Music For All

Grammy Nominated: Best Engineered Album, Classical- Keith O. Johnson, Engineer
"Oue plays each piece to the hilt; I cannot imagine more precise, more lovingly conducted performances. As for the recording, I'm running out of superlatives ...it is brilliant and weighty, with tremendous undistorted dynamics." - Peter Aczel, The Audio Critic

Performers: Eiji Oue, Minnesota Orchestra

"Dazzling orchestral colors," is one one way to describe the music of Ottorino Respighi. "Belkis, Queen of Sheba" was conceived as an evening-long ballet with singing whose lavishness has kept it from view since its La Scala premiere. This is only the second recording of a suite prepared by the composer " for the first time with the tenor solo (sung by Chad Shelton), and with the movements in the correct order. The music's oriental perfumes and barbaric splendor guarantee the enthusiasm of anyone who hears it. "Dance of the Gnomes" is a little-known but characteristically dramatic and colorful (some might say "lurid") tone poem. "Prof." Johnson's stunning HDCD® sonics make Respighi's greatest hit "The Pines of Rome" (with extra brasses and organ!) a dazzling conclusion to this unusual, inventive program.

1. Belkis, Queen of Sheba - Suite: Solomon's Dream
2. Belkis, Queen of Sheba - Suite: The Dance of Belkis at Dawn
3. Belkis, Queen of Sheba - Suite: War Dance
4. Belkis, Queen of Sheba - Suite: Orgiastic Dance
5. Dance of the Gnomes: Allegro Vivace
6. Dance of the Gnomes: Meno Mosso
7. Dance of the Gnomes: Alla Marcia Funebre
8. Dance of the Gnomes: Allegro
9. The Pines Of Rome: The Pines of the Villa Borghese
10. The Pines of Rome: The Pines Near a Catacomb
11. The Pines of Rome: The Pines of the Janiculum
12. The Pines of Rome: The Pines of the Appian Way

