+ Description

Poetry and passion at the same time & An excellent stylist – this is what the media writes about Klaus Jäckle. The master guitarist Klaus Jäckle performed for Herbert von Karajan, the princess of Tonga and together with the Berlin Philharmonics.

+ Tracks

1 Asturias
2 Sevilla
3 Granada
4 Cordoba
5 Rumores de la caleta
6 Espanoletas
7 Canarias
8 Mozart-Variationen
9 El testament d'Amelia
10 Canco de lladre
11 Serenata espanola
12 Romanza d'amore

+ Description

After Der junge Fritz Wunderlich (The young Fritz Wunderlich) and Der Kammersänger (The Chamber Singer) it is now Fritz Wunderlich – der Oratoriensänger (Fritz Wunderlich – The Oratorio Singer) to be released. With The Oratorio Singer a circle closes.

+ Tracks

1. WARUM VERSTELLST DU DIE GEBÄRDEN?
2. NEIN, LASS DEIN DULDEN
3. JA, NIMM, O MENSCH
4. NUR GETROST GELASSENE SEELEN
5. KLAGELIEDER JEREMIÄ 3, 1-9
6. ES BEGAB SICH ABER ZU DER ZEIT
7. FROHE HIRTEN, EILT, ACH EILE
8. ICH WILL NUR DIE ZU EHREN LEBEN
9. UND GOTT BEFAHL IHNEN IM TRAUM
10. NUN MÖGT IHR STOLZEN FEINDE SCHRECKEN
11. UND GOTT SCHUF DEN MENSCHEN
12. MIT WÜRD´ UND HOHEIT ANGETAN
13. AUS ROSENWOLKEN

+ Description

Gerhard Oppitz was born in Frauenau (in the Bavarian forest) in 1953. At the age of five, he began to play piano and debuted with a performance of Mozart`s Piano Concerto in D. Recorded by Heinz Wildhagen.

+ Tracks

1. DANCEUSES DE DELPHES
2. VOILES
3. LE VENT DANS LA PLAINE
4. LES SON ET LES PARFUMS TOURNENT DANS L'AIR DU SOIR
5. LES COLLINES D'ANACAPRI
6. DES PAS SUR LA NEIGE
7. CE QUA VU LE VENT D'QUEST
8. LA FILLE AUX CHEVEUX DE LIN
9. LA SÉRÉNADE INTERROMPUE
10. LA CATHÉDRALE EMGLOUTIE
11. LA DANSE DE PUCK
12. MINSTRELS

+ Description

This Clearaudio release promises once more to become another special treat: Große Meister – Kleine Stücke (Great Masters – Small Pieces) is a sort of ultimate concert highlight you will never be able to listen to at a concert hall! With Martha Argerich, Stefan Askenase, Daniel Barenboim, Monique Haas, Wilhelm Kempff, Swjatoslaw Richter, Alexis Weissenberg.

+ Tracks

1. JEUX D´EAU
2. PEÉLUDE DES-DUR OP. 28 NR. 15
3. BERCEUSE DER-DUR OP. 57
4. SLEPI_KA
5. LIEBESTRAUM NR. 3
6. FRÜHLINGSLIED
7. SPINNERLIED
8. FEUX D´ARTIFICE
9. SICILIANO
10. MENUETT
11. REIGEN SELIGER GEISTER
12. ETÜDE C-DUR OP. NR. 1
13. ETÜDE C-MOLL OP. NR. 12
14. PRÉLUDE G-MOLL OP. 23 NR. 5
15. PRÉLUDE C-MOLL OP. 23 NR. 7
16. SONATE E-DUR K. 20

+ Description

Clearaudio is glad to produce a vinyl record of the concert with Gerhard Oppitz and the symphony orchestra of the Bayerischen Rundfunk in charge of Riccardo Muti because of the centenarian anniversary of death of Guiseppe Martucci. Hereby Ricardo Muti and one of the ten best orchestra of the world were excellent mates for Gerhard Oppitz.

+ Tracks

1. SATZ: ALLEGRO GIUSTO
2. SATZ: LARGHETTO
3. SATZ: FINAL. ALLEGRO CON SPIRITO

+ Description

The guitarist Francisco Tárrega (1852-1909) Classical or Spanish guitar is the term for the beginning of the 19th century played by most six-string guitar concert instrument with frets.

+ Tracks

1. Preludio D-Dur
2. Jota
3. Sueno
4. Endecha
5. Oremus
6. Maria
7. Marieta
8. Gran Vals
9. Capricho
10. Recuerdos De La Alhambra
11. Las Dos Hermanitas
12. Preludio A Miguel Llobet
13. Adelita
14. Lagrima
15. Rosita (Polka)
16. Tango

+ Description

With the looks of a rock star, it would be easy to overlook the extraordinary im pact that Garrett has made as a classical musician. He ralded as one of the great violinists of his generation by some of the most notable luminaries in the classical world, including the revered international conductor Zubin Mehta, pronouncing that — David is surely going to have a resounding presence on the music world of the 21st century.

+ Tracks

1. LA CALIFFA
2. CARMEN FANTAISIE
3. NOTHING ELSE MATTERS
4. CSÁRDÁS - GYPSY DANCE
5. DUELLING BANJOS
6. PAGANINI RHAPSODY
7. SERENADE
8. THE FLIGHT OF THE BUMBLE BEE
9. TOCCATA
10. SOMEWHERE
11. ELIZA'S SONG

+ Description

After the begin with two early Arabesques Claude Debussy follows his ballad, with which Gerhard Oppitz won once the contest Jungend musiziert. As a reminder on this at clearaudio late released record Piano concert No.2 by Giuseppe Martucci with Gerhard Oppitz as a soloist, follows and fantastic Notturno.

+ Tracks

1 Arasbesque Nr. 1
2 Arasbesque Nr. 2
3 Ballade
4 Notturno
5 Am Kamin
6 Soiree De Vienne Nr. 6
7 Soiree De Vienne Nr. 7
8 Polka A-Dur
9 Humoresque

+ Description

A new compilation of Romantic dances with Gerhard Oppitz. With this production, we had the great opportunity to record some kind of concert with sophisticated dances, like they have never been published before. (Heinz Wildhagen) Works of Chopin, Liszt, Smetana, Debussy and Dvorak.

+ Tracks

1. WALZER AS-DUR
2. WALZER DES-DUR
3. WALZER CIS-MOLL
4. MAZURKA A-MOLL
5. MAZURKA A-DUR
6. MAZURKA FIS-DUR
7. PREMIÈRE VALSE OUBLIÉE
8. POLKA G-MOLL
9. VALSE ROMANTIQUE
10. LA PLUS QUE LENTE (VALSE)
11. WALZER A-DUR
12. WALZER A-MOLL
13. WALZER DES-DUR

+ Description

To adapt his own music to other uses was the most natural thing in the world to Johann Sebastian Bach. When the arrangement is by another person, one must always satisfy oneself that it was done with good taste, Mischa Maisky points out, and then boldly puts his own head on the block with reference to his recital.

+ Tracks

AVE MARIA: ARR. FROM BACH'S PRELUDE NO.1 BWV 846
1. ARR. MISCHA MAISKY
VIOLIN SONATA IN D MAJOR, OP.1, NO.13, HWV 371
2. 3. LARGHETTO (ARR. BY MISCHA MAISKY FOR CELLO AND PIANO)
GAVOTTE
3. ARR. FOR CELLO AND PIANO
ORFEO ED EURIDICE ORPHÉE ET EURYDICE (ARRANGED FOR CELLO AND PIANO)
4. DANCE OF THE BLESSED SPIRITS REIGEN SELIGER GEISTER (ACT 2)
5. LIED OHNE WORTE, OP.109
24 PRÉLUDES, OP.28
6. IN B MINOR (RUSSIAN ARRANGEMENT FOR CELLO AND PIANO)
ELLENS GESÄNGE D 837
7. ARR. JOHANNES PALASCHKO (AVE MARIA, ELLENS GESANG III, D839)
KINDERSZENEN OP. 15
8. TRÄUMEREI (CELLO AND PIANO)
WIEGENLIED, OP.49, NO.4
9. ARR. MISCHA MAISKY
7 CANCIONES POPULARES ESPAÑOLAS
10. NO.5: NANA (ARRANGED BY MISCHA MAISKY)
APRÈS UN RÊVE OP.7, NO.1
11. ARR. FOR CELLO AND PIANO BY MISCHA MAISKY
LES ERINNYES
12. ELÉGIE (ARR. BY MISCHA MAISKY)
LE CARNAVAL DES ANIMAUX
13. LE CYGNE (TRANSCRIPTION FOR CELLO AND PIANO)
14. VOCALISE - ÉTUDE (EN FORME DE HABAÑERA)
CATALAN FOLKSONG
15. ARR. PABLO CASALS 1876-1973
NOCTURNE IN D MINOR OP.19, NO.4
16. ARR. TCHAIKOVSKY FOR CELLO AND PIANO
VOCALISE, OP.34, NO.14
17. VERSION CELLO AND PIANO
LIEBESLEID
18. ARR. MISCHA MAISKY

+ Description

Antonin Dvorak‘s Fifth Symphony in E minor, sub-titled From the New World (Op.95) was in fact his ninth and therefor last symphony to be written. Berliner Philharmoniker - Director: Ferenc Fricsay

+ Tracks

SYMPHONY NO.9 IN E MINOR, OP.95 FROM THE NEW WORLD
1. ADAGIO - ALLEGRO MOLTO (ORIGINAL VERSION)
2. LARGO (ORIGINAL VERSION)
3. SCHERZO MOLTO VIVACE (ORIGINAL VERSION)
4. ALLEGRO CON FUOCO (ORIGINAL VERSION)

+ Description

Various beautiful classical songs from the past epoch new recorded. A pleasure for the senses! Now new, Mastered by Wilfried Zahn!

+ Tracks

1. ALLA TURCA (MOZART)
2. FOR ELISE (BEETHOVEN)
3. MENUET D MAJOR (MOZART)
4. WALTZ SHARP MINOR, OP.64 (CHOPIN)
5. ETUDE E FLAT MINOR (RACHMANINOV)
6. HUNGARIAN DANCE (BRAHMS)
7. AVE MARIA (GOUNOD)
8. SERENADE (SCHUBERT)
9. DREAMING (SCHUMANN)
10. HUMORESQUE G FLAT MAJOR (DVORAK)
11. VALSE TRISTE (SIBELIUS)

+ Description

Berg‘s concerto offers a rich and highly personal blend of diverse musical features and autobiographical allusions. It is dedicated „to the memory of an angel“. In a „chanted time“ I find the unalterable forward movement of time and the absurd commentary of one who, while living in time, wants to make it stand still, enclose it within the moment, lock it in the moment as if in the living rock - but as movement, nergy, breathless but not rigid in death.

+ Tracks

1. ALLEGRO MA NON TROPPO (CADENZA: FRITZ KREISLER)
2. LARGHETTO - (ORIGINAL VERSION)
3. RONDO. ALLEGRO (CADENZA: FRITZ KREISLER)

+ Description

Lavishness of French baroque meets infectious musical enthusiasm, an incomparable olourful orchestral writing and the for the time revolutionary instrumentation are, up to today, a sensual passion.

+ Tracks

NAÏS (PASTORALE HEROÏQUE) (1748) (AUSZUG)
1. OUVERTÜRE

CASTOR ET POLLUX (CASTOR UND POLLUX, OPER IN 5 AKTEN) (AUSZUG)
2. SCÈNE FUNÈBRE

LES FÊTES D'HÉBÉ (BALLET IN 1 PROLOG UND 3 AKTEN) (AUSZUG)
3. AIR TENDRE

DARDANUS (OPER IN 5 AKTEN) (AUSZUG)
4. TAMBOURIN 1 UND 2

LE TEMPLE DE LA GLOIRE (BALLET) (AUSZUG)
5. AIR TENDRE POUR LES MUSES

LES BORÉADES OU ABARIS (OPER IN 5 AKTEN) (AUSZUG)
6. CONTREDANSE EN RONDEAU

LA NAISSANCE D'OSIRIS (BALLETT) (AUSZUG)
7. AIR GRACIEUX

LES BORÉADES OU ABARIS (OPER IN 5 AKTEN) (AUSZUG)
8. GAVOTTES 1 UND 2

PLATÉE OU JUNON JALOUSE (OPER IN 1 PROLOG UND 3 AKTEN) (AUSZUG)
9. ORAGE

LES BORÉADES OU ABARIS (OPER IN 5 AKTEN) (AUSZUG)
10. PRÉLUDE
11. NOUVELLES SUITES DE PIÈCES DE CLAVECIN (BEARB. FÜR ORCHESTER) (AUSZUG)
12. NR. 17: LA POULE
13. LES FÊTES D'HÉBÉ (BALLET IN 1 PROLOG UND 3 AKTEN) (AUSZUG)
14. MUSETTE EN RONDEAU - TAMBOURIN EN RONDEAU
15. HIPPOLYTE ET ARICIE (OPER IN 1 PROLOG UND 5 AKTEN) (AUSZUG)
16. RITOURNELLE
17. NAÏS (PASTORALE HEROÏQUE) (1748) (AUSZUG)
18. RIGAUDON 1 UND 2
19. LES INDES GALANTES (BALLET IN 4 AKTEN) (AUSZUG)
20. DANSE DES SAUVAGE
21. LES BORÉADES OU ABARIS (OPER IN 5 AKTEN) (AUSZUG)
22. ENTRÉE DE POLYMNIE
23. LES INDES GALANTES (BALLET IN 4 AKTEN) (AUSZUG)
24. CHACONNE

+ Description

In the composers lifetime, only a single public performance is delivered. Only much later the score was published in print, but performances remained rare. During the 19th century, the demands on the performing musician changed fundamentally, and works for three excellent soloists (plus full orchestra!) were accordingly difficult to realize. Te respective level of awareness in all its beauty, achieved the Triipelkonzert only with the record - with recordings like this one: Géza Anda With, Wolfgang Schneiderhan and Pierre Fournier, Ferenc Fricsay.

