Sinatra & Jobim · The Complete Reprise Recordings

MP3 HQ · 101 MB · 2010 

Duke Ellington · Jazz Violin Session

MP3 HQ · 89 MB · 1963 

Jimmy McPartland · That Happy Dixieland Jazz

MP3 HQ · 66 MB · 1959 

Eric Dolphy at the Five Spot · Vol.1

MP3 HQ · 101 MB · 1961 

Beethoven · The Five Piano Concertos

Although Alfred Brendel goes on at length about the textural improvements in his liner notes to his cycle of Beethoven's piano concertos with James Levine conducting the Chicago Symphony Orchestra, the real reason to get this recording is to hear the acoustical improvements in the sound.

In the original 1983 edition, Philips' early digital sound was harsh, hard, glassy, glossy, and very ugly. In this 1997 edition, Philips' digital remastering is clean, clear, lucid, pellucid, and very beautiful.

But despite Brendel's assertions to the contrary, the textural improvements don't make that much difference. He claims that the opening movement of the Concerto in C minor should be much slower, but it's no slower than any other performance. He claims that the central movement of the Concerto in E flat should be faster, but it's no faster than any other performance.

As for the performances themselves, Brendel is often very good -- his G major and the central movement of the E flat major are quite beautiful -- and Levine and the Chicago are often quite mediocre -- their C major and B flat concertos are far too forceful and the outer movements of their Concerto in E flat are far too ugly. Although it is certainly worth it to hear Brendel at his most poetic, it is hardly worth it to hear Levine and the Chicago at its most plebeian.  --James Leonard, allmusic.com

Josef Suk · Asrael Symphony · Pohádka (Fairy Tale) · Serenade for Strings

Suk’s Asrael Symphony was his greatest musical memorial. It was his chosen way to express the loss of Dvorák, his teacher and father-in-law.’Asrael’ is the name of the Angel of Death who, according to Muslim folklore, carries away the souls of the departed.

'Jirí Belohlávek, the principal conductor of the Czech Philharmonic, draws powerfully expressive playing from the orchestra in a work which in its five large-scale movements is predominantly slow. Next to Pesek's fine Liverpool performance, the speeds flow a degree faster and more persuasively, and the ensemble, notably of the woodwind, is even crisper, phenomenally so. It helps too that the sound is warmer, closer and more involving ' -- Penguin Guide review, *** Rosette winner

As both the favorite student and son-in-law of Antonin Dvorak, the Czech composer Josef Suk had an especially intense relationship with the older master. Dvorak's death in 1904 therefore hit him particularly hard, compounded by his own wife's early death a year later. The creative project into which he channeled his grief is the main work featured here: the 'Asrael' Symphony--the title referring to the Muslim angel of death--a large-scale dual memorial. The work is haunted throughout by a musical motif representing fate, but the mood of mourning is alleviated by nostalgic passages in memory of happier times.

Suk's tendency toward composing dark, mostly minor-key works had been noticed years earlier by Dvorak himself, who set Suk the task of writing a more optimistic piece. The result was a Serenade for Strings, which is somewhat indebted to Dvorak's own popular work in that genre, but has its own appealing lyricism and youthful effusiveness. The final work here is a 'Fairy Tale' which also mostly shows Suk's lighter side, including elements of folk style that aptly illustrate the Slovak legend at hand. The performances by the Czech Philharmonic are excellent in all the works, with the drama and passion of 'Asrael' inspiring them to an especially high level. 

Debussy · Complete Works for Solo Piano Volume 2

“If anything, Jean-Efflam Bavouzet surpasses the high standards he set in his previous Debussy release… with this second instalment. …he focuses upon clarity of textures, rhythmic precision, well differentiated articulation, plus scrupulous balances between the hands and within chords.” -- Gramophone

This second volume of Jean-Efflam Bavouzet’s Debussy cycle reveals the intelligence of his programming. A trio of three-movement works is at its heart, but the disc opens and closes with two further triptychs, pseudo-cycles of contemporaneous pieces usually heard in isolation. Bavouzet’s strengths are also to the fore, with glowing colours in the opening Ballade and Valse romantique followed by sparkling elegance in the Danse. -- BBC Music Magazine

Diapason d’Or 2008

Bavouzet plays even such neglected gems as the Ballad and Valse romantique as though he were suspended in a dream-world, revelling in the music’s multi-layered sonic terracing with a captivating range of keyboard touch and micro-pedalling…. Playing that takes us through new realms of experience.

I had the highest praise for Jean-Efflam Bavouzet’s first volume of Debussy, and the present disc is fully the equal of that one in terms of colour, refinement of touch, spontaneity and technical finish… Bavouzet has written that his Debussy playing has been influenced by that of Gieseking, Michelangeli and Richter. You may hear something of each of these pianists in his playing but more that that you will heart his own distinctive and special voice. -- International Record Review

Mancini · 12 Recorder Sonatas

Infectious performances of well-written and entertaining music.