I. Quite a surprise for me as I'm not sure I've ever heard the first two selections. The third selection, The Pines of Rome is very possibly Respighi's most famous and popular composition. Belkis, Queen of Sheba is the famous biblical tale of her visit to King Solomon. Audiophiles as well as music lovers should know that this ballet's original score adds an offstage band and a wind machine, a chorus, tenor, narrator, sitar and other exotic instruments. The premiere was held in 1932 and featured nearly a thousand performers! There were enthusiastic reviews but only eleven performances.
The opulent score was too big. Respighi knew it and decided to create two suites from the score; unfortunately he was only able to create one suite due to his failing health. "Solomon's Dream", the opening section of this suite is actually from the ballet's second of seven scenes and it ends with music from scene five. The quite lovely and at times mystical music builds quite quickly to some passages with particularly impressive bass drum reproduction. Following soon after is some of the most realistically recorded string sections I've heard lately on CD! All in all, very richly scored with some unusual instrumental touches and all of it clearly audible with fine depth of soundscape. Portions of this sound a bit reminiscent of some of the exotic sections of Scherezade. It concludes very quietly.
The following "Dance of Belkis at Dawn" starts as if it were a continuation of the preceding. It is rather simply scored for the most part and has some particularly attractive passages for cello. There are many definite and immediately attractive mystical or oriental touches to some of these passages. Call it subtly beautiful overall with suitably atmospheric reproduction of the hall's acoustics.
"War Dance" starts out much more extroverted than the previous sections of "Solomon's Dream" and "Dance of Belkis", though not quite on the level of Holsts' "Mars the Bringer of War" from the Planets, and sound basically of demonstration quality. It also adds instruments with exotic and oriental impressions. Relatively powerful and impressive but not quite overwhelmingly so and concomitantly a melody is appearing that has you expecting to see a cobra rise up from a basket and sway to the rhythms. Fine brass playing, reproduced with a realistic feeling of depth for an orchestra deployed across a relatively wide stage is a prominent feature of the ending of this section.
"Orgiastic Dance" (featuring Chad Shelton, tenor) is the final section of the suite. The score indicates a section to feature either a trumpet (the usual choice) or a tenor. This is the first recording known to feature the tenor. Here he is recorded very atmospherically but so distantly that my guess is that Mr. Shelton's reputation will not receive a boost because of this recording. All builds to a suitable finale that could be used as a fitting climax to some movies such as older historical dramas ended by battles or whatever. It should gladden the sensory receptors of any audiophile; it is of demonstration quality. Highly recommended; this plus the following Gnomes, together are easily worth this CD's price of admission.
II. Dance of the Gnomes almost sounds as if it were a continuation of Belkis, minus much of the exotic touches, actually written about a dozen years previously.
This work was not an immediate success and though Toscanini and Reiner both championed it for years it pretty much disappeared from concert halls by the late thirties. In the final track of this selection, near the beginning, there is an outstanding passage with a few deeply tuned bass drum strokes that will give your subwoofer section all it cares to handle or maybe more. I'm very serious about that statement; bass that extended in range and high in level is not common! That passage is as deep and full sounding as anything I can remember hearing recently! If you listen at a high level either your wall or pictures hung on it should vibrate. Soon after this there is a subtly beautiful passage for bassoon. Then, comes a very fitting climax. Much of this could be appropriately used in a soundtrack.
III. Pines of Rome. This work is so familiar that because of the space I've given to the other works, I'm going to short-change the Pines. The "Catacomb's" track is almost perfectly atmospherically performed and recorded. Not a show-off section per se, just outstanding music making. Nice work by the horns and beautifully reproduced. Same goes for the next section; here listen and see if your system will present you with the subtle beautiful sounds of both the harp and celesta. They are a bit "highlighted and if your system does not let you clearly hear them, you might do well to consider an upgrade to your sound system. Start by scrolling through our present and archives sections of equipment reviews. The "Appian Way" section is deservedly famous, well known and used in many movies - you can easily visualize the famous Roman legions marching down the Appian Way relentlessly getting closer and closer and closer (reminisces of Bolero) and culminating in perhaps the most famous "audiophile recording climax" ever in recording history. For the uninitiated this is the Fritz Reiner-Chicago Symphony version recorded forty-two years ago! The story is that someone forgot to touch any of "the controls, probably while making the production master tape". As a result, the first lacquers (#1s) identified by the tiny "s" numbers in the run out area of an LP, and mistakenly referred to as the stamper numbers, were cut at an extremely high level with no compression, roll-off or restrictions. Most customers returned the records, RCA LSC-2436, as unplayable and they were destroyed. Remaining ones are rare (I've only seen three) and are one of, if not the most sought after stereo classical LP of all time, particularly by audiophiles plus the performance is outstanding and appeals to music lovers as well. The next group may consist of only "s" numbers 3 and 5; they were cut by only one or two decibels lower in level to make them playable; again many were returned. Supposedly all other "s" numbers (higher) were cut at least five decibels lower and probably rolled off a bit at frequency extremes and were now playable by most customers. These low "s" # versions were cut at a higher level than the mono release that I also have, which was not the norm. RCA's half-speed mastered pressing, Chesky's "tubed" and Classic's solid-state remastering all tried but could not quite equal those low numbered "s" releases, probably because of deterioration of the very old master tape. I was a bit surprised that my RCA "half-speed mastered" pressing had good dynamics and level, but fell shy in the bottom octave and a half. It had been done many years before these other efforts.
For you vinyl lovers out there, I'm going to tell you that you may be shocked at the superb reproduction on this HDCD recording. The performance is fine overall, a touch less dynamic than Reiner in the Pines possibly, but close. In the finale, repeated comparison with my pristine copy of Reiner's LP wound up almost a toss up, the famous old "six of one, half dozen of the other" routine. The orchestras' just sound different, the perspective is different and there seems to be a different seating arrangement for the brass and winds. If you just listen to one instrumental section at a time for comparison, things just change again if you listen to another group and so on. However, overall both are superb but different. The bottom octave below fifty Hertz is noticeably stronger and more extended with this HDCD as you might expect. Basically the finale is tremendous with excellent reproduction of the brass instruments as well as the famous bass instruments' entry. Your interest in this recording should be at the top of the maximum rating-one of the well loved showpieces plus a couple of fine new selections that you should enjoy getting used to. Add absolutely top quality audio recording and you have a fine example of my highest recommendation.

