Stan Getz, Charlie Byrd – Jazz Samba (1962/2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Stan Getz, Charlie Byrd
Title: Jazz Samba
Genre: Jazz
Release Date: 1962
Duration: 33:32
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Analogue Productions (Verve)
Source: https://store.acousticsounds.com/d/94081/Stan_Getz_and_Charlie_Byrd-Jazz_Samba-DSD_Single_Rate_28MHz64fs_Download

Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.

The words “bossa nova” are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer Joao Gilberto and songwriter Antonio Carlos Jobim — an adaptation of infectious Brazilian samba rhythms with the harmonic structures and “cool” surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was Jazz Samba — the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America.

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Netherlands Philharmonic Orchestra, Marc Albrecht – Franz Schreker: Der Schatzgraber (2013) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Netherlands Philharmonic Orchestra, Marc Albrecht
Title: Franz Schreker: Der Schatzgraber
Genre: Classical
Release Date: 2013
Duration: 02:31:02
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Challenge Records
Source: https://challengerecords.nativedsd.com/albums/der-schatzgraber

Richard Wagner caused a toxic shock in western music. With Tristan und Isolde (1865), Die Meistersinger von Nrnberg (1868) and Parsifal (1882), to say nothing of Der Ring des Nibelungen (1876), he challenged his successors to take up the gauntlet, revive opera and establish a fresh ethical structure for the new generation. The 19th century slid in the 20th and such questions took on an urgent tone, as writers, artists, architects and composers sought to create a utopian present in an increasingly dystopian world. Franz Schreker, a Monaco-born composer who settled in Vienna, provided multiple answers through his kaleidoscopic operas. Looking back to Wagner, while embracing the fashions and forms of his own time, Schreker pondered what an artist should offer to modern society. In his fifth opera, Der Schatzgrber — composed between 1915 and 1918 and premiered in Frankfurt on 21 January 1920 — that crisis of conscience finds voice in mystic medievalism. But, despite those fairy-tale appearances, the questions posed by Schreker’s treasure seeker are as urgent as any found in Tristan, Die Meistersinger and Parsifal.
What made Wagner’s work so potent and influential was his ambition to change the way in which art functioned. The allegorical basis of much of his work found potency in his writings, such as the ‘Regeneration’ articles that accompanied Parsifal. These new operas, he proclaimed, were not a retrenchment into the days of yore, but profoundly political works about society’s desperate need for renewal (albeit based in dubious claims for vegetarianism and baleful anti-Semitism). In both his operas and those articles, Wagner described ‘the decline of the human race and the need for the establishment of a system of ethics’. Such ideas chimed with a Zeitgeist of renewal emerging across Europe at the time.
In Vienna, where Schreker’s family settled in the late 1880s, that fervour was manifest in a series of major physical, political and intellectual shifts. After revolutions across the Habsburg Empire in 1848, Emperor Franz Josef had instituted a new town plan for the Imperial capital. Knocking down its defensive walls, he ordered the construction of a Ringstrae, complete with totemic municipal buildings or what historian Philipp Blom describes as ‘a self-aggrandising European Las Vegas, dignified by the passage of history’. Despite its self-serving grandeur, these physical changes over the latter half of the 19th century set in train a sequence of artistic movements, presaging not least the reaction of the Secession.

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Van Baerle Trio – Saint-Saens, Loevendie, Ravel: Piano Trios (2012) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Van Baerle Trio
Title: Saint-Saens, Loevendie, Ravel: Piano Trios
Genre: Classical
Release Date: 2012
Duration: 01:06:17
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Etcetera Records
Source: https://etcetera.nativedsd.com/albums/ktc1438piano-trios

“We are always somewhat cerebral, but within that framework we are frequently able to reach perfection” stated Maurice Ravel about French artists in an interview with a Madrid newspaper in 1924. Such a characterisation was true not only for Ravel but also for his colleague Camille Saint-Sans, who had continued to stress the importance of musical form throughout his long career and as a result had fallen from critical favour. Ravel, however, admired Saint-Sans; they were artistically related in that Ravel’s own composition teacher was Gabriel Faur, who had himself been a pupil and protg of Saint-Sans. This first CD from the Van Baerle Trio enables the listener to make a comparison between these two great French composers, with an important supporting role being allotted to the Dutch composer Theo Loevendie, whose open-mindedness and ability to absorb multiple musical influences is always a guarantee of a stimulating musical experience for the listener.