+ Tracks

1. ALLEGRO
2. LARGO
3. RONDO ALLA POLACCA

+ Description

What pleases us in view of the popular work of Mozart so much more, is that it was recorded by an all-star ensemble: names like Evelyn ear, Fritz Wunderlich and Dietrich Fischer-Dieskau provide classical music lovers with a smile of delight. Even Karl Böhm and his Berlin Philharmonic have a reference status for many in the question of exemplary works of interpretation. This LP is musically as well sonically a special listening pleasure, especially regarding to the geographic division of voice and orchestra.

+ Tracks

1. OUVETURE
2. ZU HILFE! ZU HILFE!
3. DER VOGELFANGER BIN ICH JA
4. DIES BILDNIS IST BEZAUBERND SCHON
5. O ZITTRE NICHT, MEIN LEIBER SOHN
6. BEI MANNERN, WELCHE LIEBE FUHLEN
7. O ISIS UND OSIRIS
8. ALLES FUHLT DER LIEVE FREUDEN
9. DER HOLLE RACHE KOCHT IN MEINEM HERZEN
10. IN DIESEN HEIL’GEN HALLEN
11. SEID UNS ZUM ZWEITEN MAL WILKOMMEN
12. ACH, ICH FUHL’S, ES IST VERSCHWUNDEN
13. O ISIS UND OSIRIS
14. EIN MADCHEN ODER WEIBCHEN
15. PA-PA-PA
16. DIE STRAHLEN DER SONNE / HEIL SEI EUCH GEWEIHTEN

+ Description

Among the most outstanding of Richter´s characteristics was his uncanny ability to illuminate the minutest details while at the saure time aking them converge into a single unified whole. This, allied to his prismatic approach to colour, goes some way towards explaining the quite extraordinary spell cast by his Debussy-playing. In the light of his playing of Estampes in particular, he raust surely be ranked as peerless in this repertoire.

+ Tracks

CONCERTO NO. 2 IN C MINOR FOR PIANO AND ORCHESTRA, OP. 18
A1 SATZ: MODERATO
A2 SATZ: ADAGIO SOSTENUTO
B1 SATZ: ALLEGRO SCHERZANDO
SIX PRELUDES
B2 NO. 12 C OP. 32 NO. 1
B3 NO. 13 IN B FLAT MINOR, OP. 32 NO. 2
B4 NO. 3 IN B FLAT, OP. 23 NO. 2
B5 NO. 5 IN D, OP. 23 NO. 4
B6 NO. 6 IN G MINOR, OP. 23 NO. 5
B7 NO. 8 IN C MINOR, OP. 23 NO. 7

+ Description

Sergej Prokofieff, become equally famous between the two world wars as a composer and as a pianist, wrote his piano works primarily for the purpose of own concert career. Except etudes, character pieces, Sonatinas and nine Sonatas counts his legacies for Piano five concerts, among them the fourth for the left hand alone, plus a 1952 begun, unfinished sixth for two pianos and string orchestra. Each of the five created between 1912-1932 Piano Concertos demonstrates the stylistic such as of the technical characteristics and changes of the Russian composer.

+ Tracks

1. PROKOFIEV:1.ANDANTE-ALLERO(PIANO CONCERTO NO. 3 IN
2. PROKOFIEV:2.TEMA CON VARIAZIONE (PIANO CONCERTO NO
3. PROKOFIEV:3.ALLEGRO MA NON TROPPO (PIANO CONCERTO
4. RAVEL:1.ALLEGRAMENTE (PIANO CONCERTO IN G)
5. RAVEL:2. ADAGIO ASSAI (PIANO CONCERTO IN G)
6. RAVEL:3.PRESTO (PIANO CONCERTO IN G9)

+ Description

Mozart‘s Violin Concertos could be described as a particular form of divertimento, and compared to the serenades which he wrote in Salzburg at about the same time. Agreeable and songlike elements form the melodic style. All thoughts of pain and grief seem to have been banished, the listener find himself in an Arcadian landscape where grace and serenity reign supreme.

+ Tracks

KONZERT FÜR VIOLINE UND ORCHESTER NR. 4 D-DUR KV 218
1. ALLEGRO
2. ANDANTE CANTABILE
3. RONDEAU: ANDANTE GRAZIOSO - ALLEGRO MA NON TROPPO

KONZERT FÜR VIOLINE UND ORCHESTER NR. 5 A-DUR KV 219
1. ALLEGRO APERTO
2. ADAGIO
3. RONDEAU: TEMPO DI MENUETTO - ALLEGRO

+ Description

The legendary violinist Martzy is the center of of this recording, Fricsay had obviously given her a lot of freedom in her artistic development option. She could bring her whole expression ability with the violin for validity and enchanted since the former edition of this record countless music lovers. It is a special pleasure to present this wonderful record again in virgin vinyl on the turntable and enjoy the Music.

+ Tracks

1. ALLEGRO MA NON TROPPO
2. ADAGIO MA NON TROPPO
3. FINALE: ALLEGRO GIOCOSO, MA NON TROPPO

+ Description

Martha Argerich and the Royal Philharmonic Orchestra conducted by Charles Dutoit play Tschaikowskys Concerto for piano and orchestra No. 1B flat minor, Op. 23rd.

+ Tracks

CONCERTO NO. 1 IN B FLAT MINOR FOR PIANO & ORCHESTRA, OP. 23
1. 1ST MOVEMENT: ALLEGRO NON TROPPO E MOLTO MEASTOSO - ALLEGRO CON SPIRITO
2. 2ND MOVEMENT: ANDANTINO SEMPLICE - PRESTISSIMO
3. 3RD MOVEMENT: ALLEGRO CON FUOCO

+ Description

Beethoven‘s symphonies are a masterpiece of occidental music generally and the interpretation of Karl Böhm and the Vienna Philharmonic, an exceptional brilliant performance. This famous recordings of the symphonies and overtures with his beloved Vienna Philharmonic Karl Bohm show deep understanding and his burning love for the music of Beethoven.

+ Tracks

1. AWAKING OF CHEERFUL FEELINGS UPON ARRIVAL IN THE COUNTRY
2. SCENE AT THE BROOK
3. MERRY GATHERING OF COUNTRY PEOPLE
4. THUNDERSTORM
5. SHEPERD'S SONG - HAPPY AND THANKFUL FEELINGS AFTER THE STORM

+ Description

The tension of the slow introduction dissolves with the entry of the striking, all records clasping horn theme. The flutes and oboes vote the Page topic, whose American origins is almost obliterated by the resonating Slavic melancholy, and the aforementioned second Page topic are sold in the clear predisposed set contrast to the main theme.

+ Tracks

1. ADAGIO – ALLEGRO MOLTO
2. LARGO
3. SCHERZO. MOLTO VIVACE
4. ALLEGRO CON FUOCO

+ Description

Music by John Dowland, performed by Sting and Edin Karamazov, beautifulmelodies, fantastic lyrics, great accompaniments. In close collaboration with lutenist Edin Karamazov, he interweaves songs with instrumental solos and evocative readings from a Dowland letter. Together they create what Sting calls a musical soundtrack to the composer´s life.

+ Tracks

1. WALSINGHAM
2. CAN SHE EXCUSE MY WRONGS?
3. RYGHT HONORABLE: AS I HAVE BIN MOST BOUNDE UNTO YOUR HONOR...
4. FLOW MY TEARS FLOW MY TEARS
5. HAVE YOU SEEN THE BRIGHT LILY GROW
6. ...THEN IN TIME PASSING ON MR. JOHNSON DIED...
7. THE MOST HIGH AND MIGHTY CHRISTIANUS THE FOURTH, KING OF DENMARK, HIS GALLIARD
8. THE LOWEST TREES HAVE TOPS
9. ...AND ACCORDINGE AS I DESIRED THER CAM A LETTER...
10. FINE KNACKS FOR LADIES
11. ...FROM THENCE I WENT TO THE LANDGRAVE OF HESSEN...
12. FANTASY FANTASY
13. COME, HEAVY SLEEP
14. FORLORN HOPE FANCY
15. ...AND FROM THENCE I HAD GREAT DESIRE TO SEE ITALY...
16. COME AGAIN
17. WILT TOU UNKIND THUS REAVE ME
18. ...AFTER MY DEPARTURE I CALED TO MYNDE OUR CONFERENCE...
19. WEEP YOU NO MORE, SAD FOUNTAINS
20. MY LORD WILLOUGHBY'S WELCOME HOME
21. CLEAR OR CLOUDY
22. ...MEN SAY THAT THE KINGE OF SPAIN IS MAKING GRET PREPARATION...
23. IN DARKNESS LET ME DWELL

+ Description

Argerich has the technical equipment to do whatever she wishes with the music. Whether it is in the haunting, dark melancholy of No. 2 in A minor or the lightning turmoil of No. 16 in B flat minor, she is profoundly impressive. It is these sharp changes of mood that make the performance scintillatingly unpredictable.

+ Tracks

1. 24 PRÉLUDES OP. 28
2. NO. 1 IN C MAJOR
3. NO. 2 IN A MINOR
4. NO. 3 IN G MAJOR
5. NO. 4 IN E MINOR
6. NO. 5 IN D MAJOR
7. NO. 6 IN B MINOR
8. NO. 7 IN A MAJOR
9. NO. 8 IN F SHARP MINOR
10. NO. 9 IN E MAJOR
11. NO. 10 IN C SHARP MINOR
12. NO. 11 IN B MAJOR
13. NO. 12 IN G SHARP MINOR
14. NO. 13 IN F SHARP MINOR
15. NO. 14 IN E FLAT MINOR
16. NO. 15 IN D FLAT MAJOR
17. NO. 16 IN B FLAT MINOR
18. NO. 17 IN A FLAT MAJOR
19. NO. 18 IN F MINOR
20. NO. 19 IN E FLAT MAJOR
21. NO. 20 IN C MINOR
22. NO. 21 IN B FLAT MAJOR
23. NO. 22 IN G MINOR
24. NO. 23 IN F MAJOR
25. NO. 24 IN D MINOR
26. PR&EACUTELUDE NO. 25 IN C SHARP MINOR OP. 45
27. PR&EACUTELUDE NO. 26 IN A FLAT MAJOR OP. POSTH.

+ Description

A wonderful collection of cello concertos by Vivaldi, Tartini and Boccherini, performed by Mstislav Rostrppovich and the Collegium Musicum Zurich, Paul Sacher.

+ Tracks

KONZERT DÜR VIOLONCELLO UND ORCHESTER NR. 2 D-DUR
KONZERT DÜR VIOLONCELLO, STREICHER UND BASSO CONTI
KONZERT DÜR VIOLONCELLO UND STREICHER A-DUR (KADEN
KONZERT DÜR VIOLONCELLO, STREICHER UND BASSO CONTI

+ Description

That Schubert sang his world-wariness of his soul in this symphony and also designed joyful images nobody will ignore. Eduard Hanslick dedicated an enthusiastic Laudatio to the work and counted it to Schubert‘s most beautiful instrumental works. The Unfinished is more than that, it is a piece musical heritage.