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Description

On the occasion of the 400th anniversary of Giovanni Gabrieli's death, who was one of the most influential musicians of the Venetian School, we are pleased to present you with this extraordinary recording of ''La Musica per San Rocco''.

''La Musica per San Rocco'' can be imagined as a type of music event which must have been usual in 17th Century Venice, and which represented its relish for splendour and freedom from strict schemes very well.

Thomas Coryat wrote 1611 in his report ''Coryat's Crudities'':

''The third feast was upon Saint Roches day being Saturday and the sixth day of August, where I heard the best musicke that ever I did in all my life both in the morning and in the afternoone, so good that I would willingly goe an hundred miles a foote at any time to hear the like...This feast consisted principally of musicke, which was both vocall and instrumentall, so good, so delectable, so rare, so admirable, so superexcellent, that I did even ravish and stupifie all those strangers that never heard the like...''.

Look forward to this new recording with the ensembles Melodi Cantores and La Pifarescha (on historic instruments) directed by Elena Sartori, which is presented by ARTS in June 2012 as high-quality, multi-channel Hybrid SACD and superior 24 bit/96 kHz sound quality.

Reviews:

Medioevo (Italy), January 2013 (01.01.2013)

An excellent performance of 'Melodi Cantores Ensemble' and 'La Pifarescha', both conducted by Elena Sartori with sensitivity and masterly skill. (Franco Bruni)

Muzyka21, grudzien 2012 (01.12.2012)

4 Stars. Enjoy the result of thorough research and careful preparation of music, both of the vocal group and the instrumental music. [This album seems] to be a valuable publishing in 2012 as an initiative commemorating the fourhundredth anniversary of the death of Giovanni Gabrieli. An interesting choice of repertoire, good performance, adequate technical quality recordings that should appeal to music lovers not only old, but audiophiles who appreciate this multi-channel reception in the SACD format in which they were written. (Paul Chmielowski)

MusicWeb International, November 2012 (01.11.2012)

Well researched and beautifully performed and recorded (…).Vocal ensemble Melodi Cantores and La Pifarescha on historic instruments are directed to great effect in this recording by Elena Sartori, and this is a highly enjoyable release which sounds terrific in plain stereo, and can blow your socks off in multi-channel surround. Thoroughly attractive. (Dominy Clements)

Read the complete review here.

MusicWeb International, October 2012 (16.10.2012)

(…) Elena Sartori’s gorgeous and brilliant excellent programme note. (…) in this excellently planned CD, there is much variety. With the inclusion of the famous In Ecclesis and ending with a superb Magnificat this would in many ways be a good place to start if you are, as it were, a Gabrieli virgin. In addition this disc has the advantage for some of being a hybrid SACD, ideal for this spacious repertoire. One can imagine standing high at the west end of St. Marks. Listen to the Magnificat especially to gain the best idea of what has been achieved. Ah, well, just enjoy. (Gary Higginson)

Read the complete review here.

Crescendo (11.10.2012)

The choice of program is very valuable, both for the musicians who animate as well as for us as audience. In fact, the musicians emphasize the compositional singularity of Gabrieli, both in terms of dynamic and those of the musical phrase. The interpretation provides a perfect intelligibility that underlines the close relationship of text and music. The interpretation's quality is characterized by a appropriate reading of the selected works and implementation's accuracy. It takes us to the heart of the Venetian spirit of the time, ranging from pomp to reverence. (Marie-Sophie Mosnier)

Read the complete French review here.

Musica (01.10.2012)

There is no doubt that this record represents a significant and bold step forward in the rediscovery of the music of Giovanni Gabrieli. 4 of 5 Stars. (Marco Bizzarini)

klassik.com (19.09.2012)

Music for the feast of Saint Roches from the pen of Giovanni Gabrieli, colored sound offered by the ensembles Melodi Cantores and La Pifarescha, both expertly and temperamentally lead by Elena Sartori. The disc provides a very nice portrait of Giovanni Gabrieli as a composer of truly independent dimension. Of course, the multi-voiced major movements in their exchange of fantastic sound concentration and finely opened passages are of the noblest of spacial art. The 'Magnificat' for 33 voices gives a splendid impression thererof. But the canzoni, the intricate organ music or a surprisingly varied explicated litany show a most creative composer with the courage for individual solutions. Elena Sartori presents with her powerful formations an interesting as well as relevant program in full color. Interpretation: 4 Stars, Sound: 4 Stars (Dr. Matthias Lange)

Read the complete review here.

