Hi-Res Downloads

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C. Breunig (Music); P. Miller (Lab)  |  Apr 01, 2014
Produced/engineered by Philip Hobbs in Sept ’11, for AAM Records’ first release, this programme takes us from the Sinfonia from Handel’s Saul to Haydn’s F-minor Symphony 49, ‘La Passione’, via works by FX Richter, Stamitz and Mozart: the remarkable K16 – written when he was eight! There’s a related documentary at www. aam. co. uk/birthofthesymphony where Egarr and leader Pavlo Beznosiuk describe the pieces and their salient features (such as the ‘busy’ bowing in the Stamitz opening Presto) intercut with film from concert performance – the two natural horns are quite a sight.
C. Breunig (Music); P. Miller (Lab)  |  Nov 01, 2016
The most familiar of the complete Haydn symphony cycles is the late-’60s/early-’70s Philharmonia Hungarica/Doráti set on Decca. Now the company has released a 36CD period-instrument equivalent using existing Hogwood and Brüggen recordings plus these new versions of this little-known group of symphonies composed in 1782-84. They became, the booklet note says, sufficiently popular in Europe to prompt a commission for the ‘Paris’ series. And that’s not surprising: I found myself encoring the finales of both Nos 79 and 81, and was mightily intrigued by the construction of No 80(i) where a simple dance tune keeps popping up in the context of a feverish allegro.
C. Breunig (Music); P. Miller (Lab)  |  Oct 01, 2016
96kHz to 192kHz/24-bit FLAC, CKD478 (supplied by www. linnrecords. com) These Britten recordings were made at Snape Maltings between Oct ’12 and Apr ’15 – no mention of the Tallis Fantasia in the excellent PDF notes or on the cover but you do get the texts of the great Serenade. Young Apollo had been suppressed by Britten and was first recorded by Simon Rattle in 1982.
C. Breunig (Music); P. Miller (Lab)  |  Oct 01, 2014
Campbell (26) fell in love with the sound of the piano as a child. Rather than training formally he decided to shut himself away with an instrument, playing and writing his own music. The 12 tracks selected for recording – some dating back to his teens – have titles, ‘Light on the River’, etc, which he says are not meant to be taken literally. But he sees Sketches as an integral work.
C. Breunig (Music); P. Miller (Lab)  |  Feb 12, 2016
As with their Dvorák series with the Czech PO, Faust/Melnikov/Queyras are coupling a chamber work with a concerto – this time with a period-instrument orchestra. For the Schumann Concerto, Melnikov has elected to play a robust 1837 Érard; then an 1847 Streicher in the Trio – with more body than the one heard in their Trio No 3 [HMC 902196]. Clear and open, this is an attractive recording, with some subtle detailing mostly from Faust. The Concerto is more unsettling.
C. Breunig (Music); P. Miller (Lab)  |  Sep 01, 2015
96kHz/24-bit FLAC, BIS BIS-2100 (supplied by www. eclassical. com) As a violinist on the Denon label, Jean-Jacques Kantorow’s CDs were invariably well received in HFN/RR. Then he took up conducting and has amassed a considerable discography with his Finnish orchestra.
C. Breunig (Music); P. Miller (Lab)  |  Jun 05, 2017
Jubilo is, says Balsom, ‘a celebration’ of early music by Bach, Corelli (a concerto grosso), Fasch (a concerto) and Torelli (a trumpet sonata with strings and continuo), where she plays both a natural and a modern trumpet. The Corelli is a new arrangement of the ‘Christmas Concerto’ (to which purists might take exception, though somehow the baroque trumpet seems to ‘fit’), while the eight Bach tracks include pieces with organ – ‘In dulci jubilo’, ‘Wachet auf’, ‘Kommst du nun’, etc, from the Schübler Chorales – and with the Cambridge Choir, ‘Jesu, Joy of Man’s Desiring’, sounding a bit rushed here. About half of the programme was recorded at King’s College, and half in the more intimate acoustic of St Jude on the Hill, London. Alison Balsom’s legato lines, varied dynamics and overall technique make this a really enjoyable issue, and one that’s been well produced too.
C. Breunig (Music); P. Miller (Lab)  |  Jan 01, 2014
192kHz/24-bit FLAC/ALAC, VIVAT 103 (supplied by www. vivatmusic. com) Reviewing the CD from Tony Faulkner’s recordings for the new label, Vivat, produced at Stoke d’Abernon’s Menuhin Hall in April 2012 [HFN Sept ’13], I didn’t find space to mention occasional knocking noises, as one or other player caught the body of the instrument. These take on a more realistic, recognisable quality with the high-res download, and the extra £2.
