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Claudio Arrau – Grieg, Schumann & Beethoven: Piano Concertos (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 01:41:01 minutes | 1,89 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
Alceo Galliera was a very sought-after accompanying conductor, excelling in the concertante repertoire due to his natural ability to get along and share artistic views with the soloist. His numerous recordings with Claudio Arrau reflect this constant concern for harmonious musical dialogue and are absolute references in Romantic concertos. This album includes works by Schumann, Grieg, and Beethoven’s fourth concerto.
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Claudio Arrau – Beethoven: Piano Concertos Nos. 3, 4 & 5 “Emperor” (Live) (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 01:51:53 minutes | 2,00 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
Claudio Arrau war das jüngste von drei Kindern der Eheleute Don Carlos und Lucretia Leon de Arrau. Seine Mutter, die bei seiner Geburt 43 Jahre alt war, erteilte Klavierunterricht. Sein Vater, der in Chillán als Augenarzt tätig war, kam durch einen Reitunfall ums Leben, als sein Sohn Claudio ein Jahr alt war.
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Claudio Arrau – Beethoven: Piano Concerto No. 2, Op. 19 & Piano Sonata No. 7, Op. 10 No. 3 (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 54:03 minutes | 1,60 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
Step into the sublime world of Ludwig van Beethoven with the masterful interpretations of Claudio Arrau, accompanied by the renowned Philharmonia Orchestra under the direction of Alceo Galliera. In this captivating album released on Warner Classics, experience the power and grace of Beethoven’s Piano Concerto No. 2, Op. 19, and the profound beauty of his Piano Sonata No. 7, Op. 10 No. 3.
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Clan Caimán – Asoma (Rises) (2021)
FLAC (tracks) 24 bit/44,1 kHz | Time – 34:52 minutes | 301 MB | Genre: Electronic, Ambient, New Age, Psychedelic
Studio Masters, Official Digital Download | Front Cover | © EM Records
Clan Caimán returns to EM Records for their second album, continuing the instinctive evolution of their music: a wordless, timeless, gently pulsing and sweetly melodic soundworld, based on composer Emilio Haro’s vision of a band playing the music of an imaginary undiscovered ethnic group. Woven together by Haro’s self-made kalimbafón, a tuned percussion instrument, these five Argentinian musicians also use threads of lap steel, guitars, bass and percussion to knit their beyond-genre textures, seemingly ageless despite being recorded in December 2019.
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Claire Huangci, Mozarteumorchester Salzburg & Howard Griffiths – Mozart: Piano Concertos Nos 15, 16, 17 (KV 450, 451, 453) (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:11:40 minutes | 1,29 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
The Orpheum Foundation, which has been supporting young musicians for more than thirty years, has joined forces with Alpha Classics for a series of recordings devoted to Mozart’s concertos for various instruments. The finest soloists of the young generation have been selected under the artistic direction of Howard Griffiths, a renowned Mozart conductor, who considers that playing his music is like ‘looking in a mirror: you can hear if everything is in place, musicality, intonation, rhythm, phrasing’. For this fifth volume, the American pianist Claire Huangci joins the Mozarteum-Orchester Salzburg and Howard Griffiths, her mentor for the past ten years. For her, she says, these concertos are ‘true musical revelations, works full of virtuosity and imagination’.
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Claire Chase – Density 2036, Pt. 8 (2021) (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 49:20 minutes | 951 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © New Focus Recordings
Virtuoso flutist Claire Chase continues her laudable documentation of her multi-year commissioning project, Density 2036, with digital release of newly premiered works from 2021. Featuring pathbreaking music for flute, in solo, electro-acoustic, and chamber settings, by composers Ann Cleare, Wang Lu, and Matana Roberts (including two versions of a work incorporating improvisation by Roberts), Density 2021 highlights new flute repertoire that embraces current aesthetic considerations in new music with invention and creative enthusiasm.
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Claire Chase – Density 2036, Pt. 7 (2020) (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 45:44 minutes | 829 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © New Focus Recordings
Claire Chase, described by The New York Times recently as “the North Star of her instrument’s ever-expanding universe,” is a musician, interdisciplinary artist, and educator. Passionately dedicated to the creation of new ecosystems for the music of our time, Chase has given the world premieres of hundreds of new works by a new generation of artists, and in 2013 launched the 24-year commissioning project Density 2036. Now in its tenth year, Density 2036 reimagines the solo flute literature over a quarter-century through commissions, performances, recordings, education and an accessible archive at density2036.org. Chase co-founded the International Contemporary Ensemble in 2001, was named a MacArthur Fellow in 2012, and in 2017 was awarded the Avery Fisher Prize from Lincoln Center for the Performing Arts. Chase is currently Professor of the Practice of Music at Harvard University’s Department of Music, a Creative Associate at The Juilliard School, and a Collaborative Partner with Esa-Pekka Salonen and the San Francisco Symphony. She is the Debs Creative Chair at Carnegie Hall for the 2022-23 season.
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Circus of Rock – Lost Behind the Mask (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:02:48 minutes | 797 MB | Genre: Hard Rock
Studio Masters, Official Digital Download | Front Cover | © Frontiers Records s.r.l.
Frontiers Music Srl is pleased to announce the second release from Finland’s Circus Of Rock, “Lost Behind The Mask”. Circus Of Rock is a massive musical project masterminded by drummer Mirka Rantanen (King Company) and “Lost Behind The Mask” is the monstrous follow-up to the band’s epic debut album.