Il Sole 24 Ore (12.08.2012)

The Golden Album. Four hundred years have passed since Giovanni Gabrieli, excellent polyphonic composer, who introduced the Venetian landscape colouring into music, died in Venice. A CD made by the most versatile and best-prepared groups, based in Ravenna, where it has grown - thanks to Elena Sartori's thorough preparation - reminds us of that. The great flexibility of phrasing leads these musical pieces dedicated to Saint Roche straight to us, four hundred years summarized in an ''Amen''. (C.M.)

Musica (31.07.2012)

The new CD by ARTS: A musical journey in Venice (1608).

MDR Figaro (09.07.2012)

The excellent ensemble "La Pifarescha" and the singers of Melodi Cantores succeed under the direction of organist Elena Sartori in representing these complex compositions full of impressive grandeur and with that very grain of antique patina that lets the listener experience the spirit of music history. How instrumental and vocal choirs are coordinated and perfectly harmonize and even contrast, how the solo voices, each one for itself, develop entirely individual colors, and last but not least, how the organ playing by Elena Sartori ingeniously joins up, everything always alternating, this is what makes this CD an extremely worthy homage to one of the truly great masters of music history. (...) excellent recording quality (...).

Read the complete review here.

Classical | Label: LINN | Catalog Number: CKD 365 | RAR 3% Rec.

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Vivaldi's collection of violin concertos entitled "The Trial of Harmony and of Invention" Op. 8, is not so often recorded despite it including "The Four Seasons", probably the best known classical music in the world. The "Seasons" have taken on a life of their own, being used for ring tones, advertisement music, jazz versions and in classical recordings of every kind, whether on period or modern instruments and having size of ensembles from one-to-a-part to the whole string section of the Berlin Philharmonic. Yet new ones still come forth, even though they have to survive in an extremely competitive market. Pity the poor person who is trying to locate the best version to buy for their first purchase. Pity also the poor reviewer, who faces an impossible task of comparing chalk and cheese to the nth degree. It all comes down to personal preference, of course.
The Avison Ensemble has two useful marketing angles in its favour; it contains all 12 violin concertos of "Il Cimento dell'armonia e dell'inventione", and the two Hybrid discs are at a 2 disc-for-1 price. Pavlo Beznosiuk, the director and soloist for the Avison Ensemble has impeccable qualifications for his job as a period instrument violin soloist. The Ensemble itself is based in the north-east of England, and takes its name from Charles Avison, a local composer who wrote many excellent sets of concertos himself. The disc's booklet rather shoots itself in the foot by telling us that when copies of Vivaldi's Op.8 arrived on Avison's desk, he was quite unimpressed with the work (although in his own later concertos there are signs that he had adopted some of Vivaldi's effects).
While scholars still remain locked in disagreement about the "normal" size for playing concerti in the Baroque, the Avison fields up to 15 players (including Beznosiuk) Apart from his solo violin, the ripieno group consists of 4 firsts and 4 second violins, a viola, two cellos, one bass and two continuo players, whose instruments include archlute, baroque guitar, harpsichord and box organ. This size of group might be found in a pretty well-to-do institution or household. Instruments are of period type or replicas thereof.
Taking The Four Seasons first, it is immediately clear that that the Ensemble has an excellent grasp of Baroque playing practise. Their tempi are in line with the speeds of 'Allegro' other terms generally used in Vivald's time; there are no frenzied or hyper-aggressive movements, and the various effects such as winds, storms, animal and bird noises which Vivaldi's programmatic texts abound with are produced naturally and musically, rather than the shock and awe tactics employed on some recordings to gain kudos.
I did notice that Beznosiuk does take more notice of Vivaldi's detailed instructions in the score than some. For example in the Largo of "Spring", the soloist portrays a goatherd soundly asleep, while the viola emulates a barking dog, obviously warning of a carnivorous attack on the herd, as Vivaldi has a note saying that the viola must play insistently "molto forte e strappato" (very loud and snatched). The joke is that the goatherd is probably too drunk to hear the insistent dog's warnings. Only Fabio Biondi follows the instructions to the letter; many others prefer to keep the dog very much quieter. To their credit, the Avison go a little more than half way, and we certainly notice the dog barking.
In short, the Avison's whole approach to the programmatic elements is thoroughly musical, and all the better for that. Beznosiuk selflessly does not involve himself in the "Virtuoso" style which Vivaldi himself reportedly had, declining tp add florid ornamentations on the wing as does the passionate Carmignola. Instead, this is rather a North European set of "Seasons", rather than one located nearer the Mediterranean. Beznosiuk also keeps the continuo section colourfully varying their instrumentation from piece to piece. While clearly present, the continuo playing is happily trenchant but unfussy.
The other concertos in Op. 8 are mostly up to the same standard; Vivaldi's inventiveness is astonishing, and the non-Seasons really should be better known. Several of them do have names indicating a generalised programme, such as "Tempesta del Mare" (Storm at Sea), "Il Piacere" (The Pleasant) and "La Caccia" (The Hunt), but all of them are lively, colourful and entertainingly tuneful.
Linn's recording, particularly in multichannel, is immediate but not too close, with a solid and deep bass and plenty of instrumental detail. However, I did notice that, as on all my other Linn SACDs, the upper violin sound tends to become glassy if you play at a pretty high volume. Backing off the control a few notches usually removes the problem. For me, the most thrilling Vivaldi sound on SACD comes from Channel Classics' later set of 12 violin concertos with Rachel Podger, "La Stravaganza". The playing of Arte dei Suonatori is also in class of its own in these pieces.
Despite a few minor issues (including my staunch affection for Orbellian's "Seasons", which is full of fun), I think that the Avison's version of "Il Cimento", neatly clad in a triple gate-fold digipac, is a real bargain, and anyone lacking the Op. 8 concerts could well do much worse.