+ Tracks

SYMPHONY NO.8 IN B MINOR, D.759 - UNFINISHED
1. ALLEGRO MODERATO (ORIGINAL VERSION)
2. ANDANTE CON MOTO (ORIGINAL VERSION)

SYMPHONY NO.3 IN D, D.200
1. ADAGIO MAESTOSO - ALLEGRO CON BRIO (ORIGINAL VERSION)
2. ALLEGRETTO (ORIGINAL VERSION)
3. MENUETTO VIVACE (ORIGINAL VERSION)
4. PRESTO. VIVACE (ORIGINAL VERSION)

+ Description

Since 1806 many violin concertos were created which have a more effective and virtuosic solo parts, but there is hardly a work similar compositional content, which because of the open, exposed position of his solo parts so ruthlessly reveals even the slightest roughness of the representation: Beethoven‘s Violin Concerto means still one of the great artistic challenges for any violinist.

+ Tracks

1. ALLEGRO MA NON TROPPO
2. LARGHETTO
3. RONDO. ALLEGRO

+ Description

In 1887 Rimsky-Korsakov wrote one of his most brilliant compositions, the Capriccio espagnol. It is based on a draft Fantasia on Spanish Themes for violin and orchestra, so that therefore also explains the importance of the part of the solo violin. Designed in 1866. With the instrumentation started on 12th June 1867. The work completed on the evening of St. John‘s Day on June 23, 1867 - so the first score of Modest Mussorgsky keeps the stations of the creation of the work A Night on the Bare Mountain fixed.

+ Tracks

1. POLOWETZER TÄNZE
2. OUVERTRÜRE RUSSISCHE OSTER OP. 36
3. EINE NACHT AUF DEM KAHLEN BERGE OP. POSTH.
4. CAPRICCIO ESPAGNOL OP. 34

+ Description

Whether the duet is confrontational or tearful, joyously ecstatic or nakedly sexual, it is the intertwining of two highflying voices that gives pera its emotional heart.

+ Tracks

LA BOH#ME (ORIGINAL VERSION)
1. O SOAVE FANCIULLA (ERSTER AKT)

LUCIA DI LAMMERMOOR (ORIGINAL VERSION)
2. LUCIA PERDONA...SULLA TOMBA (ERSTER AKT)

RIGOLETTO (ORIGINAL VERSION)
3. GIOVANNA, HO DEI RIMORSI...E IL SOL DELL'ANIMA (ERSTER AKT)

ROMÉO ET JULIETTE (ROMEO UND JULIA, OPER IN 5 AKTEN)
4. VA! JE T'AI PARDONNÉ ... NUIT D'HYMÉNÉE (ACT 4)

LES PÊCHEURS DE PERLES (ORIGINAL VERSION)
5. NO.8 CHANSON: DE MON AMIE, FLEUR ENDORMIE - NO.9 DUO LÉILA! LÉILA! DIEU PUISSANT (ACT 2)

MANON (OPER IN 5 AKTEN)
6- TOI! VOUS!... AH! VIENS, MANON, JE T'AIME! (ACT 3)

IOLANTA OP. 69
7. TVAJO MALCHAN'JE NEPAN'ATNA (ORIGINAL VERSION)

LUISA FERNANDA (ORIGINAL VERSION)
8. CÁLLATE, CORAZÓN! DU#RMETE Y CALLA! (ACT 3)

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When David Lindley commenced on his solo career with "El Rayo-X" in 1981, he had already established himself as a studio musician in numerous venues. His competent playing, which he had long cultivated in performance with Jackson Browne, Linda Ronstadt and Crosby & Nash, is concentrated here on this album like an x-ray beam. And what is more: the multi-instrumentalist worked on his early, forgotten attempts on the banjo and fiddle and took himself right up to the strings of the steel guitar. Here are just a few examples of the many styles which are gathered here together on this album: After the off-beat reggae rhythm of "She Took Off My Romeos" follows one of the greatest guitar hits of the 80s – "Bye, Bye Love". Then comes "Mercury Blues" with its magnificently sharp and swift-paced guitar playing. Not only the rhythmic mix but also the instrumentation follows a cleverly devised plan and is tailor-made for each number. "Quarter Of A Man", a subtle colourful dance on the bass line, is just as impressive as the pointed jabs of the well-established organ in "Ain’t No Way". All in all, this is a lavishly produced rock album of its time and well worth the listening today. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: 1981 at Record One, Los Angeles, by Greg Ladanyi Production: Jackson Browne and Greg Ladanyi

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If there was ever a group that successfully amalgamated Asian and African music with jazz and classic, then it was surely Oregon. With a wide range of instruments and the musicians’ unusually receptive ears for everything here, there and everywhere, Oregon certainly enjoyed the optimal prerequisites. John Towner, Paul McCandless, Glen Moore and in particular Colin Walcott laid the foundations for their music in the musical heaven of their time. Oboe, cor anglais, bass clarinet, six- and twelve-string guitars, piano, flugelhorn, percussion, bass, sitar, tabla – such a versatile range of instruments – lent the nine numbers their, until then, rarely heard sound colouring and mark the transition from the band’s more hippy-like, country sound when they recorded for the Vanguard label to their later classic sound when signed to ECM. In this respect, "Roots In The Sky" is an important contemporary document in the world of music between 1970 and 1980. A rare black disc on which there is much to discover! This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: December 1978 at Longview Farms, North Brookfield, MA., and April 1979 at Columbia Recording Studios, New York, by David Greene Production: Oregon

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What a great rhythm group! A dream comes true: Oscar Pettiford and Kenny Clarke – and then Billy Bauer on the guitar and alternately Ronnie Ball (UK) or Sal Mosca (USA) on the piano. No wonder that things really take off when these masters of improvisation from the Lennie Tristano school get going. In June 1955, in the Atlantic studio, standards provided the starting base for the long and wonderfully sophisticated improvisations by Lee Konitz and Wayne Marsh, who were at that time pupils of the great Chicago maestro. Although the numbers are declared as own compositions, such as "Background Music" and "Ronnie’s Line", they are actually none other than adaptations of "All Of Me" or "That Old Feeling" – but at the very highest level. Lee Konitz always called this 'The Twelfth Step'. The repertoire is enriched by seldom-heard compositions by the great Oscar Pettiford. 'Time-keeping' – a neologism of prime importance for jazz musicians – is the most important element in "Donna Lee" and "There Will Never Be Another You" – and there is no better drummer for this music than Kenny 'Klook' Clarke, who lived in those days in the USA before moving to Paris in 1956 where there was no racial discrimination. Of course, you can buy these recordings on various digital discs. But that can’t be compared to a superb black disc and a cover with lines notes by the famous Barry Ulanov. Just one thing more: one of the musicians is still on the road. Lee Konitz is often to be heard and seen somewhere in Europe. Despite his almost 91 years! This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: June 1955 at Coastal Studios, New York City, by Tom Dowd in mono Production: Nesuhi Ertegun

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The famous critic and jazz expert Ralph J. Gleason quite rightly mentioned two highly distinctive men in his liner notes – John Donne and Pablo Picasso. Almost four hundred years and a great deal of seawater separate the two exceptional artists from England and Spain. Nevertheless the four black US-Americans who make up the Modern Jazz Quartet bridge the gap between time and continents effortlessly. And what’s more, blues is also to be heard – and bebop! And evergreens from the Broadway shows of the Thirties too! In contrast to some of the other rather more dawdling and laid-back MJQ LPs, "Fontessa" offers diversified and intense music. Nothing is routine, perhaps because the drummer Connie Kay had replaced Kenny Clark just one year previously. But maybe too because Milt Jackson’s blues influence inspired John Lewis perceptibly to forget all about discipline. All seven numbers are true gems. But if you want a special hint, just listen to "Bluesology". Well, perhaps the present author is too much of a Milt Jackson fan. Be that as it may, the music magazine "Rolling Stone" gave this LP a five-star rating! This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: January and February 1956 by Rudy Van Gelder in mono Production: Nesuhi Ertegun

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It was a fairly ordinary quintet that entered the Audio-Video Studios in New York City on 30 January 1956: one tenor saxophone, one alto saxophone, a pianist, a drummer and ... you guessed: an extraordinary man on the double bass! Not just an instrumentalist, but also an imaginative composer, wayfarer between all kinds of jazz, arranger and enfant terrible. The Suite "Pithecanthropus Erectus" is – among other things – programme music. Having learned to walk upright, having achieved alleged superiority over animals, and having caused devastation, the destruction of mankind’s natural resources follows. The composer Mingus gives his fellow mankind/musicians the widest possible freedom, which all exploit to the full both in interplay and in the solos. Bedded down in noise and sound collages, the piece is the result of an experimental workshop. The Gershwin classic "A Foggy Day" takes on the role of intermediary between the jazz styles of the 1930s and free jazz. And in "Profile Of Jackie" and "Love Chant" the arranger calls for his soloists to go to the very limits of their artistic improvisation. Charles Mingus was certainly not an easy person to deal with for his family, friends and fellow musicians. But that fades into the background when it comes to such outstanding music. Luckily, we outsiders can once again enjoy the music of this genius 60 years after the studio recording, in its original format. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: January 1956 at Audio-Video Studios, New York City by Tom Dowd & Hal Lustig in mono Production: Nesuhi Ertegun

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Who hasn't got an ancient, worn-out copy of "The Clown" on his shelf, with a tatty cover and torn inner sleeve? Or maybe one of the rare re-releases made of cheap, thin vinyl with dreadful graphic art? And if you haven't heard this gem for a long time, despite the flood of Mingus LPs, CDs and downloads on the market, then you really should seize this opportunity to do so. "The Clown" was, and still is, an absolute must-have for every jazz collector. The small ensemble, only five musicians, came into the New York Atlantic Records studio in March 1957 to record music exclusively composed by the double bassist. Over the next 15 years, three of them were to be heard in numerous concerts with other ensembles. But the original recordings on this LP were the most deeply concentrated, the most versatile, and quite simply the best of all. The more so because the label attached great importance to optimal studio conditions and allowed the instrumentalists plenty of time to make the recordings. In the present new release, "The Clown" can be enjoyed to the full from the very first note of "Haitian Fight Song" up until the words »William Morris Sends Regrets« in the title work. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: Februay and March 1957 in New York City by Tom Dowd and Larry Hiller in mono Production: Nesuhi Ertegün

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It's 1964 and the first Berlin Jazz Festival is about to reach its absolute peak: the final concert on the night of Friday, 25th September by Miles Davis. And the European subsidiary of Columbia Records, CBS, couldn’t wait to release this legendary event on LP. The new quintet, for the first time with Wayne Shorter on the tenor sax (and not yet as composer), thrilled and roused the audience in the Philharmonie from the first minute to the very end. The classics "Miles(tones)", "So What" and "Walkin’" were performed at an astonishingly fast pace, the ballads were tender and dreamy. Such a magical atmosphere was rarely evoked at later concerts, which was probably due to the excellent acoustics of the large concert hall. The audience were also seated behind the stage, so Miles couldn't turn his back provokingly on people; sometimes he just squatted on the stage. However, this didn’t prevent him from performing his solos lyrically and tenderly, most of them finely nuanced, soft and gentle, yet audible right into the furthest corner. The rhythmic structure created by the young drummer Anthony Williams provided the necessary excitement. Miles at the top of his form, an enthusiastic audience, impressive acoustics and, to top it all, excellent recording technology and a fantastic pressing on virgin vinyl - what more does a jazz fan want? Now’s the time to dig out your credit card!

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At first sight Beethoven’s Violin Sonatas appear to occupy only a subordinate role when placed alongside his great symphonic works and the piano sonatas. While the earlier works in the genre were viewed in their time with scepticism due to the “rare difficulty” and “learnedness” of their piano part, the later sonatas however display an increasingly marked independence of the violin part. For this reason, the A major Violin Sonata (which was dedicated to the French violinist Rodolph Kreutzer), and the so-called

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Tchaikovsky: Concerto for Violin and Orchestra / Mendelssohn Bartholdy: Concerto for Violin and Orchestra op. 64 Although he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last “Russian” among all Russian violinists due to his art of playing – which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner; his art is thoughtful and controlled – in the very best sense of the meaning. And this should certainly not be equated with “deliberateness”. On the contrary. Milstein’s tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky’s and Mendelssohn’s concertos, takes both works to new heights. Although never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein’s playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness – that there is no other way. The Vienna Philharmonic with their great tradition provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.