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Circles Around The Sun – Language (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 39:42 minutes | 903 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © MRI
Los Angeles-based instrumental supergroup Circles Around the Sun returns with the release of Language, their fourth studio album. The group, known for their genre-bending skills, pays tribute to their origins while introducing their first body of work with now full-time guitarist John Lee Shannon. The album sequence will take fans on a psychedelic journey to a place of refuge, celebration, and peace, reflective of the band’s own journey.
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Cinder Well – Cadence (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 40:42 minutes | 473 MB | Genre: Folk
Studio Masters, Official Digital Download | Front Cover | © Free Dirt Records
Oceans flow through the center of Cinder Well’s music and ‘Cadence’, the new album from Amelia Baker’s experimental folk project,drifts between two far-flung seas: the hazy California coast where she grew up, and the wind-torn swells of Western Ireland that she’s come to love. Written soon after the release of 2020’s acclaimed ‘No Summer’, Baker returned to her hometown in central California to record at Harlan Steinberger’s nearby Hen House Studios in Venice Beach. Inspired by this new setting, Baker expanded Cinder Well’s sound to include percussion, provided by her old friend Phillip Rogers (Haley Heynderickx), as well as trance electric guitar and expansive string parts courtesy of Cormac MacDiarmada (Lankum). The doom folk and traditional Irish influences of ‘No Summer’ are still present but often give way to a more optimistic and relaxed atmosphere that nods to LA’s mythical Laurel Canyon years. Across nine epic tracks, Baker treads a sonic and lyrical path between the two coastal towns she calls home, her transcendental voice given new wings by the record’s sweeping arrangements. “Overgrown” is the first major key Cinder Well song in nearly a decade while the uneasy and pulsating title track is a love letter to the self for our darkest days. Fittingly, Baker opens ‘Cadence’ with a song about selkies–seals that turn human on land. More than just a bit of folklore, shapeshifting selkies are a metaphor for Baker herself: a songwriter tied to the ebb and flow of the ocean (and humanity’s) currents, whether they be half a world away or a few steps from home.
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Christopher Purves, Simon Lepper – My Soul, What Fear You? (2023)
FLAC (tracks) 24 bit/192 kHz | Time – 55:54 minutes | 1,72 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Kings College Cambridge
This is the first song album by the well-known bass-baritone Christopher Purves, who is accompanied here by one of Britain’s finest pianists, Simon Lepper. In addition to piano songs, Bach’s aria Ich habe genug is presented as well as excerpts from Hanns Eisler’s Hollywood Songbook and Kurt Weill’s Berliner Requiem in original arrangements with accordion, saxophone, guitar, flute and double bass.
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Christophe Imbs – Soft Power (2023)
FLAC (tracks) 24 bit/88,2 kHz | Time – 48:30 minutes | 874 MB | Genre: Contemporary Jazz, Jazz
Studio Masters, Official Digital Download | Front Cover | © Label OH!
Pianist and composer Christophe Imbs, a major figure on the Strasbourg art scene, returns to center stage with a 3rd album as a leader. Not content with having, as Hiko writes, “shattered the imposed figures of the jazz trio” with his previous album, he released “SOFT POWER”, an album which dynamited the jazz quartet.
Behind his piano doped with effects pedals, he composed this album for a shock team: Julien Lourau, Joan Eche-Puig and Anne Paceo (replaced for this concert by Elie Martin-Charrière).
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Christoph Renhart – Ins Offene (Für Gerd Kühr) (2023)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:01:26 minutes | 430 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © col legno
Stylistic diversity and openness to new things characterize the compositional work in Graz, so that the institute for composition at the University of Music and Performing Arts Graz has an excellent international reputation. For the retirement of Gerd Kühr, who has helped shape this path over the years with his commitment and his composition class, an album of short piano pieces was created, which the composers of the institute wrote for Gerd Kühr. Gerd Kühr’s piano cycle »Praeludium – eight interludes – postlude« appears for the first time. With aphoristic accuracy, the short pieces each throw their spotlight on a special gesture of playing the piano.
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Christoph Croisé – Voyage Exotique (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 01:20:33 minutes | 1,46 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Avie Records
Christoph Croisé channels his prowess as a cellist – “he’s got it all – technical chops, impeccable musicianship and imaginative daring” (Gramophone) – into compositional ingenuity on the first album devoted entirely to his own works.
Christoph draws inspiration from a variety of musical role models, including contemporary and centuries past, paying homage to the time-honoured evolution of classical music that has melded current conventions with popular styles. Traditional forms, such as sonata and concerto, are imbued with jazz, blues, bossa nova and improv to create, as Christoph puts it, “a musical and cultural melting pot.”
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Christian Gerhaher – Mahler: Das Lied von der Erde (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 59:23 minutes | 966 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
Christian Gerhaher’s recording of Mahler’s ‘Das Lied von der Erde’ in a version with piano featuring tenor Piotr Beczala and pianist Gerold Huber. ‘This recording of ‘Das Lied von der Erde’ does not represent a preliminary stage in Mahler’s compositional process but stands alongside it as its equal. The piano version of ‘Das Lied von der Erde’ is more daring and at the same time more intimate, forcing the singers to sing in a different, more subtly nuanced, way than they would with an orchestra, while listeners are obliged to listen more intently and to prolong the abstract sound in their imaginations until it acquires the rhetorical colour that is implied by Mahler’s music.’
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