C. Breunig (Music); P. Miller (Lab)  |  Sep 01, 2015
This new Schola Cantorum Basiliensis production offers eight of the Venetian composer Antonio Caldara’s early trio sonatas – four each from his Op. 1 and Op. 2 – together with a final chaconne (probably an homage to Corelli). These works appeared in 1693 and 1699; thereafter Caldara became best known for his vocal compositions.
C. Breunig (Music); P. Miller (Lab)  |  Sep 01, 2013
A raucous Gershwin Prelude segues into Copland’s moody Concerto – one of his best pieces – then time-travels via Debussy (‘La fille aux cheveux de lin’) and Amy Beach (her romantic Berceuse) to 19th century concertos by Cimarosa and Spohr. Short transcriptions and concertos alternate in what may add up to a stylistically incoherent whole but one which affords the young Austrian Andreas Ottensamer, now principal clarinettist with the Berlin Philharmonic, a chance to illustrate his captivating skills in both jazzy and classical genres. His liquid sounds, wide colour palette and sense of timing sets this version of the Copland above any competition (even the recent Michael Collins/Chandos pales) and the Rotterdam Orchestra surprises in its exuberant embrace of the two American pieces. Bold, close-mic’d sound from De Doelen concert-hall.
C. Breunig (Music); P. Miller (Lab)  |  Mar 11, 2016
96kHz/24-bit & 16-bit, FLAC, Harmonia Mundi HMC 902181. 82 (supplied by www. eclassical. com) For these 2013 Freiburg Ensemblehaus recordings of the seven keyboard concertos with strings – BWV1057 more familiar as the Fourth Brandenburg, BWV1054 and 1058 derived from violin concertos – Staier has chosen a modern copy of a 1734 Hass instrument.
A. Everard (Music); P. Miller (Lab)  |  Oct 08, 2015
Now here’s a download to divide the jazz purists. On this album Sheppard’s Trio Libero set-up of bassist Michel Benita and Sebastian Rochford is joined by Elvind Aarest on ‘guitar and electronics’, suffusing much of the music here with underlying drones and washes of sound, in a kind of ‘jazz meets ambient’ mixture. It’s a tribute to both the (typically ECM) quality of the recording and the ability of all the musicians that this doesn’t just become a mush of sound, although those more used to hearing their traditional jazz combos crisp and clean may find the amalgam somewhat less than satisfying. That’s especially so on a track like ‘Aoidh, Na Dean Cadal Idir’, where the electronic layers often threaten to rise up and overwhelm the acoustic instruments, but to these ears the combination is both intriguing and highly effective.
C. Breunig (Music); P. Miller (Lab)  |  Feb 25, 2015
The Moscow composer-pianist Alexander Scriabin wrote his first five piano sonatas between 1893 and 1907; the other five date from 1911-13 (Nos 5-10 are in single-movt form). They show a development from a Chopin-influenced style – eg, ‘Funèbre’ in Sonata 1 – to one where ‘the tonic became distantly perspectived… existing only in the imagination’. Some have associated texts or sub-texts. Also Moscow trained, Anna Malikova made her recordings in a German studio in Feb/March of 2012, ’13 and ’14, playing a Shigeru Kawai pianoforte – then a newly launched model.
S. Harris (Music); P. Miller (Lab)  |  Sep 10, 2018
For Souvenance, Anouar Brahem’s last release and HFN album of the month [HFN May ’15] this master of the oud enlisted a string orchestra to join some of his regular accompanists, but this time he’s started afresh. Having recruited the great ex-Miles bassist Dave Holland (who played on Brahem’s album Thimar in 1997), the renowned fusion drummer Jack DeJohnette was a natural choice. British composer Django Bates was suggested by ECM co-founder Manfred Eicher, who’d just been recording the pianist’s Belovéd trio, and though absent from the contemplative ‘Bahia’, Bates brings a wealth of ideas elsewhere. In the final, aptly-titled ‘Unexpected Outcome’, what seems at first a simple, even jazz pulse from Holland soon develops into something far more subtle.
A. Everard (Music); P. Miller (Lab)  |  Apr 02, 2015
Recorded by the Swiss Italian-language broadcaster RSI, this album by oudist Anouar Brahem apparently draws its inspiration from the recent political and social traumas of his native Tunisia. It sees Brahem’s lute-like instrument front and centre in the mix. He’s helped by close miking, and partnered by Francois Couturier (piano), Klaus Gesing (bass clarinet) and Bjorn Meyer (bass) – oh, and the small matter of the Orchestra della Svizzera Italiana. Here the orchestra performs the function of the backing drone so often heard in Middle Eastern and North African music, underpinning Brahem’s lyrical, reflective playing and the rich interjections of Gesing’s clarinet.