Hi-Res Downloads

Calling your début duo album Juvenile might seem like asking for critical trouble, but in the case of this lovely inventive set by pianist Böhm and guitarist Scholly it seems more self-deprecating, such maturity do both performers display. With instruments stripped down and exposed, and no rhythm section for support, they nevertheless weave intriguing sonic pictures. Not only does this set offer demonstration-quality sound throughout, it also captivates with the endlessly inventive handling of the eight original tracks and one cover – a beautifullyre-sketched ‘Georgia On My Mind’ – and the way the two seamlessly swap the roles of soloist and accompanist within tracks, showing masterful interplay and understanding. On the surface it may seem like ‘audiophile jazz’, but give it the attention it deserves and this unusual album is likely to become a firm favourite.

This is the Alpha label debut of Belgian tenor van Mechelen and his period instrument group A Nocte Temporis (flute, organ, cello), set up in 2016. He’s devised a thematically related sequence of eight arias from cantatas by Bach, interspersed with chorale preludes and movements from instrumental works to create a 70m ‘little concert for a Sunday afternoon’ [see the trailer here], which they are touring this year. Be warned: it’s all unremittingly serious stuff! The recording was made last May at the Sainte Aurélie Church, Strasbourg, where the organ is a restored 1718 Silbermann. The performers are each close-set (presumably because of the generous ambient setting).

This is the third programme by Il Pomo d’Oro (founded in 2012, the group takes its name from a ten-hour 17th-century opera written by Antonio Cesti) in Naïve’s ambitious plan to record all of the Vivaldi works lodged in the Turin library. You’ll need to do some internet searching to find what exactly you are listening to here, as only the cover comes with this download. The six concertos vary in mood and inventiveness, with some fugal writing in the G-minor, RV517(i), birdsong and concluding ‘percussive’ effects in the opening track of the A-minor, RV523(i). The C-minor RV509 is quite a sombrely sustained work and it contrasts with the lively E-flat, RV515, with its echoing phrases.

Accomplished guitarist Richard Schumacher was born in Boston (1955) but grew up in Hamburg. In his mid-twenties he returned to Berklee College of Music to study jazz composition and arrangement. Back in Germany in the 1990s he formed the Vibe Tribe jazz collective project and his own Straightvibe Records label dedicated to jazz and world music. Despite Right Of Way being an analogue recording, ironically it delivers that rather ‘dark’ and dry sound reminiscent of the many ‘audiophile’ releases from Tom Jung’s digital-pioneering DMP label.

192kHz/24-bit, ALAC, FLAC; Linn CKD521 (supplied by www. linnrecords. com) Robin Ticciati’s R&J or the Andrew Davis/Chandos [HFN Feb ’17]? The Swedish brass is leaner than the BBC SO’s and Chandos made more of the antiphonally set second violins. But the Linn has more dramatic light and shade, and a natural concert hall balance.

96kHz/24-bit FLAC, BIS-1939 (supplied by www. eclassical. com) Oramo’s Swedish orchestra plays Elgar with real warmth and commitment, especially the brass – glorious in the finale and at the end of the overture Cockaigne (where accurately dry bass-drum sounds are underpinned by organ – an option not always heard in recordings). There’s some characterful phrasing here by the principal clarinettist, presumably Hermann Stefánsson [see Hi-Res DownloadsHFN Aug ’14].