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Richard Strauss: "Also Sprach Zarathustra" The opening fanfare from Richard Strauss’s "Also sprach Zarathustra" ("Thus spoke Zarathustra") is known to everyone since it was 'rediscovered' in Stanley Kubrick’s film "2001: A Space Odyssey" and consequently employed time and again in TV ads. At the turn of the century, however, renowned music critics asked themselves whether they should even bother to listen to the rest of the work, a symphonic poem, which – they presumed – was a narration in music of Nietzsche’s book. In what is probably his most famous orchestral composition, Strauss, however, freely associated the words of the Saxon poet and philosopher when putting them into music by using the key of C major to depict nature, and the greatly contrasting key of B major for humanity. Once again Herbert von Karajan proves himself a distinguished tour guide through the wistful, secretive and bleak sound world through which Strauss has his questing hero wander. And the Berlin Philharmonic thank him with captivating, meltingly beautiful violins, deep growling basses, and steely winds. One recalls with pleasure the legendary leading violinist Michel Schwalbé, who plays the solo part with immense feeling and profundity. Enhanced by a perfected analogue recording technique, this disc is a wise choice when it comes to Strauss.

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The world of music expects something special from the dedicatees of major compositions, especially when the honoured person himself performs the work either on stage or in the recording studio. Among such personages is Mstislav Rostropovich, the great maestro of the cello, who studied and successfully collaborated with Dmitri Shostakovich while still a student at the Moscow Conservatory and who later gave the premiere performances of his Cello Concertos. The Cello Concerto No. 2 from 1966 was composed around the same time as the highly emotional choral Symphonies Nos. 13 and 14 and displays a similar character of gloom and grim drama. The soloist presents the dark theme out of the depths and soon enters into brighter regions full of aggressive layers of sound. A wild conflict between soloist and orchestra follows, whereby the forced gaiety of the cello rages. As a contrast, the soloist is in perfect harmony with the piano in Glazunov’s "Chant du Ménestrel". Supported by warm chords, Rostropovich lets his instrument soar to the heights in a cultivated and thoughtful fashion and proves once again that he is truly a great interpreter of Russian music. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: August 1975 at Boston Symphony Hall by Hans-Peter Schweigmann Production: Thomas Mowrey

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Rodrigo: Concierto de Aranjuez, Concierto Andaluz. The frenetic applause with which both the public and the experts greeted the Concierto de Aranjuez for guitar and orchestra, composed in 1940, is certainly astounding – one would have thought that 20th-century music was dominated chiefly by composers of twelve-tone music and the avantguardists. Rodrigo, however, remained faithful to the Classical three-movement form, employed a late-Romantic orchestral colouring, and followed in the tradition of Spanish composers who, perhaps more than any others, won their inspiration from the folkmusic of their native country. The whole work is full of the exotic magic of Spanish folkmusic, whereby the rhythmic drive of the first movement – reminiscent of clicking castanets – is particularly fascinating. Fortunately not only the composer but also the conductor and orchestra have taken care that the gentle tones produced by the world famous guitarist Pepe Romero are clearly to be heard. In addition, the listener is treated to a performance of the rarely recorded Concierto Andaluz for four guitars, composed in 1967. Once again the Romeros demonstrate that they are not only amazingly virtuosic musicians but are also worthy dedicatees of this unique work. Last but not least, PHILIPS balance engineers have produced a superb recording: Rodrigo himself was absolutely delighted with it – and this opinion one can well endorse. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: July / August 1978 by Wilhelm Hellweg / Production: Wilhelm Hellweg

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In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud". Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized. On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. This recording was made at night in a most informal atmosphere. The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group. "Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.

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Beethoven: Symphony No. 9, op. 125 It was clear from the start that Beethoven’s Ninth Symphony, with its air of solemnity in the final chorus, which calls for brotherly love just as the New Year comes in, would become a musical part of our world’s cultural legacy. Hundreds of minds, Beethoven researcher Karl Nef prophesied, have been set in motion by this music in the most varied ways, and it will continue not only to bestow pleasure upon countless thousands, but also to stimulate mental life right at the most fundamental level. There are certainly only a very few truly cerebral interpretations which stand out from the fathomless mass of recordings. One of those upon which “The Absolute Sound” journal has stamped its coveted seal of approval is the recording with Georg Solti and his perfectly honed symphony musicians from Chicago. Here, this usually somewhat daring baton-wielder plumbs the very depths of the score and allows Beethoven’s rich abundance of ideas to ferment into a great whole. The four soloists prove their worth as first choice for the richly detailed and balanced synopsis of this fissured work. They captivate us as much in the solo as in the group singing with their natural and expressive intonation. The dry, very present sound highlights the fact that this is an artistic performance at the highest level. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: May 1972 in the Krannert Centre of the University of Illinois, Chicago, by Kenneth Wilkinson and Gordon Parry Production: David Harvey

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Among all those sacred compositions that deal with the end of life, Mozart’s Requiem penetrates one’s heart and soul like no other apocalyptic work. One reason for this is surely the rather mysterious story surrounding its composition, a mixture of truth and legend, which arose during the arduous last months of the ailing Salzburg composer. Although the various developmental stages and the extent to which Mozart’s pupils participated in the composition may never be fully clarified, the mystical power of the enigmatic fragments remains constant to this day. Sir Colin Davis lends an immediate relentlessness to the sounds of despair that is already apparent in the tense, pulsating opening bars, and which is taken to the very limits of playability in the climactic "Dies irae". While the swift tempi might appear rather surprising, they serve to dampen any sort of opera-like sentimentality of which many recordings are guilty. The consolatory timbre in the vocal parts make them come across as oases of calm in the prevailing atmosphere of biting cold, fearsome drama, and flickering hope, all of which breathes musical life into this mass for the dead. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: September 1967 at Watford Town Hall, London, by Martin Vos Production: Harold Lawrence

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Pyotr Ilyich Tchaikovsky: Symphony No. 4 Does it make sense to revive an early stereo recording of one of the most recorded works and put it on the market again? Certainly a valid question when one considers the enormous number of recordings of Tchaikovsky’s Symphony No. 4. But when one listens to the Russian maestro’s mature work, it become quite clear why there is such a flood of recordings – although one often has the feeling that they are taking part in a musical Olympics, trying to go faster or louder, rather than achieving musical depth. With his unfailing, meticulous analysis of the score, Markevitch demonstrates just how much substance lies between the fateful, morbid fanfares on the brass at the beginning, the phantasmal arabesques of the pizzicato third movement, and the explosive, intoxicating finale: a dancelike verve that is reminiscent of his opera "Eugene Onegin" which was composed at the same time, the rising up and ebbing away of the passionate melodies, and the close-knit interplay of the voices allow us to share in the elation and enthusiasm Tchaikovsky felt during the work’s composition. But why this particular recording? Because Markevitch shows that the key to a thrilling Tchaikovsky recording lies neither in sheer force nor superficial exaltation and a swift tempo, but in resoluteness, great perceptiveness for the melodies, and a passion for detail.

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Franz Schubert: - Piano Trios in B flat major, op. 99, D 898; in E flat major, op. posth. 148, D 897; in E flat major, op. 100, D 929; in B flat major, D 28 Anyone who takes an interest in Schubert’s late works will sooner or later come across cliché-like interpretations of his music that have been associated with a foreboding of his early death. Robert Schumann on the other hand was more objective when he looked at the score of Schubert’s two great Piano Trios: he characterised that in E flat major as effectual, masculine and dramatic, and the sister work in B flat major as languishing, feminine and lyrical. Both masterpieces have in common highly varied movements, which must be approached with great insight, a deeply felt sustained lyricism, and a courageous approach as regards the bold themes. That this recording with the Beaux Arts Trio has taken on a benchmark status might well lie in the fact that the three musicians amalgamate romantic fire with analytical aplomb which results in Schubert pure. With their non-stop ebb and flow of melodies, wonderfully indulgent sound colouring and a fiery tour de force through the miraculously winding harmonic paths, the Beaux Arts Trio prove themselves to be among the very best of all Schubert interpreters. Having taken their final bow at a concert in Leipzig in September 2009 after 54 years, the time is certainly ripe for an audiophile re-release of this superb recording.

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Although numerous doubts abounded that concept albums with thematic focus were not what people wanted to hear, Alan Parsons’ somewhat egomaniacal projects always found a broad public. Of course one can listen to the perfectly styled sound of the music which this man created at the mixing console and concentrate on its programmatic contents or wallow in its esoteric tonal depths. But you don’t have to, for Parsons’ velvety mixture of ballads and rock numbers will get your ear’s nerve ends tingling without lyrics and themes. The album "The Turn Of A Friendly Card" includes two of Parsons’ very best songs: "Time", with its beautiful harmonies, and the gently swinging "Games People Play" which opens with Empire fanfares. That the instrumental tracks find favour with almost all rock fans is hardly surprising because the music more often than not emulates the driving sound of Brit Rock rather than bombastic “sonic soufflés” (Rolling Stone). But be that as it may, the title certainly holds its promise. The sales figures for this album clearly show that this ‘friendly card’ has definitely turned up trumps for Alan Parsons. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid. Recording: 1979 by Alan Parsons Production: Alan Parsons and Eric Woolfson

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"Eye In The Sky"

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Alan Bates took Thelonious Monk into the studio for his first trio recording in fifteen years with his old sidekick Art Blakey. It has been said often enough that Blakey is the ideal drummer for Monk, and one has only to hear them together again after all this time to realize the truth of the statement. If Blakey at times seems to push the pianist almost too hard, that is in fact the nature of their musical relationship. And, throughout the session, Blakey appeared to be vying with the producer in alternately cajoling and coercing Monk into fulfilling various requests from the small invited audience. Recording: November 1971 at Chappell Studios, London, by John Timperley Production: Alan Bates

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Jean Sibelius: Impromptu in B minor, op. 5 No.5 / Richard Wagner: Isoldens Liebestod (transcr. Franz Liszt) / Ludwig v. Beethoven: Piano Sonata No. 30 in E major, op. 109 The Finish pianist Paavali Jumppanen is well known as an interesting and versatile artist for his interpretations of both works for piano solo and chamber music. His repertoire ranges from classical compositions for piano up to the avant-garde. In recent years he has performed the complete Beethoven Piano Sonatas in several concert cycles. Paavali Jumpannen chose the repertoire for his first Direct-to-Disc recording with several aspects in mind: »I wanted to include those compositions for which I feel a special affinity in this new and exciting project. At the same time, I wished to put together a programme which would revive memories of the ‘Golden Age’ of the gramophone record.« Recording: January 2012 at Meistersaal, Emil Berliner Studios, Berlin, by Stephan Flock and Maarten de Boer Production: Rainer Maillard & Stephan Flock

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"Occident & Orient" Kinan Azmeh: "Wedding", "November 2" / L. v. Beethoven: "Marcia Alle Turca" / Peter A. Bauer: "Persia" / and other works

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In Venezuela, at any gathering, musicians will take out their instruments and play traditional music for hours. This is a wonderful tradition, deeply missed when Venezuelan musicians go to live abroad. One of the triggers for the creation of Bolivar Soloists was the need to play our music, share it with our colleagues and perform it for audiences around the world. The original tunes have very distinctive characters and evoke simple but powerful emotions. It was a true challenge to bring these tunes into to a classical format trying both to keep the essence of the original and create a classical work to give it a faithful frame. These pieces convey the spirit of Venezuelan music making but also appeal to classical audiences who will enjoy the fine playing and fantastic musicianship. After their debut record with music from Astor Piazzolla for Berliner Meister Schallplatten, the Bolivar Soloists make their second LP with a new formation: flute, oboe, clarinet and string quintet. Powerful and flexible, this ensemble is joined by the Cuatro - Venezuelan national instrument, a four-stringed guitar - which plays a very important role in this repertoire. The players, who come from South America and Europe, became very intimate with the music, allowing them to perform it with great rhythmical accuracy but with freedom and spontaneity. As this performance was recorded direct to disc, leaving no possibility of post-production, audience were invited to the studio to create the right atmosphere and make the musicians feel at home. Recording: May 2013 at Emil Berliner Studio 1, Berlin, by Stephan Flock Production: Rainer Maillard & Stephan Flock

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Jean Sibelius: String Quartet In D Minor, op. 56 ("Voces intimae")

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Astor Piazzolla: Tangos del Ángel y del Diablo - ChamberJam Europe

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For roughly 20 years now, the guitarist Joscho Stephan has been performing as a gypsy swing musician on both a national and international level. Forming a trio with Volker Kamp on the double bass and Sven Jungbeck on the rhythm guitar, he feels himself drawn to the musical legacy of the “Hot Club de France”, the legendary ensemble which Django Reinhardt and Stéphane Grappelli brought to life in the Thirties in Paris. Having made numerous CD productions, it was more or less a matter of course to make a recording under the very same conditions as Django Reinhardt and all renowned swing and jazz musicians had experienced up until the end of the 40s –, namely Direct-to-Disc! The A-side boasts the title “Paris”. Alongside his own compositions ("Train To Paris" and "Valse de la Mer") we find such Django classics as "Are You In The Mood", and the numbers "Songe d’Automne" and "Vous et Moi", which are also evergreens from the gypsy swing genre. The B-side is an homage to the recording location and the recording studio (EBS) which is associated with it: Berlin. Not only are such hits to be heard as "Mein kleiner grüner Kaktus" (as an up-tempo swing number), "Hallo, kleines Fräulein" and "Bei Dir war es immer so schön" (by Theo Mackeben), but also "Kein Schwein ruft mich an" from the great Max Raabe. "Wes Berlin" by Joscho Stephan brings the LP to a close in a final bow to Wes Montgomery, ending our journey from Paris to Berlin. Recording: June 2018 at Studio1 of Emil Berliner Studios, Berlin, by Stephan Flock Production: Rainer Maillard & Stephan Flock