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Hannes Minnaar – Sergei Rachmaninov: Piano Sonata No. 1; Maurice Ravel: Sonatine & Miroirs (2011) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Hannes Minnaar
Title: Sergei Rachmaninov: Piano Sonata No. 1; Maurice Ravel: Sonatine & Miroirs
Genre: Classical
Release Date: 2011
Duration: 01:06:17
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Etcetera Records
Source: https://etcetera.nativedsd.com/albums/ktc1432piano-sonata-no-1-sonatine-and-miroirs

Only a few works for piano, notably the Menuet antique (1895), his first composition for piano, the Pavane pour une infante dfunte (1899) and Jeux d’eau (1902) preceded Miroirs (1905), the suite in five movements composed when Ravel was thirty years old, although he was also working on his unsurpassed Sonatine at the same time. Unlike Rachmaninoff, Ravel did not prepare himself for his larger and more complete piano works with a series of miniatures or Moments musicaux; Ravel’s music was fully formed from the beginning, although he had nonetheless made use of forms used by earlier composers in the Menuet antique and the Sonatine as well as in the Liszt-inspired Jeux d’eau. He shook himself free of classicism in Miroirs, seeing in them the possibility of developing a style of composition for piano from a primarily harmonic viewpoint. He said that he had composed Miroirs in order to break away from his Jeux d’eau, writing later in 1928 that “Miroirs was a collection of piano pieces that marked such a pronounced change in my harmonic development that it bewildered all of the musicians who until then had dan no difficulties with my style whatsover”.

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Olga Martynova – Harpsichord Gems, Vol. 5 – Bach, J.S. – English Suites (2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 5 – Bach, J.S. – English Suites
Genre: Classical
Release Date: 2009
Duration: 02:26:57
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Caro Mitis
Source: https://caromitis.nativedsd.com/albums/CM0032007-2-jsbach-english-suites

The French word ‘suite’ was quickly adopted throughout the European continent. The primary meaning (‘set, sequence’) has been preserved in widely diverse contexts — in ceremonial or court vocabulary (a group of attendants accompanying an important personage), and as an architectural term (an enfilade or series of rooms). But perhaps the word gained most currency in the world of music. As we know, the suite is a favoured cyclical form of baroque instrumental music, representing a series of dance-based pieces that are complementary in the type of movement and unified by a single key (and initially, by the common melodic source).
At the turn of the 18th century it was customary to publish collections made up of a ‘set number’ of pieces, such as 12 trio sonatas, 12 sonatas for violin and continuo, 12 concerti grossi by Arcangelo Corelli, two 6 piece collections Musicalische Ergtzung (1695) and Hexachordum Apollinis (1699) by Johann Pachelbel. Continuing this tradition, Bach wrote 6 English suites and 6 French suites, 6 Partitas for Keyboard, 6 Suites for Cello, 6 Sonatas and Partitas for Violin, and 6 Brandenburg Concertos. A list of Bach collections shows that the principle of the suite — a single musical composition consisting of several separate pieces (from 4 to 7) grouped together — was used in various genres, both for solo instruments and ensembles. Hence the suite was applicable as festive Tafelmusik at court or as music played in a small hall or chamber, for recreation and entertainment, and also for instruction on how to play the keyboard.

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Olga Martynova – Harpsichord Gems, Vol. 4 – Everything You Always Wanted to Know About Harpsichord, But Were Afraid to Ask (2007) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 4 – Everything You Always Wanted to Know About Harpsichord, But Were Afraid to Ask
Genre: Classical
Release Date: 2007
Duration: 01:00:57
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Caro Mitis
Source: https://caromitis.nativedsd.com/albums/CM0102006-everything-you-always-wanted-to-know-about-harpsichord-but-were-afraid-to-ask

Nowadays many performers want to play music written for piano on the harpsichord. I began my conversation with Olga Martynova by asking what first gave her the idea. It all began a few years ago. I was curious to know how music written for another instrument would sound when played on the harpsichord. I knew that Shostakovich and Prokofiev had been played on the harpsichord but had never listened to any recordings, maybe as a conscious decision. True, I have heard contemporary music written for harpsichord, but I find it sometimes even harder to play than other compositions that were never originally intended for the instrument.

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Olga Martynova – Harpsichord Gems, Vol. 3 – Fischer, J.C.F. – Musicalisches Blumen-Buschlein (2006) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 3 – Fischer, J.C.F. – Musicalisches Blumen-Buschlein
Genre: Classical
Release Date: 2006
Duration: 01:19:11
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Caro Mitis
Source: https://caromitis.nativedsd.com/albums/CM0012006-harpsichord-gems-vol-3-musicalisches-blumenbueschlein

He was considered to be one of the best harpsichordists of his time and he was famous for making well known and spread- ing the art of ornamentation in Germany as well as a perfect per- forming style on this instrument.
That is the estimation Ernst Ludwig Gerber gave in his Historisch-biographisches Lexicon der Tonknstler to Johann Caspar Ferdinand Fischer (1656–1746), a composer and Kapellmeister to the Baden court.
His talent was rated extraordinarily high by his contempo- raries; Mauritius Vogt in the Conclave thesauri magnae artis musicae (published in Prague, 1719) called him ‘the most per- fect composer of our era’ (‘nostri aevi componista absolutis- simus’). It is known that J. S. Bach kept copies of Fischer’s com- positions and that this music was a source of inspiration for him. Modern research regards Fischer as a great composer of key- board music, on a par with Froberger and Bach. Furthermore, he is written about as a musician who in German speaking countries was able to elucidate the peculiarities of the French style.

