Hi-Res Downloads

96kHz to 192kHz/24-bit FLAC, CKD526 (supplied by www. linnrecords. com) Renowned baroque violinist and period-instrument ensemble director Monica Huggett is artistic director of the Irish Baroque Orchestra, and they have recorded Bach programmes together for Avie and the RTÉ Lyric label. Here – harking back to a time when concerto soloists were members of the orchestra, rather than ‘star’ performers – she has chosen seven by no means familiar works by 17th-century composers (Fasch, Graupner, Heinichen, Telemann and Vivaldi) written for one or up to six solo players.

96kHz to 192kHz/24-bit FLAC, CKD 570 (supplied by www. linnrecords. com) Marking his 70th birthday, this recital reflects both the journeys made by early composers from one country to another and those made by Trevor Pinnock in company with his preferred, rich-toned, 1982 American harpsichord modelled after an 18th-century Hemsch instrument, which he’s been playing for 40 years. We haven’t previously featured a solo harpsichord in this HFN section – recorded at the concert hall at Kent University, Canterbury, by Philip Hobbs in Aug ’14, this programme has pieces by JS Bach (The Sixth French Suite), Bull (his pictorial, galloping The King’s Hunt), Byrd, Cabezon, Frescobaldi, Handel (a floridly decorated Chaconne in G), Sweelinck and Tallis, and ends with three Scarlatti sonatas.

See here: this could be either a classical album or a jazz one, so blurred are the lines in this unusual, challenging recording. Led by Martin Albrecht on clarinet and bass clarinet, the quartet – Daniel Prandl plays piano, Dirik Schilgen drums and Katharina Gross bass – improvises and interprets around the works of Scriabin, with some of the originals played by pianist Asli Kilic, and joined by the occasional foray into electronica and sound effects, as on ‘Never Ending Story’. OK, so it all sounds a bit high-falutin’ – one track, ‘Rausch’, may well have you stifling giggles – but strangely it works, the musicians producing a set which rewards the attention with a fascinating series of pieces. It’s recorded and mixed by Markus Born and Ekhard Steiger, and produced by Albrecht.

DSD64, SKU TRIOC2011 (supplied by www. nativedsd. com) Well, this album is an absolute riot and all delivered in sparkling sound quality. The fourth album by The Third is an infectious mix of klezmer, gipsy and Balkan folk music, played by the three members of the Dutch ensemble with real panache and enjoyment.

Eithne Ní Bhraonáin is back with her eighth set, apparently five years in the making, inspired by the night sky over the small Channel Island of Sark, and nearly 30 years on from her 1988 album Watermark. The good news – for her legions of fans, at least – is that Dark Sky Island sounds every bit an Enya album. The potentially bad news is that it sounds exactly like an Enya album. .

Well, this turned out to be an unexpected treat: Becca Stevens plays multiple instruments to an annoyingly high standard, but does so with such style and in so easy-going a manner that the result is anything but annoying. She also sings superbly, too: her voice is warm and lush, but packed with expression, and capable of wonderful harmonies with accordion/keyboard player Liam Robinson and bassist Chris Tordini. Oh, and she writes great songs into the bargain, such as the attractively clever title track of this, her third album, which was recorded in multiple studios (and indeed three separate states) by producer Scott Solter. It’s a fine multilayered crossover between jazz, folk and rock, combining Stevens’ originals with great covers – her version of Steve Winwood’s ‘Higher Love’ has both style and solid bass, and like the whole set an open, informative balance.

44. 1kHz to 192kHz/24-bit FLAC/ALAC, CKD456 (supplied by www. linnrecords. com) Only two Mozart pieces for bassoon remain: the concerto and this three-movement sonata from 1775, published later in Leipzig as for bassoon/cello – here, the cello is replaced by an unspecified fortepiano.