Francesco Mancini is one of the representatives of the Neapolitan school of the first half of the 18th century, although one of the lesser-known, in comparison to the likes of Pergolesi or Porpora. He studied the organ at the Conservatorio di S Maria della Pietà dei Turchini, and then acted as organist. In 1704 he became organist of the royal chapel and in 1708 vice maestro di cappella under Alessandro Scarlatti, whom he succeeded in 1725. In 1720 he was also appointed director of the Conservatorio di S Maria di Loreto.

The reason is that most of it is scored for recorder. And as the repertoire of recorder players is relatively limited it is understandable that Mancini's compositions meet great interest. In addition his recorder sonatas are very well written. The article on Mancini in New Grove says that he was "a skilful writer of melodies", and the recorder sonatas bear witness to that. Other features of his style are a good command of counterpoint and rich harmonies, and these are reflected in the sonatas on these discs as well.

Mancini's best-known recorder sonatas are included in the so-called 'Naples manuscript' which is kept in the library of the Conservatorio di Musica San Pietro a Majella in Naples, and bears the title Concerti di Flauto, Violini, Violetta e Basso, di Diversi Autori. Among the various authors the title refers to are Mancini, Alessandro Scarlatti and Domenico Sarri. Although they are called 'sonatas' these pieces are in fact 'concertos'. A selection from this manuscript has been recorded recently by Bart Coen and the ensemble Per Flauto (Sony 88697564082). The Ensemble Tripla Concordia has recorded a collection of twelve sonatas for recorder and basso continuo which first appeared in London in 1724. This edition is called Solos for a violin or flute. In the second edition of 1727, which was used for this recording the violin wasn't mentioned anymore. The first edition was dedicated to John Fleetwood Esq, who was the English Consul General to the Kingdom of Naples. It is likely that this dedication opened the possibility for this collection to be published in London. This guaranteed a wide dissemination as the recorder was particularly popular in England, whereas on the Continent it was ousted by the transverse flute.

The fact that Mancini was a successful opera composer is clearly audible in these sonatas. Many contain dramatic features, especially in the first two movements. Various opening movements are in binary form, and start with a fast section which then - often without a pause - merges into a slow section. In the second movements, many of which are fugues, the closing episodes often contain strong contrasts. The third and fourth movements are more light-weight and some last movements have the character of a showstopper. Or at least, that is how the artists treat them.

I have no doubt that they are right in doing so. Their interpretation of these sonatas is spot-on. The dramatic elements are fully explored. Lorenzo Cavasanti - called Casavanti at the cover - is a brilliant artist, who plays with zest and flair, and Caroline Boersma and Sergio Ciomei realise the basso continuo in a lively and often quite dramatic manner. As a result these performances are very captivating, never allowing the listener's attention to wander off. The second disc is a reissue; it was first released by the Italian label Nuova Era. But there is little difference in the performances, although Cavasanti plays with a bit more freedom in the recording of 2009.

This set is a must-have for all recorder aficionados. Those who are not may still enjoy these discs, with infectious performances of well-written and entertaining music. The booklet is poor: there is more information about the artists than about the composer and his music.  -- Johan van Veen, MusicWeb International 

Venezia Stravagantissima

Skip Sempé’s Capriccio Stravagante Renaissance Orchestra is the largest and most luxurious ensemble yet assembled for the performance of masterpieces from this Golden Age of musical creativity, with Renaissance violins, viols, recorders and sackbuts.

Chopin · Journal Intime

“He clearly has qualms about the emotional involvement he brings to Chopin's miniatures, executing an evocative transformation from languid self-absorption to high drama in the 'Ballade no. 1 op. 23', and navigating the turbulent, oceanic depths of the 'Fantaisie op. 49'.” -- The Independent ****

“memorably refined and stylish performances...Here, as so often with Tharaud, there is an aristocratic balance of sense and sensibility, though his brilliant fury in the Second Ballade's Presto storm is breathtaking” -- Gramophone

“He plays the music with palpable affection and sensitivity, gilded with a panache and passion in the more tempestuous moments...Tharaud’s feel for tonal colouring and his eloquence of expression are a perfect match for this inspiring, kaleidoscopic music.” -- The Daily Telegraph *****

“this sequence of carefully chosen pieces makes for a satisfying listen. Tharaud lifts the music across the bar-lines with deft rubato, his sound clear, shining and sensuous; altogether breathtakingly beautiful.” -- The Observer

L'Apprenti sorcier · Poèmes Symphoniques Français

French Symphonic Poems

Paul Dukas, Camille Saint-Saens, Cesar Franck, Henri Duparc, Sylvio Lazzari

EMI France and Michel Plasson have created many recordings of major works of French composers, some never recorded before. Many have since received the highest distinctions worldwide. Although Plasson has long term commitments with the Orchestre du Capitole de Toulouse, he has also regularly conducted the world's leading orchestras.

Villa-Lobos | Music for Flute

Villa-Lobos | Music for Flute

'A disc of pure delight from beginning to end. Another example of why Hyperion gets my vote as the most innovative record label. Full marks!' --Which CD

'A disc of outstanding artistry' (The Good CD Guide)

'[A] box-full of ingenious vitality' (BBC Music Magazine)