander Nevsky
3. Alexander Nevsky, Op.78 - 3. The Crusaders in Pskov
4. Alexander Nevsky, Op.78 - 4. Arise, Ye Russian People
5. Alexander Nevsky, Op.78 - 5. The Battle on Ice
6. Alexander Nevsky, Op.78 - 6. Field of the Dead
7. Alexander Nevsky, Op.78 - 7. Alexander's entry into Pskov
8. Scheherazade - Symphonic Suite, Op. 35: The Sea and Sinbad's Ship
9. Scheherazade - Symphonic Suite, Op. 35: The Story of the Kalender Prince
10. Scheherazade - Symphonic Suite, Op. 35: The Young Prince and the Young Princess
11. Scheherazade - Symphonic Suite, Op. 35: Festival at Baghdad - The Sea - The Ship goes to pieces on a Rock surmounted by a Bronze Warrior

In a press conference held January 9 at the 1998 Winter Consumer Electronics Show in Las Vegas, Classic Records announced the debut of the Classic 24/96 digital audio disc "DAD" series of audio-only DVD-Videos. (Video information is included on the disc but represents only a tiny fraction of the data space.)

The original analog master tapes are converted to 24-bit/96kHz digital data through a Muse Model Seven A/D converter and a proprietary hard-disk recording system developed by Muse's Kevin Halverson. After the analog signal is encoded and the data stored on the hard drive, post-production "authoring" creates a digital tape called a "DLT," which is then used to produce a glass master, which in turn produces stampers that mold the DADs.

Classic refers to their DVD-Video discs as "DAD" because the standard for DVD-Audio was still to be decided upon. A standard for a high-quality music carrier based on the DVD platform was expected to be announced at this week's WCES, but Michael Hobson, Classic's President, thinks that there is a good chance this may never materialize as a commercial product. Classic's DAD designation is intended to avoid confusion in the marketplace.

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