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"Belly Of The Sun" Cassandra Wilson continues to move down a highly eclectic path on "Belly Of The Sun", the somewhat belated follow-up to "Traveling Miles". While displaying a jazz singer's mastery of melodic nuance and improvisatory phrasing, Wilson draws on a variety of non-jazz idioms -- roots music, rock, Delta blues, country, soul -- to create a kind of earthy, intelligent pop with obvious crossover appeal. Her core band includes guitarists Marvin Sewell and Kevin Breit, who blend marvelously, Sewell mostly on mellow acoustic and Breit adding atmospheric touches on electric, 12-string, and slide guitars, as well as mandolin, banjo, and even bouzouki. Bassist Mark Peterson and percussionists Jeffrey Haynes and Cyro Baptista provide a superbly sensitive rhythmic foundation. But because Wilson returned to her home state of Mississippi to record most of this album, she made sure to book some time with local musicians. Thus guitarist Jesse Robinson guests on (and co-writes) the funky "Show Me a Love", and the octogenarian pianist "Boogaloo" Ames plays an unpolished yet utterly heartfelt duet with Wilson on the classic "Darkness on the Delta". Other guests include drummer Xavyon Jamison, trumpeter Olu Dara, pianist and vocalist Rhonda Richmond (who penned the slowly swaying "Road So Clear"), guitarist Richard Johnston, backup vocalists Patrice Monell, Jewell Bass, Henry Rhodes, and Vasti Jackson, and the children of New York's Middle School 44. Wilson delves into vintage blues with Mississippi Fred McDowell's "You Gotta Move" and a brief yet dynamic rendition of Robert Johnson's "Hot Tamales". But the best tracks are the rock/pop covers: the Band's "The Weight", Bob Dylan's "Shelter From the Storm", James Taylor's "Only a Dream in Rio", Jobim's "Waters of March", and Jimmy Webb's "Wichita Lineman" (a 1968 hit for Glen Campbell). Wilson and band are in peak interpretive form on these ethereal reinventions. While her own lyrics may not rise to the level of a Robbie Robertson or a Bob Dylan, her versatility and focus come through clearly on the originals "Justice", "Just a Parade" (a collaboration with neo-soul rookie India.Arie), and the Caribbean-tinged "Cooter Brown".

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"Blue Light ‘Til Dawn" Cassandra Wilson started out as a jazz singer, doing gigs with several innovative bands (including Brooklyn's experimental M-Base collective) and at the same time recording typical jazz-singer let-me-entertain-you stuff - "Night and Day" and "Blue Skies" and shooby dooby dooby. Eventually the Mississippi-born New York–based vocalist, who reigned among the elite jazz singers of the 1980s, became restless, and began to look beyond torch songs for inspiration. So she looked outside of jazz for inspiration. In interviews, she's recalled how she began seeking new challenges for her voice, a mighty instrument blessed with husky overtones and an alluringly smoky woodish hue. She began to integrate gospel and blues and pop songs into her performances, eventually assimilating them into music that blurs genre distinctions entirely. "Blue Light 'Til Dawn" is the first album to capture that shift. It features wondrously spare, molasses-slow versions of Robert Johnson ("Come On in My Kitchen", "Hellhound On My Trail"), Philly soul (Thom Bell and Linda Creed's "Children Of The Night,"), pop (Van Morrison's "Tupelo Honey"), and torch song ("You Don't Know What Love Is"). Working with a small group of inventive New York jazzers, emphasizing hand drums and percussion over trap set, Wilson cultivates the opposite of dazzle - hers is an inviting, shadow-filled sound that calls from a lonesome bayou. Atmosphere dictates everything that happens on these tracks, and helps knit together pieces from disparate ends of popular music. It also guides Wilson's vocals: Her sullen "Hellhound" wanders far from typical blues woe, yet winds up an apt, weary summation of it all the same.

+ Tracks

+ Description

Various beautiful classical songs from the past epoch new recorded. A pleasure for the senses! Now new, Mastered by Wilfried Zahn!

+ Tracks

1. ALLA TURCA (MOZART)
2. FOR ELISE (BEETHOVEN)
3. MENUET D MAJOR (MOZART)
4. WALTZ SHARP MINOR, OP.64 (CHOPIN)
5. ETUDE E FLAT MINOR (RACHMANINOV)
6. HUNGARIAN DANCE (BRAHMS)
7. AVE MARIA (GOUNOD)
8. SERENADE (SCHUBERT)
9. DREAMING (SCHUMANN)
10. HUMORESQUE G FLAT MAJOR (DVORAK)
11. VALSE TRISTE (SIBELIUS)

+ Description

Directly pressed on CD from Master tape. Fascinating and enthral sound. A masterpiece of the clearaudio audiophile edition.

+ Tracks

SIDE A
1. HOW DEEP IS YOUR LOVE
2. HELLO
3. NOTHING EVER HAPPENS
4. FEVER
SIDE B
1. IN THE AIR TONIGHT
2. AIN’T NO SUNSHINE
3. WALKIN‘ IN MEMPHIS
4. TIME AFTER TIME

+ Description

Malvina is Maria Pihls first solo album. It includes interpretations of songs by Ola Magnell and was recorded in May 2009 in the Topaz Audio Studios in Cologne with four of the best German jazz musicians.

+ Tracks

SIDE A
1. MALVINA UTAN MÖRKER
2. STAFFANS LYKTA
3. NU FALLER MÖRKRET
4. BLUES FÖR AMADEUS
5. VALLMOLAND
6. FÅGLALÅT
SIDE B
1. PAPPA
2. STORMEN HAR STILLNAT
3. BONINGEN VAR KALL
4. NARCISSERNAS TID
5. SÅNGERNA VRENSKAS

+ Description

Chanson has something magical. In particular, if it is implemented so high class and as expressive as Esther Fellner. The sound engineer make her incredibly dimensional as she would asolut tangible and immediately stand between the speakers. The energy is taking over and transforms the listening room into a dream world. Beautifully!

+ Tracks

1. MA CHANSON DE LA RUE
2. POURQUOI MON DIEU
3. VIA DEL CAMPO
4. IL VECCHIO E IL BAMBINO
5. LES ENFANTS DE LA GUERRE
6. NINNA NANNA PER ME
7. NANCY
8. MA LIBERTE
9. LA MIA ETA
10. SE LACQUA TI BAGNA
11. PREGHIERA IN GENNAIO
12. CANZONE DELLAMORE PERDUTO

+ Description

Everyone knows the feeling that just by listening to a favorite song, the soul is comforted - the healing powers of music! For this purpose, Meyer Records VOLUME ONE is a source of positive feelings: Because here are no less than 12 tracks gathered, entrain all to move you to tears, animate to laugh, gladden the heart. In short: reflect life and make the moment worth living!

+ Tracks

1. FOUR STRONG WINDS - CAMPHAUSEN, AGLAJA
2. ELLE ECOUTE POUSSER LES FLEURS - CAILLEY, MARIKA
3. IL NY A PAS DAMOUR HEUREUX - FELLNER, ESTHER
4. HOUSE OF PAIN - BARGEL, RICHARD
5. WHY DONT YOU DO RIGHT? - CAMPHAUSEN, AGLAJA
6. COMING BACK TO YOU - PIHL, MARIA
7. LA CANZONE DI MARINELLA - FELLNER, ESTHER
8. LES PETITS CAFÉS - CAILLEY, MARIKA
9. TIME - LUNDQVIST, JAN ERIK
10. HEAD UP HIGH – FRIEDA
11. LONESOME & BLUE - SCHAFFRATH, ROGER
12. HALLELUJA - PIHL, MARIA

+ Description

The songs of this album are carefully recorded. They are just wonderful.

+ Tracks

1. ALLA TURCA (MOZART)
2. FOR ELISE (BEETHOVEN)
3. MENUET D MAJOR (MOZART)
4. WALTZ SHARP MINOR, OP.64 (CHOPIN)
5. ETUDE E FLAT MINOR (RACHMANINOV)
6. HUNGARIAN DANCE (BRAHMS)
7. AVE MARIA (GOUNOD)
8. SERENADE (SCHUBERT)
9. DREAMING (SCHUMANN)
10. HUMORESQUE G FLAT MAJOR (DVORAK)
11. VALSE TRISTE (SIBELIUS)

+ Description

To do this excellent selection of music full justice, we have opted for a HQCD (HiQualityCD) format. Fully compatible with all CD players, HQCD features enhanced materials with improved transparency to deliver higher sound quality. There are different ways to celebrate an anniversary. We can look back and reflect on where we’ve been and how far we’ve come. Or we can look forward towards future possibilities. Alternatively, we can simply pause and ‘take five’ to be present – right here, right now. Rather like that in-the-moment presence we feel when we’re enjoying superb music, excellently recorded and played. That’s how we’re celebrating Clearaudio’s 40th anniversary. To mark the occasion we’re delighted to present an album of music that embodies our passion for perfection, for nuanced and detailed sound, and for an intimate marriage of creativity and technical finesse. In other words, an album that reflects the key principles by which our founder, Peter Suchy, has lived his life. “Take the best and make it better – only then it is just good enough.” His well-known quote is as valid today as it was 40 years ago, and has inspired a host of colleagues and collaborators along the way. Peter Suchy is not merely a visionary, but also a highly driven, hands-on creator for whom satisfaction has always represented a dead-end. Ever since the release of his Delta and Sigma speakers in 1978 and the development of his first moving coil cartridges, not a day has passed when he didn’t strive to set new standards for higher fidelity. This mindset continues to underpin our work at Clearaudio. No matter where you’ve come from or where you’re going, if your heart beats to the drum of truly authentic sound then you’ll find Peter Suchy’s spirit, will and drive in every single one of his products – from the most towering turntable to the smallest cable. While some creators may be content with merely looking closely, Peter Suchy has always both looked and listened closely. Very closely - and at both ends of the spectrum, from top-quality record engineering to excellent playback. So the early stages of every Clearaudio musical recording begins with questions like, “Does it sound exactly like in a concert hall?” and “Does the music feel as was intended when it was written and composed?”. In addition to our own recordings, a number of our favourite legendary productions from Deutsche Grammophon have also found their way onto this album. So why not take a pause, ‘take five’ and enjoy these moments of exceptional music, lovingly produced. And join us in celebrating 40 years of loving music!

+ Tracks

SIDE A
Charly Antolini - Jammin‘
(Schmid-Grandy, Charly Antolini | Tsg Music)
From the Album: Knock Out 2K
Licensed courtesy of in-akustik GmbH & Co. KG

Cameron Carpenter - Toccata & Fuge
(Johannes Sebastian Bach)
From the Album: Revolutionary
Licensed courtesy of Telarc International Coporation

Yelena Eckemoff - Mommys Shawl
(Yelena Eckemoff | L & H Production)
From the Album: Blooming Tall Phlox
Licensed courtesy of L & H Production

Brenda Navarrete - Mulata Linda
(Brenda Navarrete | Alain Pérez, Gradelio Pérez | Cardster Music Co.)
From the Album: Mi Mundo
Licensed courtesy of Alma Records

SIDE B
Reg Meuross - England Green & England Grey (Reg Meuross)
From the Album: England Green & England Grey
Licensed courtesy of Stockfi sch-Records

Wolfgang Bernreuther‘s New Experience - Stormy Weather
(Wolfgang Bernreuther)
From the Album: Wolfgang Bernreuther‘s New Experience,
Licensed courtesy of clearaudio

Philip Catherine - Transparence
(Philip Oscar Catherine | Nairam Music)
From the Album: Transperence
Licensed courtesy of in-akustik GmbH & Co. KG

Thomas Siffl ing - Just A Little Song From St. Lucia
(Thomas Siffl ing | Emanon Musikverlag)
From the Album: Personal Relations
Licensed courtesy of JazzNArts Records

SIDE C
Hanne Boel - Broken Angel
(Hanne Boel, Martin Hall, Ole Hansen | KODA)
From the Album: Unplugged 2017
Licensed courtesy of Sundance Music Ltd.

