Neal Davies, Sarah Connolly, Nick Pritchard, The Choir of Merton College – Bob Chilcott: Christmas Oratorio (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:08 minutes | 1,10 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Delphian Records
Hailed as ‘a palpable success… and utterly new’ at its premiere performance, Bob Chilcott’s Christmas Oratorio brings the magic, wonder and joy of a centuries-old story to modern-day life. This first recording reassembles the glittering cast of soloists from the premiere: Nick Pritchard’s Evangelist, intimately accompanied by harp and flute, is joined by mezzo-soprano Dame Sarah Connolly and bass Neal Davies. Benjamin Nicholas’s award-winning Choir of Merton College, Oxford enrich the Christmas story with carols that are sure to become instant favourites. The composer is delighted with the recording, describing it as ‘elegant, well paced and poised… The choir is fabulous – confident and sure’.
Read moreMonet Quintett – Dubugnon, Taffanel, Holst and Françaix: Wind Quintets (2020/2023)
FLAC (tracks) 24 bit/48 kHz | Time – 01:09:12 minutes | 689 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon GmbH, Berlin
The woodwind quintet is probably the only instrumental combination in chamber music that can claim to have been invented twice. The colourful combination of flute, oboe, clarinet, horn, and bassoon was quite popular in 18th-century noble courts, probably due to its refreshing sonority reminiscent of serenade music: composers felt inspired to write a great number of works.
Swiss composer Richard Dubugnon’s Frenglish Suite (1997) was inspired and influenced by several British and French composers. In the late 1800s, French flutist and composer Paul Taffanel devotedly started to create chamber music societies with the intention of reviving music of the past – an uncommon initiative in those times, and therefore much to his credit. British composer Gustav Holst’s Late Romantic Quintet in A-flat major, Op. 14 is not as well known, but sheds light on other aspects of this instrumental combination: en lieu of virtuosity, it features a great variety of harmonies and timbres, similarly to what Taffanel had sought in his slow movement.
Jean Françaix likewise possessed thorough knowledge of all five instruments and applied it specifically in his Quintet No. 1, with the goal of attaining a “high level of difficulty”, as he remarked himself. Although Françaix wrote the piece in 1948, it was not until 1954 that five woodwind players of the Orchestre National in Paris drummed up the courage to perform the work in public after having reportedly “gone into confinement” for several months to practice it”.
Mirka Viitala – Boulanger – Kaprálová (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 44:32 minutes | 703 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alba Records
When choosing the material to be recorded, I first became interested in the production of Lili Boulanger and quite by chance, around the same time, I received a hot tip from my colleague Niina Ranna about the relatively unknown Czech composer, Vítězslava Kaprálová. This turned out to be a lucky coincidence, because after getting to know the output of both, my attention was drawn to how the expressive tonal language of the two composers seemed to communicate with each other. Little by little, it started to become clear how much they actually had in common.
Read moreMichael Torke – Sessions, 3 A.M. (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 44:33 minutes | 699 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Ecstatic Records
The view that simplicity is a virtue in scientific theories and that, other things being equal, simpler theories should be preferred to more complex ones has been widely advocated in the history of science and philosophy… The claim is that simplicity ought to be one of the key criteria for evaluating and choosing between rival theories… However, simplicity can also be understood in terms of various features of how theories go about explaining nature—for example, a theory might be said to be simpler than another if it contains fewer adjustable parameters, if it invokes fewer extraneous assumptions, or it if provides a more unified explanation of the data.
Read moreZoë Conway, Dónal Lunny, Michelle Mulcahy, Louise Mulcahy, Paddy Glackin – IN C Irish (Live) (2023)
FLAC (tracks) 24 bit/88,2 kHz | Time – 59:13 minutes | 1,04 GB | Genre: Classical, World
Studio Masters, Official Digital Download | Front Cover | © Louth Contemporary Music
The latest release from Louth Contemporary Music Society, Ireland’s most dynamic promoter of new music, features a recording of the world premiere of In C Irish, a new version of Terry Riley’s In C for an ensemble of traditional Irish musicians.
Read moreLee Wiley – Sings Vincent Youmans (1952/2023)
FLAC (tracks) 24 bit/192 kHz | Time – 22:24 minutes | 416 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © RevOla
Surprisingly (and temporarily) employed by Mitch Miller at the major label Columbia Records, Lee Wiley followed up the stunning Night in Manhattan with two further 10″ LPs recorded in the late fall of 1951 and released simultaneously in 1952, discs that took off from her celebrated songbook albums for the Liberty Music Shop label back in 1939-40. At that time, she had devoted collections to George and Ira Gershwin, Cole Porter, Richard Rodgers and Lorenz Hart, and Harold Arlen. Now, she addressed Vincent Youmans and Irving Berlin. Unlike Night in Manhattan, which featured Bobby Hackett, Joe Bushkin, and a string section for accompaniment (and unlike the Liberty Music Shop albums that featured a small jazz band), the Youmans and Berlin LPs used a double-piano backup from Stan Freeman and Cy Walter. For the Youmans album, Wiley selected eight of the best-known titles from the songwriter’s relatively small catalog, songs from his shows No, No, Nanette, Hit the Deck, Smiles, Take a Chance, and Great Day! She started with the most famous Youmans title, “Tea for Two,” disguising it by including the rarely sung introductory verse. With her slightly grainy, slightly throaty voice, she brought depth to the more serious lyrics, such as “More Than You Know,” but she also enthusiastically (if politely) expressed the pep of upbeat numbers like “Rise ‘n’ Shine.” And she left plenty of room for the pianos to offer an updated version of the 1920s style of the tunes. The result was a worthy addition to her songbook series.
Read moreTravis & Kremer – Dressed to Kill (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 21:28 minutes | 248 MB | Genre: Blues
Studio Masters, Official Digital Download | Front Cover | © Hum Tracks – BMG Production Music
Merle Robert Travis (November 29, 1917 – October 20, 1983) was an American country and western singer, songwriter, and guitarist born in Rosewood, Kentucky, United States. His songs’ lyrics often discussed both the lives and the economic exploitation of American coal miners. Among his many well-known songs and recordings are “Sixteen Tons”, “Re-Enlistment Blues”, “I am a Pilgrim” and “Dark as a Dungeon”. However, it is his unique guitar style, still called “Travis picking” by guitarists, as well as his interpretations of the rich musical traditions of his native Muhlenberg County, Kentucky, for which he is best known today. Travis picking is a syncopated style of guitar fingerpicking rooted in ragtime music in which alternating chords and bass notes are plucked by the thumb while melodies are simultaneously plucked by the index finger. He was inducted into the Nashville Songwriters Hall of Fame in 1970 and elected to the Country Music Hall of Fame in 1977.
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