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Smetana: La Moldau - Quatuor à cordes No. 1

Various Artists

Symphonic Music - Released January 26, 2017 | Les Indispensables de Diapason

Distinctions Diapason d'or
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Smetana: The Moldau - Weber: Aufforderung zum Tanz - Berlioz: La Damnation de Faust, Op. 24

Eugene Ormandy

Classical - Released April 28, 1958 | Sony Classical

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Famous Classics

Bedrich Smetana

Classical - Released January 1, 2005 | Claves Records

Distinctions 5 de Diapason
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Karel Ančerl dirige Smetana: La Moldau (Répétition et Exécution)

Karel Ancerl

Classical - Released April 1, 2020 | Alexandre Bak - Tahra

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Dvořák: Symphony 9, Smetana: The Moldau, Liszt: Préludes

Ferenc Fricsay

Classical - Released March 1, 1988 | Deutsche Grammophon (DG)

Hi-Res Distinctions The Qobuz Ideal Discography
Only a chosen few can captivate listeners with a work that has been brought out over and over again hundreds of times. But that is what is achieved here with a Symphony "From the New World" byAntonin Dvořák which doesn't seem to have aged a bit. Recorded in 1959 in Berlin in excellent stereo, this feverish performance also shows the miracle that an invited leader can create. In a few short recording sessions, Ferenc Fricsay was able to bring forth from the Berlin Philharmonic a sound that was the polar opposite to Karajan's softness. Everything here, with the exception of an irresistibly dreamy Largo is sharp as a knife and whip-smart, in the the style of the Czech Philharmonic. It is the magic of an orchestra that can instantly adapt itself to the personality of a leader who knows how to convince. Recorded in 1960, but with Fricsay's Berlin RIAS (Radio in the American Sector) Orchestra, the symphonic poem by Franz Liszt, Les Préludes, is cut across by an epic gale, reinforced by a slow and majestic tempo. As for The Moldau (Vlatva) by Bedřich Smetana, so close to Czech hearts, Fricsay recorded it several times, most notably in 1960, with the Südfunk Orchester, the film of a rehearsal of which is one of the few visual records of the great Hungarian conductor. It was over the course of that same year that he made this recording, at the head of the Berlin Philharmonic. In 1948, Ferenc Fricsay had signed an exclusive contract with Deutsche Grammophon, becoming one of the few artists never to record for another label. On the occasion of the hundredth anniversary of the conductor's birth in 2014, the yellow label published an impressive box set (available on Qobuz) which brings together all of his recordings. It is a treasure trove for music lovers, because among the records which remain famous to this day, we find a whole series of forgotten works. The recordings were mainly de in the Titania-Palast in Steglitz in Berlin, which was the only concert hall which was spared the Allies’ bombs. © François Hudry/Qobuz
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Clandestino / Bloody Border

Manu Chao

World - Released August 30, 2019 | Radio Bemba

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Cyberpunk 2077: Phantom Liberty (Original Score - Deluxe Edition)

P.T. Adamczyk

Film Soundtracks - Released September 29, 2023 | Milan

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Illuminate

Schiller

Electronic - Released March 10, 2023 | NITRON concepts

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Musica Nuda - My Favorite Tunes

Musica Nuda

Vocal Jazz - Released June 14, 2019 | Bonsaï Music

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El Mal Querer

ROSALÍA

Pop - Released November 2, 2018 | Columbia

Hi-Res Distinctions Pitchfork: Best New Music
Not many people would put their money on a mix of flamenco, R&B and electro - at least, on paper it sounds a bit cheesy. And yet, Rosalía Vila Tobella has made it work. Critics have been praising the Catalan for the “new flamenco” she developed on her 2017 Los Angeles album, and this year she shows no sign of slowing down. Since releasing Malamente, the contagious first track from El Mal Querer in May 2018, with a music video directed and produced by the Spanish group Canada, she has earned 5 nominations at the Latin Grammy Awards. And Rosalía is following up with yet more brilliance: featuring on J Balvin’s album Vibras, recording in the studio with Pharrell Williams and being called up for Pedro Almodovar’s next film… So here it is, the highly anticipated new album produced by El Guincho, a Spaniard signed by the English label Young Turks who has a passion for sampling tropical beats and enjoys cutting and pasting hand-claps, finger-clicks and sometimes Rosalía’s voice, as we hear on De Aqui No Sales, which is reminiscent of Björk’s work. Bagdad is a combination of R&B and flamenco, while there’s more of a shift towards electro on Que No Salga La Luna. The Spanish singer generally focuses on melody, though does at certain points divulge in more experimental sounds and it’s there that we see the more adventurous side of her phenomenal voice. © Smaël Bouaici/Qobuz
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Grieg - Smetana