DISC 1

1.Violin Concerto in E Major, Opus 8, No. 1, RV. 269, 'La Primavera' (Spring) - I. Allegro03:28
02.Violin Concerto in E Major, Opus 8, No. 1, RV. 269, 'La Primavera' (Spring) - II. Largo02:39
03.Violin Concerto in E Major, Opus 8, No. 1, RV. 269, 'La Primavera' (Spring) - III. Allegro04:13
04.Violin Concerto in G minor, Opus 8, No. 2, RV. 315, 'L'Estate' (Summer) - I. Allegro non molto05:14
05.Violin Concerto in G minor, Opus 8, No. 2, RV. 315, RV.315, 'L'Estate' (Summer) - II. Adagio02:11
06.Violin Concerto in G minor, Opus 8, No. 2, RV. 315, 'L'Estate' (Summer) - III. Presto03:00
07.Violin Concerto in F Major, Opus 8, No. 3, RV. 293, 'L'Autunno' (Autumn) - I. Allegro04:53
08.Violin Concerto in F Major, Opus 8, No. 3, RV. 293, 'L'Autunno' (Autumn) - II. Adagio molto02:05
09.Violin Concerto in F Major, Opus 8, No. 3, RV. 293, 'L'Autunno' (Autumn) - III. Allegro03:18
10.Violin Concerto in F minor, Opus 8, No. 4, RV. 297, 'L'Inverno' (Winter) - I. Allegro non molto03:26
11.Violin Concerto in F minor, Opus 8, No. 4, RV. 297, 'L'Inverno' (Winter) - II. Largo01:42
12.Violin Concerto in F minor, Opus 8, No. 4, RV. 297, 'L'Inverno' (Winter) - III. Allegro03:16
13.Violin Concerto in E flat Major, Opus 8, No. 5, RV. 253, 'La Tempesta di Mare' - I. Presto02:59
14.Violin Concerto in E flat Major, Opus 8, No. 5, RV. 253, 'La Tempesta di Mare' - II. Largo02:07
15.Violin Concerto in E flat Major, Opus 8, No. 5, RV. 253, 'La Tempesta di Mare' - III. Presto04:06
16.Violin Concerto in C Major, Opus 8, No. 6, RV. 180, 'Il Piacere' - I. Allegro03:23
17.Violin Concerto in C Major, Opus 8, No. 6, RV. 180, 'Il Piacere' - II. Largo e cantabile02:33
18.Violin Concerto in C Major, Opus 8, No. 6, RV. 180, 'Il Piacere' - III. Allegro03:11