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Olga Martynova – Harpsichord Gems, Vol. 2 – The Great Transcriptions (2005) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 2 – The Great Transcriptions
Genre: Classical
Release Date: 2005
Duration: 01:02:21
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Caro Mitis
Source: https://caromitis.nativedsd.com/albums/CM0072004-harpsichord-gems-vol2-the-great-transcriptions

When we speak about music, baroque means more than the age of figured bass and stile concertato. Today, as never before, there is a growing awareness that it is also the era of transcriptions and arrangements, which are just as indicative of the face of the age as are any innovations in the sphere of musical composition.
In those far off times, the public’s attitude to their favorite works of art was quite different to what it is today. It would never occur to anyone then to jealously guard from interference — as if it were sacred — each note of a generally recognized masterpiece. If a composition was popular it should be played as often as possible, in different transcriptions and arrangements. No musician would miss the opportunity of re-arranging a work, that had caught the public’s fancy, for different players: for the leading court soloists, for his friends and pupils, or even for musicians who were quite unknown to him — professionals and wealthy amateurs (willing to spend a fair sum of money on the acquisition of sheet music for a piece they liked). And even the duties of court music director or leader of a church choir were inconceivable without the constant re-working of their own pieces — for yet another holiday or some other ceremonial occasion.

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Olga Martynova – Harpsichord Gems, Vol. 1 – Bach, J.C. – Clavier Sonatas (2005) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Olga Martynova
Title: Harpsichord Gems, Vol. 1 – Bach, J.C. – Clavier Sonatas
Genre: Classical
Release Date: 2005
Duration: 01:08:27
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Caro Mitis
Source: https://caromitis.nativedsd.com/albums/CM0052004-harpsichord-gems-vol1-jcbach-clavier-sonatas

Supposedly Johann Sebastian Bach was a strict father who used a quotation from the poet Gellert to describe his youngest offspring: ‘He will go far guided by his stupidity!’ Even if the story is true, the elder Bach was undoubtedly speaking in jest: his youngest son was his favourite. And he certainly did go far. Incidentally, he lost his father when he was only 15, and few people have learned wisdom by that age.
His father gave Johann Christian his first music lessons and probably created the second volume of ‘The Well-Tempered Clavier’ for him. This means that for both father and son their art began with the keyboards (when still a child Johann Christian could play the clavichord, harpsichord and organ; later he also grew fond of what was then a new, expensive and rare instrument — the pianoforte). Johann Christian’s early pieces were also for clavier: the young composer wrote minuets and polonaises for his mother Anna Magdalena’s music notebook, the ‘Clavier- Bu?chlein’. He was probably excited to inherit three harpsichords after his father’s death. Perhaps his childhood memories were so strong that no matter what later took his fancy and whatever genres he preferred, Johann Christian continued to write for the clavier for the rest of his life. Some of his works for pianoforte were so popular that in musical instrum instrument shops there was increased demand for this costly novelty.

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Thierry Fischer, Utah Symphony Orchestra – Mahler: Symphony No.1 “Titan” (2015) High-Fidelity DSF Stereo DSD64/2.82MHz

Artist: Thierry Fischer, Utah Symphony Orchestra
Title: Mahler: Symphony No.1 “Titan”
Genre: Classical
Release Date: 2015
Duration: 52:55
Quality: High-Fidelity DSF Stereo DSD64/2.82MHz
Label: Reference Recordings
Source: https://referencerecordings.nativedsd.com/albums/FR715SACD-mahler-symphony-no-1-titan

The work recorded here is, of course, known everywhere as Mahler’s First Symphony. That is not, however, what Mahler thought he was writing at the time, and it took him several years to decide quite what he had wrought (and, in the process, to drop one of the movements). Was this a symphony, or did it belong rather to that alternative, more modern category, the symphonic poem? It was as an example of this latter type that the work was performed for the first time, on November 20, 1889, in Budapest, where Mahler had a post as opera conductor—though it was at the city’s main concert hall, the Vigad, that he conducted his “Symphonic Poem.” At the next performance, in Hamburg four years later, the composition was billed as “Titan, a tone poem in symphony form,” becoming “Titan, symphony” the following year in Weimar, then finally and fully, reduced from five movements to the standard four, “Symphony in D major” in Berlin in 1896. By that time, Mahler had completed his Second Symphony and most of his Third; he knew what he was about.

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