Quatuor Modigliani

Quartets - Released January 12, 2024 | Mirare

Hi-Res Booklet Distinctions Diapason d'or - Choc de Classica
The string quartets of Grieg and Smetana, as annotator Melissa Khong notes, make a natural pairing. Both composers, paragons of the nationalist movements within their respective countries, mostly avoided classical forms, but both turned to the string quartet when they faced personal crises, and the tension between strong emotion and formal restrictions had compelling results. Smetana perhaps made a bit more of the situation than Grieg did, but Grieg's quartet is a bit neglected, and this pairing is not as common as it should be. On this 2024 release, the Modigliani Quartet gives these works a suitably intense, inward quality, with a strikingly rich treatment of the Smetana slow movement. The group excels in the Grieg quartet as well; their performance is highly dramatic, but the work can stand up to this. The quartet is a bit hampered by the Mirare label team's overwrought sound; the ambiance of the Schubertiade hall in Austria is fine, but the group is miked too close. Nevertheless, these are performances that penetrate to the heart of two unique works.© James Manheim /TiVo
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Dallamericaruso - Live at Village Gate, New York 23/03/1986

Lucio Dalla

Italy - Released November 20, 2023 | RCA Records Label

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Anime parallele

Laura Pausini

Pop - Released October 26, 2023 | Warner Music

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Clandestino

Manu Chao

World - Released January 1, 1998 | Radio Bemba

Booklet Distinctions The Qobuz Ideal Discography
The first solo album released by the former frontman of Mano Negra, Clandestino is an enchanting trip through Latin-flavored worldbeat rock, reliant on a potpourri of musical styles from traditional Latin and salsa to dub to rock & roll to French pop to experimental rock to techno. Chao's voice tends to be a bit nasally, but the best songs ("Mentira," "Mama Call," and the silly novelty "Bongo Bong") here benefit from his infectious, freewheeling delivery which incorporates balladry, chorus vocals, rapping, and tossed-off spoken-word passages. Just about every track has odd sampled bits from what sound like pirate radio-station broadcasts (a possible link to the title). There are so many great ideas on this record that it's difficult to digest in one listen, but multiple plays reveal the great depth of Manu Chao's artistry.© John Bush /TiVo
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Ramages

Birds on a Wire

Alternative & Indie - Released February 28, 2020 | [PIAS] Le Label

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Romanza

Andrea Bocelli

Pop - Released January 1, 1996 | Universal Music Group International

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This 1996 disc compiles music from the beginning of Andrea Bocelli's career, with tracks going back as far as 1992. At this point the blind Italian tenor, although trained in opera, was unabashedly a pop singer, just like the many other pop singers who have benefited from classical vocal training at one time or another. There is no controversy about whether Bocelli was a competent opera singer here, for there are no operatic arias, and not even any of the Neapolitan songs that he later essayed in American appearances -- all the music is contemporary, heavily string-enveloped (mostly) Italian pop. It was only later that Bocelli began to move into operatic territory -- a decision that brought down the wrath of much of the operatic community but also raised his international profile considerably. (The story of his reception would be worth some student's time to explore in depth.) It's worth remembering that Luciano Pavarotti's oft-cited endorsement of Bocelli referred to this stage of his career, not to his operatic ventures. Part of what appealed to Pavarotti may have been the consistent craftsmanship of the songs here; Pavarotti himself later recorded the evocative Caruso. These songs defined the Bocelli sound. He steered clear of his top register, using it only for occasional climactic effect, and mostly what he does here is all about the microphone -- he's a romantic crooner, and in that role he can stand with anybody else on the market today. There are a few clinkers. The concluding duet with Sarah Brightman -- Time to Say Goodbye (Con Ti Partirò) -- is forced. These two have some vocal traits in common and should blend well, but here Brightman has a tendency to sing the English lines with an affected Italian accent. Still, this is as good a place as any to start with the Italian tenor who has since become a worldwide phenomenon, and a sure-fire gift for someone who has experienced Bocelli's undoubted ability to snare listeners who get a taste of his voice in a chance encounter (as on a commercial for the Bellagio resort in Las Vegas). All Italian songs are translated into English in the booklet.© TiVo
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Toutes les nuits

Dulces Exuviae

Classical - Released January 6, 2023 | Ricercar

Hi-Res Booklet Distinctions Gramophone: Recording of the Month
The night was a common theme in Renaissance poetry, and various collections of chansons on nocturnal images exist. This one, however, is a standout. Baritone Romain Bockler and lutenist Bor Zuljan (they are Dulces Exuviae, although the graphics suggest a separate ensemble) divide their program into five parts: Twilight, Solitude, Dream, Moonlight, and Dawn. The minimal ensemble of one singer and one instrumentalist is enlivened by various factors, one being the high quality of the repertory involved; these songs are lovely. The duo focuses in on one particular text, the anonymous Toutes les nuits (spelled in a delightful variety of ways, with one instrumental setting), and these are ideal for appreciating how composers approached the poetry they used. The musicians' techniques are also notable. Bockler adds a good deal of ornamentation that is quite varied from piece to piece, responding to the texts. Zuljan uses two different lutes, one of them with metal strings, for an entirely unusual effect. All these factors add variety that makes the program consistently interesting, enough so that the inclusion of a Beatles song, heavily accented, at the end was not really necessary. The sound from the Chapelle Notre-Dame de Centeilles is not really idiomatic but is clear enough. This is a Renaissance chanson release of great interest to both specialist and general listeners, and it landed on classical best-seller lists in early 2023.© James Manheim /TiVo
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Buddha Bar XXV

Buddha-Bar

Electronic - Released April 21, 2023 | George V Records