Friedemann - Wing Your Way, Butterfl y
(F. Witecka / M. Faller | Edition Miss U / Vollton MV)
From the Album: Echoes Of A Shattered Sky
Licensed courtesy of Vollton Musikverlag GmbH & Co. KG

Jacques Loussier - M. Ravel - Bolero 7: Prestissimo
(Maurice Ravel)
From the Album: Ravel‘s Bolero
Licensed courtesy of Telarc International Coporation

Charlie McGettigan - Feet Of A Dancer
(Charlie McGettigan | IMRO/MCPS)
From the Album: Some Old Someone
Licensed courtesy of Stockfi sch-Records

SIDE D
Robert Shaw, Atlanta Symphony Orchestra & Chorus - Carmina Burana: O Fortuna
(Carl Orff | Schott Music GmbH Co KG)
From the Album: Carmina Burana
Licensed courtesy of Telarc International Coporation

Sam Yahel, Ari Hoenig, Mike Moreno, Seamus Blake - Us and Them
(Roger Waters, Richard William Wright | Pink Floyd Music Publishers Ltd)
From the Album: Jazz Side Of The Moon
Licensed courtesy of Chesky Records

Candy Dulfer - Roppongi Panic
(Thomas Bank, Candy Dulfer | CTM Publishing BV)
From the Album: Funked Up!
Licensed courtesy of Heads Up International

Viviane De Farias - Luminosa (Luminosa Manha)
(Raul De Souza, Viviane De Farias | Encore Merci)
From the Album: Vivi
Licensed courtesy of In & Out Records

+ Description

The new CD of Wolfgang Bernreuther (vocal, guitar, dobro) and Rudi Bayer (bass). Recorded live at the Reitstadel in Germany.

+ Tracks

1. DESERT SUN
2. LISTEN TO YOUR HEART
3. THE SAME THING
4. PETERS TUNE
5. THE THRILL IS GONE
6. I WONDER WHO
7. LIVORNO BLUES
8. BABY PLEASE DONT GO
9. NEW MORNING
10. WONT YOU NEVER TELL ME
11. THEY ARE COMING
12. I WONDER WHY
13. ME AND THE DEVIL BLUES
14. HOUSE OF THE RISING SUN
15. SHE WONT SPEAK TO ME

+ Description

Fantastic live recording at Theater Keller in Cologne. Recording date: Feb 25th, 2008 Wolfgang Bernreuther: Vocal, Acoustic Guitar, Electric Guitar Rudi Bayer: Double Bass Beata Kossowska: Vocal, Harmonica, Percussion Special Guest – Richard Bargel: Vocal

+ Tracks

1. MINDNIGHT SUN
2. JUST A SILLY LOVE SONG
3. FISHING BLUES
4. I WANT TO BE FREE
5. BRING ME FLOWERS
6. RAINBOW RIDER
7. ME AND THE DEVIL BLUES
8. LISTEN TO YOUR HEART
9. HELP ME
10. LITTLE RED ROOSTER
11. NOT AGAIN
12. LOVED ANOTHER WOMAN
13. HEY JOE
14. ONE TIME FOR LOVE
15. ALABAMA TRAIN
16. NEW MORNING

+ Description

The classic blues has got 12 bars and for 12 years Bernreuther has been united to clearaudio, a great sound forge in Erlangen, Germany. This is something very special in today’s fast moving music business - as special as the music of Wolfgang Bernreuthers New Experience. Although it can be described, you must simply listen to it! It’s a must-have for blues fans and for friends of real, handmade music, and a recommendation for high end sound gourmets!

+ Tracks

1. HOLD ME (BERNREUTHER)
2. ROAD TO ISTANBUL (BERNREUTHER) 3 SOMETIMES I FEEL LIKE A MOTHERLESS CHILD (TRAD. ARR. BERNREUTHER)
4. IN THE SHADOW (BERNREUTHER)
5. HELP ME (WILLIAMSON)
6. STORMY WEATHER (BERNREUTHER)
7. EVIL WORLD (BERNREUTHER)
8. I CANT BE SATISFIED (MORGANFIELD)
9. KEY TO MY KINGDOM (BERNREUTHER)
10. INDIAN BLUES (BERNREUTHER)
11. RED BUTTON (BERNREUTHER)

+ Description

[SUPER AUDIO CD] CD TEST, MANUALE SONORO  Giulio Cesare Ricci mette a punto insieme a voi l’impianto audio

+ Tracks

1. Sono giulio cesare ricci .........
2. Identificazione dei canali - Canale di sinistra, di destra, Centro
3. La fase acustica - Esempio di segnale stereo in fase e in controfase
4. Capacità di riprodurre un ampio e largo fronte sonoro DUE ESEMPI
5. Segnale Monofonico in fase - Segnale Stereofonico in fase
6. Stereo: “Toolbox” – D. Grolnick Nothing Personal - estratto
7. Capacità di riprodurre l’imponenza delle frequenze basse DUE ESEMPI
8. Capacità di riprodurre la chiarezza delle frequenze medie DUE ESEMPI
9. Capacità di riprodurre la cristallinità delle frequenze alte DUE ESEMPI
10. Capacità di riprodurre la nettezza dei transienti DUE ESEMPI
11. I MUSICI - Singole presentazioni - Sezioni separate
Antonio Vivaldi Concerto in Re Magg. RV 123 “Allegro” - 2.15
12. Contrasto dinamico G. Rossini “L’Italiana in Algeri” Sinfonia - estratto
13. Frequenza fissa di 1.000 Hz.
14. Naturalezza del suono, trasparenza, micro dinamica e realismo
15. Vir Dei Benedictus - Te Deum Inno di ringraziamento - 5.40
16. Gaby Cole The lady is a tramp - 1.56
17. Lodovico Viadana “Vespri di San Luca” - Ant. Tradent enim vos - 2.40
18. Suzanne Husson “Piano” - S. Rachmaninov Elegia N°1 Op.3 - 4.49
19. Corni da nebbia - 3.31 - inedito

+ Description

[Analog Master Tape] More Best of The Best - David Manley Jazz Recordings Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

NATURE BOY / MOONGLOW 4’09”
E. AbbaKaren Knowles, vocalsFrank Crawford, pianoBruce Bishop, acoustic guitarJohn Leftwick, bassJosh Sklair, electric guitarBob Summers, trumpetLarry Klimas, saxEfraim Toro, drums & percussion
NIGHT ON THE TOWN / SEKOU 5’35”
S. BunchSekou Bunch, tenor bassTom MacMorran, pianoDoc Powell, guitarBill Summers, percussionRayford Griffin, drumsKeith Jones, fretless bass
IT HAPPENS EVERY DAY / JOSH 6’44”
J. SampleJosh Sklair, guitarRon Ross, bassFrank Crawford, pianoJack Le Compte, drums
DON’T SAY NO TONIGHT / MORE VICKIE 5’30”
V. Leigh, B. BishopVickie Leigh, vocalsBruce Bishop, acoustic guitarJosh Sklair, guitarFrank Crawford, pianoBill Von Ravensberg, bassJack Le Compte, drums
HAVE YOU MET MISS JONES? / JAMES II 7’58”
Rogers & HartJames Leary, bassEddie Harris, saxBilly Childs, pianoRalph Penland, drums

+ Description

[analog master tape] Taxidi - Fausta Mesolella - Guitar & Loop Guitar Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

SUITE N.3 13.34
Aria di te 00.00Instrumental version Fausto Mesolella Ed. Sugar
La tela 03.14Fausto Mesolella Ed. Musicacè
Aria di te 05.24Seconda parte Fausto Mesolella Ed. Sugar
Samba greca 08.18Fausto Mesolella Ed. Musicacè
Il dubbio di Ulisse 11.56Fausto Mesolella Ed. Musicacè
SUITE N.4 06.51
L’improvviso mare 00.00Fausto Mesolella Ed. Musicacè

+ Description

[analog master tapes] Must Have - Classic Recordings Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

01 Johann Sebastian Bach
Suite I BWV 1007 Prélude 2,33Rocco Filippini, celloTeatro Persio Flacco Volterra (Pi)
02 Wolfgang Amadeus Mozart
Sonata in A min. KV 310.300d Allegro maestoso 9,01Charles Rosen, pianoSala Musica “Caetani” Villa di Ninfa Giardini di Ninfa Latina
03 Ludwig Van Beethoven
Romanza per violino e orchestra n°1 in Sol magg. Op.40 7,23 Salvatore Accardo, violino e direttoreOrchestra da Camera ItalianaArsenale della Pace Fondazione Sermig Torino
04 Franz Schubert
Quartett G-dur D887 in Sol magg. Scherzo (Allegro Vivace) 7,16 Quartetto AccardoSalvatore Accardo, violinoMargaret Batjer, violinoToby Hoffman, violaRocco Filippini, celloOratorio del Gonfalone Roma

+ Description

[analog master tapes] Must Have - Jazz Recordings Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

MEMORIES OF RIO MORE TOOLBOX 6,39 - David Garfield
EASY TO LOVE KATE MC GARRY 3,31 - Cole Porter
03 NAIMA SEKOU 4,47 - John Coltrane
ESPRESSO MOONGLOW 3,35 - Karen Knowles /R. Mitchell
GONE GONE GONE JAMES 4,00 Ira Gershwin, George Gershwin, Dubose Heyward
BIG-HEARTED WOMAN MORE VICKIE 2,53 Vickie Leigh, Bruce Bishop
PRODIGAL SON MAIN LINERS 3,23 Rev. R. Wilkins

+ Description

[Analog Master Tape] Astor Piazzolla - La Grand Tango Salvatore Accardo - violinista & direttoreOrchestra da Camera Italiana Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

LE GRAND TANGO 12.13
Versione per violino ed archidi Salvatore Accardo e Francesco Fiore
CELOS 6.25
Versione per violino ed archi di Salvatore Accardo e Francesco Fiore
TRES TANGOS
Versione per violino ed archi di Salvatore Accardo e Francesco FiorePianista: Laura Manzini - Arpista: Anna Loro
TANGO I 7.53
TANGO II 6.03
TANGO III 4.37
CLOSE YOUR EYES AND LISTEN 7.01
Versione per violino ed archi di Salvatore Accardo e Francesco Fiore
TANGO N.1 4.08
Para Orcuesta de Cuerda
TANGO N.2 3.09
Para Orcuesta de Cuerda Violino solista: Enzo Bolognese

+ Description

[analog master tape] IGOR STRAVINSKY- THE COMPLETE PUBLISHED PIANO WORKS - GIACOMO FRANCI PIANO Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

1° MASTER
Scherzo 1902 2.11Piano Sonata in F# Minor 1903 - 1904Allegro 13.05Vivo 5.44
2° MASTER
Piano Sonata in F# Minor 1903 - 1904Andante 7.19Allegro 8.32Four Etudes 1908I Con moto 0.53II Allegro brillante 3.40III Andantino 1.53IV Vivo 2.55Trois Mouvement de Petrouchka 1911 - 1921Danse Russe, Allegro Giusto 3.30
3° MASTER
Trois Mouvement de Petrouchka 1911 - 1921Chez Petrouchka: Stringendo 5.47La Semaine Grasse: Con Moto 11.58Souvenir d’une marche boche 1915 1.48Valse 1915 1.50Polka 1915 0.44Valse pour les enfants 1917 7.53Rag time 1918 7.18
4° MASTER
Piano rag-music 1919 4.35Fragment 2.47Les cinq doigts 1920-21Andantino 0.48Allegro 0.53Allegretto 0.47Larghetto 1.32Moderato 0.36Lento 0.48Vivo 0.48Pesante 1.04Sonate 1924I movimento 3.18II movimento, Adagietto 4.33III movimento 3.00Serenade in A 1925Hymn 3.58

+ Description

Johann Sebastian Bach- Concerti BWV 972, 973, 974, 975, 976, 978 e 981 di maestri italiani appropriati all’organo e al cembalo

