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Musicalische Schlemmerey – Canzoni fantasie (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 54:45 minutes | 1,02 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © PASCHENrecords
The dulcian player Clemens Schlemmer and his ensemble »Musicalische Schlemmerey« with Anne Schumann (violin) and Petra Burmann (theorbo) explore the life of a composer of whom only very little is known today.
The Musicalische Schlemmerey” that the eponymous ensemble of bassoonist Clemens Schlemmer and his colleagues Anne Schumann and Petra Burmann have prepared for us here is as entertaining as it is nourishing and as instructive as it is delicate. At the centre of the action is the more or less nebulous person of the Spanish Augustinian monk Bartolomeo de Selma y Salaverde, who was born towards the end of the 16th century and died far from home around 1638 – more precisely: in Poland, where he had come via Innsbruck and Venice. And he did so not on a spiritual mission, but as a composer and excellent musician who apparently excelled particularly in the use of the bassoon instruments of the time. Not least with the Dulcian, which Clemens Schlemmer handles splendidly in the present production: the “dugout” among the bassoons, made from one piece, spreads a very peculiarly mild, enchanting, sometimes almost saxophonesque aura, which one could listen to for hours. Especially when the delicate, clear tones of a baroque violin and the unique foundations of the huge theorbo mingle with the action; the result is truly an exquisite Schlemmerey. Of course, it is not only the pious friar from Madrid who benefits from this: as if to mark his musical path, his canzonas and sonatas are accompanied by similar works by the Venetians Giovanni Battista Fontana (1589-1630) and Dario Castello (1602-1631) as well as their Polish colleague Adam Jarzębski (c. 1560-1649). In harmony, but by no means monotonous, as we discover after almost an hour…
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Mind over MIDI – Sensitiv (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 32:01 minutes | 603 MB | Genre: Electronic, Ambient
Studio Masters, Official Digital Download | Front Cover | © rohs! records
With all our sensitivity and love for Helge’s family, we are pleased to present the latest full length album “Sensitiv” that the Norwegian artist, composer and musician (Mind over MIDI) entrusted us to publish shortly before his passing.
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Marina Baranova – Cosmic Calendar (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 37:31 minutes | 378 MB | Genre: Classical Crossover
Studio Masters, Official Digital Download | Front Cover | © Neue Meister
The latest release, “Cosmic Calendar,” by Ukrainian pianist and composer Marina Baranova, highlights her versatile musical prowess. Raised in a household where classical music was taught by her mother and jazz & composition by her father, Baranova was exposed to contrasting musical worlds from an early age, cultivating her skills in improvisation. A highly gifted pianist, she honed her craft in her hometown of Kharkiv (Ukraine) and later at the University of Hanover (Germany), playing with a natural ease. Baranova possesses a synesthetic talent, allowing her to perceive sounds as colors, adding a unique dimension to her music.
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Magnificat & Philip Cave – Lassus: The Alchemist (Vol. 1) (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 02:37:25 minutes | 2,98 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Linn Records
Under the direction of Philip Cave, Magnificat embarks on a three-volume journey exploring the ingenuity of Orlandus Lassus. In this rich collection of Magnificats based on polyphonic models, Lassus – ‘The Alchemist’ – demonstrates an unsurpassed ability to reimagine existing material in the creation of his own works. This first volume of the series presents Lassus’s Magnificats based on madrigals, featuring models by Philippe Verdelot, Cipriano de Rore, and Alessandro Striggio among others. The second album will comprise Lassus’s canticles based on motets, and the third will conclude with those inspired by chansons. In celebrating Lassus as ‘The Alchemist’, Magnificat reveals the creative process and skill he employed in re-working the original music and illuminates a significant repertory that is underrepresented in contemporary liturgical or concert settings.
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Akiko Suwanai – Johann Sebastian Bach: The sonatas and partitas for violin solo (2022)
SACD Rip | SACD ISO | DST64 2.0 / 5.0 > 1-bit/2.8224 MHz | 01:10:44 + 01:09:38 minutes | 6,67 GB
Genre: Classical | Publisher (label): Decca – UCGD-9086/7
CDデビューから25周年
諏訪内晶子が遂にバッハの金字塔、無伴奏作品を録音！
コロナ下で真摯に向き合い続けた新たな銘器、グァルネリ・デル・ジェズ「チャールズ・リード」を演奏しての新録音。
【SA-CDハイブリッド仕様】【グリーン・カラー・レーベルコート】【特製スリーブケース付】
●現代を代表するヴァイオリン界の逸材、諏訪内晶子が、アルバム・デビューから25周年を迎える今年、満を持して待望のバッハの無伴奏ヴァイオリン・ソナタ＆パルティータ全曲録音に挑みました。
●1990年に史上最年少でチャイコフスキー国際コンクール優勝して以来、30数年の歳月の中で自らを厳しく律し、感性豊かに育まれた音楽性で、しなやかに躍動するバッハ演奏を聴かせてくれます。
●初回限定盤はSACDハイブリッドで、阿川佐和子によるライナーノーツ入り。通常盤とは絵柄違いのスリーブケース付。
●使用楽器は1732年製のグァルネリ・デル・ジェズ「チャールズ・リード」。
Viktoria Mullova, Boston Symphony Orchestra, Seiji Ozawa – Tchaikovsky, Sibelius – Violin Concertos (1985/2022)
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 01:06:33 minutes | 2,67 GB
Genre: Classical | Publisher (label): Decca Classics – 484 513-3
“Listening to the Mullova again confirms my earlier impression. The Sibelius is magnificent: stern, vigorous and entirely free from the kind of sentimental inflation that has distorted our view of this work. Her Tchaikovsky is harder to take: here I definitely prefer Nigel Kennedy’s genial and warm approach, even though it sounds a little low-powered after the intensity and energy of Mullova. The sound on the Mullova disc is magnificently spacious with the soloist well forward, though on CD the sense of distance between solo violin and various instrumental groups tends to sound wider than on LP, especially in the Sibelius: the stopped horns at fig. 4 in the finale sound as if they’re coming from a completely different part of the hall. Kennedy’s recording sounds entirely natural, so that for the most part one is hardly aware of it. the soloist is reasonably close, but the violin/orchestra perspective is nicely judged. In both recordings the violin tone is well captured: even Mullova’s terrifying crescendo molto at fig. 6 in the first movement of the Sibelius is contained without loss of impact.
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