DISC 2

01.Violin Concerto in D minor Opus 8 No. 7 - RV 242 - I. Allegro03:11
02.Violin Concerto in D minor Opus 8 No. 7 - RV 242 - II. Largo01:47
03.Violin Concerto in D minor Opus 8 No. 7 - RV 242 - III. Allegro03:14
04.Violin Concerto in G minor Opus 8 No. 8 - RV 332 - I. Allegro03:30
05.Violin Concerto in G minor Opus 8 No. 8 - RV 332 - II. Largo02:05
06.Violin Concerto in G minor Opus 8 No. 8 - RV 332 - III. Allegro04:11
07.Violin Concerto in D minor Opus 8 No. 9 - RV 236 - I. Allegro03:09
08.Violin Concerto in D minor Opus 8 No. 9 - RV 236 - II. Largo01:58
09.Violin Concerto in D minor Opus 8 No. 9 - RV 236 - III. Allegro02:59
10.Violin Concerto in B flat Major Opus 8 No. 10 - RV 362 - 'La Caccia' - I. Allegro03:37
11.Violin Concerto in B flat Major Opus 8 No. 10 - RV 362 - 'La Caccia' - II. Adagio02:10
12.Violin Concerto in B flat Major Opus 8 No. 10 - RV 362 - 'La Caccia' - III. Allegro02:46
13.Violin Concerto in D Major Opus 8 No. 11 - RV 210 - I. Allegro04:50
14.Violin Concerto in D Major Opus 8 No. 11 - RV 210 - II. Largo02:24
15.Violin Concerto in D Major Opus 8 No. 11 - RV 210 - III. Allegro05:12
16.Violin Concerto in C Major Opus 8 No. 12 - RV 178 - I. Allegro03:12
17.Violin Concerto in C Major Opus 8 No. 12 - RV 178 - II. Largo02:08
18.Violin Concerto in C Major Opus 8 No. 12 - RV 178 - III. Allegro03:44

Halesowen News
'...they breathe new life into the splendours of the Italian Baroque with all their familiar insight and attention to detail.'
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Pizzicato
5 Stars

A glowing review in German from Pizzicato.
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Classic FM Magazine
4 Stars

'...one of the most vibrant, authentic and involving recordings of Vivaldi's violin concertos I've heard.'
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Early Music Review
'Pavlo Beznosiuk's virtuoso playing...'
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International Record Review
'...offering up performances which are as entertaining, compelling and colourful as they are authoritative and polished.'
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Audiophile Audition
4 Stars

'powerfully played'
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Classical Source
'...performances full of thoughtful and thought-provoking insight'
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ClassicsToday.com
5 Stars

Artist quality: 10 / Sound quality: 10 "consistently first-class"
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BBCi
"A delightful new set which showcases The Four Seasons' startling originality."
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BBC Radio 3 CD Review
Disc of the Week: 'Plenty of bold colours...recorded with immediacy and real presence on the Linn label.'
Independent on Sunday
"...Delicious"
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BBC Radio 3 CD Review
Disc of the Week: 'Lovely, warm colourful playing.'
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MusicWeb International
'This is another excellent recording to add to the distinguished list of the best available recordings.'
more >>

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Composer:	Bartolomeo Barbarino, Giovanni Gabrieli
Conductor:	Elena Sartori
Solist:	Elena Sartori
Chorus:	Melodi Cantores
Orchestra:	La Pifarescha
Genre:	Ancient Music
Label:	SACD
Booklet with lyrics/libretto:	yes
CDs / Unit:	1
Cat-Nr.:	47762-8
Total Time:	72:11
Recording Date:	03/2012
Technology:	Hybrid: 5+1 surround and stereo high resolution (DSD technique) + stereo CD layer
Release Date:	06/2012