+ Tracks

TAPE 1
CONCERTO IN RE MAGGIORE BWV 972, OP. 3 N. 9ALLEGRO - 2’22” - Villalta, organo CallidoLARGHETTO - 3’03” - Villalta, organo CallidoALLEGRO - 2’32” - Villalta, organo Callido
CONCERTO IN SOL MINORE BWV 975, OP. 4 N. 6ALLEGRO - 3’19” - Fagagna, organo ComelliLARGO - 4’10” - Fagagna, organo ComelliGIGA. PRESTO - 2’01 “ - Fagagna, organo Comelli
CONCERTO IN SOL MAGGIORE BWV 973, OP. 7 N. 2ALLEGRO - 2’43” - Villalta, organo CallidoLARGO - 2’17” - Villalta, organo CallidoALLEGRO .-2’42” - Villalta, organo Callido
CONCERTO IN DO MINORE BWV 981, OP. 1 N. 3ADAGIO - 2’17” - Madrisio, organo NacchiniVIVACE - 2’13” - Madrisio, organo NacchiniGRAVE - 2’54” - Madrisio, organo Nacchini
TAPE 2
CONCERTO IN DO MINORE BWV 981, OP. 1 N. 3PRESTISSIMO - 3’36” - Madrisio, organo Nacchini
CONCERTO IN FA MAGGIORE BWV 978, OP. 3 N. 3ALLEGRO - 2’39” - Villalta, organo CallidoLARGO - 1’43” - Villalta, organo CallidoALLEGRO - 2’44” - Villalta, organo Callido
CONCERTO IN RE MINORE BWV 974ALLEGRO - 3’20” - Ciconicco, organo ZaninADAGIO - 3’20” - Ciconicco, organo ZaninPRESTO - 3’06” - Ciconicco, organo Zanin
CONCERTO IN DO MAGGIORE BWV 976, OP. 3 N. 12ALLEGRO - 3’55” - Villalta, organo CallidoLARGO - 2’55” - Villalta, organo CallidoALLEGRO - 3’25” - Villalta, organo Callido

+ Description

[ANALOG MASTER TAPE] MUNYUNGO Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

1 TAPE
Columbiana (M. Jackson) 5.24So Happy (R. Greenidge, S. Bunch, M. Jackson) 5.15Drums, Drums, Drums (R. Rayford, M. Jackson) 4.19Trees (M. Jackson) 13.04Be On Time (M. Jackson, B. Summers, R. Griffin) 2.31

Munyungo Jackson PercussionFrances Awe PercussionLenny Castro PercussionMaurice Dosso PercussionAngel Figueroa PercussionBill Summers PercussionRabia Rayford Percussion & VoiceTodd Cochran PianoOtmar Ruiz PianoMichael O’Neill Guitar Sekou Bunch BassPedro Eustacio FluteRobert Greenidge SteelPans Rayford Griffin Drums/Cymbals

+ Description

[analog master tape] GIOVANNI BATTISTA PERGOLESI - Stabat Mater  Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s MARIELLA DEVIA sopranoFRANCESCA PROVVISIONATO mezzosopranoOrchestra Filarmonica MarchigianaDANIELE CALLEGARI direttore

+ Tracks

TAPE 1
STABAT MATER - Grave, soprano e contralto 4.26CUJUS ANIMAM - Andante, soprano 2.50O QUAM TRISTIS - Larghetto, soprano e contralto 2.32QUAE MOEREBAT - Allegretto moderato, contralto 2.43QUIS EST HOMO - Largo-Allegro, soprano e contralto 2.56VIDIT SUUM - Tempo giusto, soprano 3.04
TAPE 2
EIA MATER - Allegro moderato contralto 2.30FAC UT ARDEAT - Allegro tutti 2.28SANCTA MATER - Tempo giusto soprano e contralto 5.30FAC UT PORTEM - Largo contralto 3.26INFLAMMATUS - Allegro soprano e contralto 2.17QUANDO CORPUS - Largo soprano e contralto 3.27AMEN - Presto, assai tutti 1.09
organo: Cristina Picciafuoco

+ Description

[ANALOG MASTER TAPE] FRANZ SCHUBERT Quartett G-dur D887 - Quartettsatz C-moll D703 QUARTETTO ACCARDO Salvatore Accardo violinMargaret Batjer violinToby Hoffman violaRocco Filippini cello Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

MASTER 01
Quartett G-dur D887Sol maggiore - G major
Allegro molto moderato 21.32
MASTER 02
Quartett G-dur D887Sol maggiore - G major
Andante con moto 12.43
Scherzo (Allegro Vivace) 7.14
Allegro Assai 10.53

MASTER 03
Quartettsatz C-moll D703Do minore - C minor
Allegro assai 9.25

+ Description

[analog master tape] Sekou - Sekou Bunch  Signoricci Master / Unique piece / Pure Analogue Recording / Original Analog Master Tape / 38cm/sec 1/4 inch / Ampex ATR 102 Nagra 4s

+ Tracks

1 TAPE
Violin, Karen Briggs 2,5Saxophone, Jim Oppenheim 2,5Piano, Nick Smith 2,5 Tom MacMorran 1,3,4Guitar, Doc Powell 1,3,4Drums, Rayford Griffin 1,3,4,5Percussion, Bill Summers 1,2,3,4Fretless Bass, Keith Jones 1,2,3,4Tenor Bass, Sekou Bunch 1,2,3,4Bass, Sekou Bunch 5

Catano - S. BUNCH, M. BAMBINO 4.45Pastels - S. BUNCH 6.28Night On The Town - S. BUNCH 5.34As A Matter Of Fact - S.BUNCH 6.45What? Mr. Bunch - S. BUNCH 5.19

+ Description

MOONGLOW - Karen Knowles (Tape) Signoricci Master/ Unique piece / Pure Analogue Recording / Original Analog Master Tape 38cm /sec 1/4 inch Ampex ATR 102   Nagra 4s

+ Tracks

1 TAPE

KAREN KNOWLES vocalFRANK CRAWFORD piano, keyboardsBRUCE BISHOP acoustic guitar, dobroJOHN LEFTWICH bassDAREK OLES bassJOSH SKLAIR electric & acoustic guitarsEFRAIN TORO drums & percussionBOB SUMMERS trumpet & flugelhornLARRY KLIMAS saxophones (alto, tenor), alto fluteEVEANNA MANLEY baritone saxophoneSAM SKLAIR – ARRANGER, MD clarinetVICKIE LEIGH, BRUCE BISHOP backing vocals

Moonglow (W. Hudson, E. De Lange, I. Mills) 2.59Espresso (K. Knowles/R. Mitchell) 3.29There, I’Ve Said It Again (R. Evans, D. Mann) 4.06All I Want To Do ( K. Knowles/R. Bulpin, N. Smith) 3.25Don’t Say (R. Freeman-Smith, R. Strykert/P. Hyde) 3.58Under The Moon (J. Dawson, S.D. Walter) 4.28What’s Taken Your Smile Away? (N. Smith/J. Camilleri) 3.23Nature Boy (E. Abba) 4.0

+ Description

[analog master tape] Paganini - Accardo Salvatore Accardo - ViolinoOrchestra da Camera Italiana Signoricci Master/ Unique piece / Pure Analogue Recording / Original Analog Master Tape 38cm /sec 1/4 inch Ampex ATR 102   Nagra 4s

+ Tracks

Tape 1
La Campanella 9'11"
Cantabile in Re Magg. 5'02"
Carnevale di Venezia Op.10 12'47"

+ Description

[analog master tape] W.A MOZART PIANO MUSIC Charles Rosen, piano Signoricci Master/ Unique piece / Pure Analogue Recording / Original Analog Master Tape 38cm /sec 1/4 inch Ampex ATR 102   Nagra 4s

+ Tracks

TAPE 1
Sonata in A minor KV 310/300d 19.57
A-moll - La minoreI Allegro maestosoII Andante cantabile con espressioneIII Prestofrom unfinished Suite KV 399/385iII Allemande 3.28III Courante 2.04Eine Kleine Gigue KV 574 1.17
TAPE 2
Sonata in A major KV 331/300i 22.36
A-Dur - La maggioreI Andante grazioso - Variazioni I/VIII Menuetto - TrioIII Alla Turca: AllegrettoSonata in D major KV 576 14.04D-Dur - Re maggioreI Allegro
TAPE 3
Sonata in D major KV 576 14.04
D-Dur - Re maggiore II AdagioIII AllegrettoRondo in A minor KV 511 9.41A-moll - La minoreAndante

+ Description

[analog master tapes] Salvatore Accardo - J.S. Bach per Violino Solo Sonate I, II, III - Partite I,II,III S. Accardo: violinista e direttore - Orchestra da Camera Italiana Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagra 4s

+ Tracks

1° MASTER TAPE
Sonata I per violino solo in sol minore BWV 1001

ADAGIO 4.12FUGA 5.31SICILIANA 2.57PRESTO 3.37

Partita I per violino solo in si minore BWV 1002

ALLEMANDA 5.40DOUBLE DELL' ALLEMANDA 3.25CORRENTE 3.48

2° MASTER TAPE
Partita I per violino solo in si minore BWV 1002

DOUBLE CORRENTE 3.27SARABANDE 3.45DOUBLE SARABANDE 3.21TEMPO DI BOREA 3.32DOUBLE TEMPO DI BOREA 3.38


Sonata II per violino solo in sol minore BWV 1003

GRAVE 4.06FUGA 8.12

3° MASTER TAPE
Sonata II per violino solo in sol minore BWV 1003

ANDANTE 5.09ALLEGRO 6.33


Partita II per violino solo in re minore BWV 1004

ALLEMANDA 4.44CORRENTE 3.03SARABANDA 4.34GIGA 4.27


4° MASTER TAPE
Partita II per violino solo in re minore BWV 1004

CIACCONA 14.55

Sonata III per violino solo in do maggiore BWV 1005

ADAGIO 4.18FUGA 11.08


5° MASTER TAPE
Sonata III per violino solo in do maggiore BWV 1005

LARGO 3.20ALLEGRO ASSAI 5.00

Partita III per violino solo in mi maggiore BWV 1006

PRELUDIO 3.51LOURE 4.27GAVOTTE EN RONDEAU 3.08MENUET I 1.46MENUET II 1.38BOURRÉE 1.33GIGUE 2.01

+ Description

[ANALOG MASTER TAPES] S. Accardo - G. Tomassi, L. van Beethoven  SONATA OP. 47 e OP. 24  SALVATORE ACCARDO violinoGIORGIA TOMASSI piano

+ Tracks

1° MASTER TAPE

SONATA IN LA MAGGIORE OP.47 "A KREUTZER"ADAGIO SOSTENUTO - PRESTO 14.45ANDANTE CON VARIAZIONI 16.12


2° MASTER TAPE

SONATA IN LA MAGGIORE OP.47 "A KREUTZER"FINALE: PRESTO 8.47
SONATA IN FA MAGGIORE OP.24 "LA PRIMAVERA"ALLEGRO 10.20ADAGIO MOLTO ESPRESSIVO 6.14SCHERZO: ALLEGRO MOLTO 1.19


3° MASTER TAPE

SONATA IN FA MAGGIORE OP.24 "LA PRIMAVERA"RONDO': ALLEGRO MA NON TROPPO 6.34

+ Description

[analog master tapes] Salvatore Accardo - Antonio Vivaldi, Le Quattro Stagioni Salvatore Accardo : direttore e solistaOrchestra da Camera ItalianaLaura Manzini cembalo Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagre 4s

+ Tracks

1° MASTER TAPE
Concerto in Mi Maggiore "La Primavera"
Allegro 3.47 Largo 2.21 Allegro 4.27

Concerto in sol minore "L'Estate"
Allegro non molto - Allegro 5.24 Adagio 2.17 Presto 2.48

Concerto in Fa Maggiore "L'Autunno"
Allegro 5.39 Adagio molto 2.26 Allegro 3.39
2° MASTER TAPE
Concerto in Fa minore "L'Inverno"
Allegro non molto 3.21 Largo 2.19 Allegro 3.20

Concerto in re min. per due violini,archi e continuo F I n° 100
Allegro non molto 4.25 Adagio 4.16 Allegro molto 3.07

solisti: Salvatore Accardo - Laura Gorna
Concerto in Si bem. Magg. per violino, violoncello, archi e continuo F IV n° 2

Allegro moderato 4.32 Andante 2.07 Allegro molto 3.25
solisti: Salvatore Accardo - Cecilia Radic

+ Description

[analog master tapes] Kate Mc Garry - Easy to love KATE MC GARRY vocalsPAUL KREIBICH drumsKAREN HAMMACK pianoERIC VON ESSEN – bass

+ Tracks

1. MY HEART STOOD STILL - 5'10”2. THE NIGHT HAS A THOUSAND EYES - 3'32”3. AUTUMN NOCTURNE - 6'17”4. JUST YOU, JUST ME - 5'13”5. GET IT STRAIGHT - 4'28”6. BODY AND SOUL - 4'21”

+ Description

[ANALOG MASTER TAPES] DUETTANGO, ASTOR PIAZZOLLA Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagre 4s Filippo Arlia, pianoforteCesare Chiacchiaretta, bandoneonFernando Suarez Paz, violinoCecilia Suarez Paz, voce

+ Tracks

1° MASTER TAPE
POEMA VALSEADO Pianoforte e voce 2.52
PRIMAVERA PORTENA Pianoforte e bandoneon 5.14
MILONGA DEL ANGEL Pianoforte e bandoneon 5.36
MILONGA DEL ANUNCIACION Pianoforte, bandoneon, violino e voce 3.13
ADIOS NONINO Pianoforte e bandoneon 8.05
2° MASTER TAPE
OBLIVION Pianoforte, bandoneon, violino e voce 3.50
ESCUALO Pianoforte, bandoneon e violino 3.20
TANGUEDIA Pianoforte e bandoneon 4.00
LA MUERTE DEL ANGEL Pianoforte e bandoneon 3.02
MICHELANGELO '70 Pianoforte, bandoneon e violino 3.00
VIOLENTANGO Pianoforte e bandoneon 2.48
LOS ARBOLES Y LAS CHIMENEAS Pianoforte e voce 3.13

+ Description

[analog master tapes] Ballads for Audiophiles  Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagre 4s SCOTT HAMILTON SaxPAOLO BIRRO PianoALDO ZUNINO BassALFRED KRAMER Drums

+ Tracks

1° MASTER TAPE
EVERYTHING HAPPENS TO ME MATT DENNIS/TOM ADAIR 5.57
ALL OR NOTHING AT ALL ARTHUR ALTMAN/JACK LAWRENCE 7.00
THE GYPSY BILLY REID 5.30
MOON RIVER HENRY MANCINI/JOHNNY MERCER 6.52
2° MASTER TAPE
THIS IS ALL I ASK GORDON JENKINS 7.08
HEY THERE JERRY ROSS/RICHARD ADLER 5.35
THE SHADOW OF YOUR SMILE JOHNNY MANDEL/PAUL FRANCIS WEBSTER 5.36
BABY ALL THE TIME BOBBY TROUP 6.10
SE TODOS FOSSEM IGUAIS A VOCE ANTONIO CARLOS JOBIM/VINICIUS DE MORAES 4.15


Recorded at Hotel Il Castello - Palazzo di Scoto di SemifonteCertaldo Alto (Fi) November 2016Recording assistant: Paola LiberatoValve microphones: Neumann U47, U48, M49Mike pre-amplifiers, cables (line, microphone, supply): SignoricciRecorded in stereo DSD on the Pyramix Recorder using dCS A/D and D/A convertersPhotos by: Michela Del FornoA&R and Il Castello property manager: Alfred Kramer

+ Description

[ANALOG MASTER TAPE] GRAN GALA' - AAVV Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagre 4s

+ Tracks

1° MASTER TAPE
THE PINK PANTHER HENRY MANCINI 2.41
da PINK PANTHER & FRIENDS - S.HAMILTON sax, P.BIRRO piano, A.KRAMER drums
THE WAY YOU MAKE ME FEEL MICHAEL JACKSON 3.34
da IN SIGHT - E.BIANCHINI voce, E.PIETROPAOLI contrabbasso

LA NOTTE BATTISTA LENA 6.26
da LA NOTTE - E.PIETROPAOLI contrabbasso, B.LENA chitarra, F.SIGURTA' tromba

BIMBI PEO ALFONSI 4.43
da ALMA -P.ALFONSI chitarra, S.MAIORE contrabbasso

AI GIOCHI ADDIO (Giulietta e Romeo) NINO ROTA 3.49
da LIVE AD ALCATRAZ - F.MESOLELLA guitar e loop pedal

AIREGIN SONNY ROLLINS 6.16
da WHO CARES? - S.HAMILTON sax, A.POZZA piano
2° MASTER TAPE
UNA PALABRA CARLOS VARELA 5.19
da DOS - E.BIANCHINI voce, E.PIETROPAOLI contrabbasso

SOMEDAY SWEET HEART JOHN & REB SPIKES 4.48
da PARIS BLUES - R.ZEGNA piano, G.CASATI tromba

CONFUSO NEL VENTO ENZO PIETROPAOLI 2.26
da SOLO - E.PIETROPAOLI contrabbasso

TULIPANI STEFANO BENNI, FAUSTO MESOLELLA 3.58
da CANTO STEFANO - F.MESOLELLA voce/chitarra/dobro/basso, M.CIARAMELLA batteria, F.GHIDELLI pedal steel, N.CARROZZA cori, P.MAGONI cori

DOWN BY THE RIVER MUNJUNGO JACKSON 6.39
da BEST OF THE BEST - M.JACKSON percussioni

MY HEART STOOD STILL ROGERS, HART 5.21
da EASY TO LOVE - K.MC GARRY voce

+ Description

[ANALOG MASTER TAPES] Salvatore Accardo, MOZART Concertos KV 207, 211, 218 Salvatore Accardo – Violin and Conductor / Prague Chamber Orchestra Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagre 4s

+ Tracks

1° MASTER TAPE
Konzert fur Violine und Orchester Nr.1 B-dur KV 207
ALLEGRO MODERATO 7.44
ADAGIO 9.33
PRESTO 5.47
2° MASTER TAPE
Konzert fur Violine und Orchester Nr.2 D-dur KV 211
ALLEGRO MODERATO 8.57
ANDANTE 8.53
RONDEAU (ALLEGRO) 4.52
Konzert fur Violine und Orchester Nr.4 D-dur KV 218
ALLEGRO 8.57
3° MASTER TAPE
Konzert fur Violine und Orchester Nr.4 D-dur KV 218

ANDANTE CANTABILE 8.00
RONDEAU (ANDANTE GRAZIOSO – ALLEGRO MA NON TROPPO) 8.10
Rondeau fur Violine und Orchester in C-dur KV 373
ALLEGRETTO GRAZIOSO 5.52
Kadenzen: S. Sciarrino

+ Description

"ANSAHMAN" Anna Garano & Anais Tekerian ANNA GARANO ChitarraANAIS TEKERIAN VoceKINAN AZMEH Clarinet Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagra 4s

+ Tracks

Gulo4.26
Yes Veru Yeghnig Em4.18
Yes Saren Gukai2.18
Bingyol4.18
Menag Jamportem4.29
Lusin Yelav3.49
Hingalla2.16
Mi Lar Blbul4.13

+ Description

DOS - IN SIGHT Eleonora Bianchini - Voce Enzo Pietropaoli - Contrabbasso Origianal Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagra 4s

+ Tracks

The way you make me feel Michael Jackson3.35
Perché no Battisti-Mogol4.36
Vete de mi Homero e Virgilio Esposito 3.39
Hearts and Bones Paul Simon 4.33
Dove Mattone-Morra3.59
Halo Knowles-Tedder-Bogart4.26
Se perdo te Korda-Bardotti2.52
Pajarillo Verde Tradizionale3.21

+ Description

The Pink Panther - Henry Mancini Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagra 4s

+ Tracks

1) The Pink Panther (Henry Mancini)2.42
S. Hamilton Sax / P. Birro Piano / A. Kramer Drums

2) The Pink Panther (Henry Mancini)3.53
P. Alfonsi Chitarra / S. Maiore Contrabbasso

3) The Pink Panther (Henry Mancini)2.49
R. Zegna Pianoforte / G. Casati Tromba

4) The Pink Panther (Henry Mancini)2.09
E. Bianchini Voce

5) The Pink Panther (Henry Mancini)5.20
F. Mesolella Chitarra

6) The Pink Panther (Henry Mancini)2.30
E. Pietropaoli Contrabbasso

7) Stumpy (Hawkins)5.01
S. Hamilton Sax / P. Birro Piano / A. Kramer Drums

8) Canyon (Peo Alfonsi)5.16
P. Alfonsi Chitarra / S. Maiore Contrabbasso

+ Description

Canto Stefano - Fausto Mesolella canta Stefano Benni Origanal Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagre 4s

+ Tracks

1. ANIMA
(Benni/Mesolella) tratto da Ballate 1991 - Ed. Feltrinelli/Musicacè/Suoni dall’ItaliaFausto Mesolella: voce/chitarra/basso - Mimì Ciaramella: batteriaFerdinando Ghidelli: pedal steel - Almerigo Pota: flicorno
2. QUELLO CHE NON VOGLIO
(Benni/Mesolella) Le Beatrici 2011 - Ed. Feltrinelli/Musicacè/Suoni dall’ItaliaFausto Mesolella: voce/chitarra/basso - Mimì Ciaramella: batteriaFerdinando Ghidelli: pedal steel - Petra Magoni: cori
3. LA GIRAFFA
(Stefano Benni) Ballate 1991 - Ed. FeltrinelliStefano Benni: voce
4. TULIPANI
(Benni/Mesolella) - Ed. Musicacè/Suoni dall’ItaliaFausto Mesolella: voce/chitarra/dobro/basso - Mimì Ciaramella: batteriaFerdinando Ghidelli: pedal steel - Nunzia Carrozza: cori - Petra Magoni: cori
5. GHEMMÀ
(Benni/Mesolella) - Ed. Musicacè/Suoni dall’Italia Fausto Mesolella: voce/chitarra/basso - Mimì Ciaramella: batteria Ferdinando Ghidelli: pedal steel - Wena: cori - Cristina Zeta: cori
6. NON DISPREZZARE
(Benni/Mesolella) - Ed. Musicacè/Suoni dall’ItaliaFausto Mesolella: voce/chitarra/basso - Mimì Ciaramella: batteriaFerdinando Ghidelli: pedal steel - Wena: cori - Cristina Zeta: cori
7. TANGO PERPENDICULAR
(Benni/Mesolella) - Ed. Musicacè/Suoni dall’ItaliaFausto Mesolella: chitarra - Stefano Benni: voce
8. L’INSANGUINATA
(Benni/Mesolella) - Ed. Musicacè/Suoni dall’ItaliaFausto Mesolella: voce/chitarra/basso - Mimì Ciaramella: batteriaFerdinando Ghidelli: pedal steel - Cristina Zeta: cori
9. VAN GOGH
(Benni/Mesolella) - Ed. Musicacè/Suoni dall’ItaliaFausto Mesolella: voce/chitarra/basso/harmonica - Stefano Benni: voceMimì Ciaramella: batteria - Ferdinando Ghidelli: pedal stee

+ Description

Nikolaj Rimsky-Korsakov, Shèhèrazade  Gianandrea Noseda: Direttore Filarmonica Teatro Regio Torino Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagre 4s

+ Tracks

1° MASTER TAPE
LARGO E MAESTOSO - LENTO
ALLEGRO NON TROPPO - TRANQUILLO
Il mare e la nave di Sindbad

LENTO - ANDANTINO - ALLEGRO MOLTO - MOLTO MODERATO
VIVACE SCHERZANDO - MODERATO ASSAI
ALLEGRO MOLTO ED ANIMATO - CON MOTO
Il racconto del Principe Kalender

2° MASTER TAPE
ANDANTINO QUASI ALLEGRETTO
Il giovane Principe e la giovane Principessa

ALLEGRO MOLTO - ALLEGRO MOLTO E FRENETICO VIVO
ALLEGRO NON TROPPO E MAESTOSO
Festa a Bagdad - Il mare - Naufragio - Conclusione

+ Description

Hamilton, Birro, Kramer BEAN AND THE BOYS Scott Hamilton: SaxPaolo Birro: PianoAlfred Kramer: Drums Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 30 cm / sec 1/4 inch / Ampex ATR 102 > Nagre 4s

+ Tracks

Stumpy 5’03”


I Mean You 4’09”

Bean Stalkin’ 5’23”

Leave My Heart Alone 4’48”


Bean & the boys 5’44”


Skippy 5’36”

+ Description

I MUSICI  “Confluencia” Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 38 cm/sec / sec 1/4 inch / Ampex ATR 102 > Nagra 4s

+ Tracks

Astor Piazzolla Argentina 1921-1992
TRES PIEZAS BREVES PARA ORCHESTRA DA CAMERA
I. Preludio
II. Fuga
III. Divertimento
Héctor Ulises Passarella Uruguay, 1955
I. Allegro
II. Corale
III. Fuga

+ Description

Riccardo Zegna, Giampaolo Casati Duo - PARIS BLUES  Riccardo Zegna: pianoforteGiampaolo Casati: tromba, cornetta, flicorno Original Analog Master tapes / Signor Ricci master / Unique piece / Pure Analog Recording / 38 cm/sec / sec 1/4 inch / Ampex ATR 102 > Nagra 4s

+ Tracks

ALL TOO SOON | 4’ 44” | Edward Duke Ellington


COTTON TAIL & Drop Me Off In Harlem | 3’ 56” | Edward Duke Ellington


Reflections IN D | 4’ 57” | Edward Duke Ellington


SOMEDAY SWEETHEART | 4’ 48” | John & Reb Spikes


PARIS BLUES | 4’ 59” | Edward Duke Ellington


BE BOP | 5’ 07” | John Dizzy Gillespie


ISFAHAN | 4’ 19” | Edward Duke Ellington – Billy Strayhorn