RE-UP. PentaTone. HDTR. Haydn - Symphonies Nos. 22, 44, 64: Marco Boni, Concertgebouw Chamber Orchestra. FLAC 24bit-88.2kHz 2.0

NEW-UP. HDTR. Beethoven - Triple Concerto: Karajan, Berlin PO, Oistrakh, Richter, Rostropovich. FLAC 24bit-96kHz 2.0

NEW-UP. Reference Recordings. HDTR. Respighi - Belkis, Queen of Sheba, Dance of the Gnomes, The Pines of Rome. FLAC 24bit-88.2kHz Stereo

NEW-UP. PRD. Tchaikovsky - Piano Concerto No. 1, Symphony No. 6: Richter, Mravinsky, Leningrad PO. SACD-ISO, FLAC 24bit-88.2kHz Stereo

UPGRADE. JAV. Daniel Roth plays the Cavaille-Coll organ of Rouen Saint-Ouen. SACD-ISO, FLAC 24bit-88.2kHz 5.0, 2.0

NEW-UP. CARO MITIS. Pratum Integrum Orchestra: Luigi Boccherini - Instrumental Music. SACD-ISO, FLAC 24bit-88.2kHz 5.0, 2.0

UPGRADE. Reference Recordings. Michael Stern, Kansas City SO - Britten's Orchestra. SACD-ISO, FLAC 24bit-88.2kHz 5.1, 2.0

RE-UP. DIVOX. Andrea Marcon - Padre Davide de Bergamo (1791-1863): Romantic Organ Works

RE-UP. Dietrich Buxtehude: Complete organ works - Walter Kraft (1957. 6CD)

NEW-UP. ARTS. La Musica per San Rocco - Elena Sartori, Melodi Cantores, La Pifarescha. SACD-ISO, FLAC 24bit-88.2kHz 5.1, 2.0

Description

Medioevo (Italy), January 2013 (01.01.2013)

Muzyka21, grudzien 2012 (01.12.2012)

MusicWeb International, November 2012 (01.11.2012)

MusicWeb International, October 2012 (16.10.2012)

Crescendo (11.10.2012)

Musica (01.10.2012)

klassik.com (19.09.2012)

Il Sole 24 Ore (12.08.2012)

Musica (31.07.2012)

MDR Figaro (09.07.2012)

RE-UP. Beethoven Symphony no. 7 (1812) etc. - Ivan Fischer, Budapest Festival Orchestra. 2008 (Studio Master FLAC 24bit-96kHz Stereo)

UPGRADE. LINN. A. Vivaldi - Concerti Opus 8: Pavlo Beznosiuk, The Avison Ensemble. 2xSACD. SACD-ISO, FLAC 24bit-88.2kHz 5.1, 2.0

NEW-UP. Fone. E. Pietropaoli, B. Lena, F. Sigurta - La Notte. SACD-ISO, FLAC 24bit-88.2kHz 2.0

NEW-UP. LSO. Haydn - The Seasons: Colin Davis, LSO. 2xSACD-ISO, FLAC 24bit-88.2kHz 2.0, FLAC 24bit-88.2kHz 5.1

NEW-UP. RCO. Mussorgsky - Pictures at an Exhibition: Mariss Jansons, Royal Concertgebouw Orchestra. SACD-ISO, FLAC 24bit-88.2kHz 5.0, 2.0

UPGRADE. OEHMS. Suddeutsche Orgelmeister, Vol. 3 - Johann Pachelbel (1653-1706) - Organ Works: Joseph Kelemen. SACD-ISO, FLAC 24bit-88.2kHz 5.0, 2.0

UPGRADE. RCO. Gustav Mahler - Symphony no.3: Mariss Jansons, Royal Concertgebouw Orchestra. 2xSACD-ISO. FLAC 24bit-88.2kHz 5.0, 2.0

NEW-UP. Franz Liszt - Die Grossen Orgelwerke: Christoph Schoener. SACD-ISO, FLAC 24bit-88.2kHz 2.0

NEW-UP. Cesar Franck - Symphony in D minor, Psyche (I, IV): Heinrich Walther (Rieger-Organ)

NEW-UP. Anthologie - Aristide Cavaillé-Coll Vol. 8: Bouquet de France: Bernhard Leonardy