Thanks to the hard work carried out in cooperation with recording studios as well as an increasing number of music labels (Plus Loin Music, Bee Jazz, Ambronay Editions, Zig Zag Territoires, ECM, Mirare, Aeolus, Ondine, Winter & Winter, Laborie, etc.), Qobuz now offers a rapidly-growing selection of new releases and back catalogue records in 24-bit HD quality. These albums reproduce exactly the sound from the studio recording, and offer a more comfortable listening experience that exceeds the sound quality of a CD (typically \"reduced\" for mastering at 44.1kHz/16-bit). \"Qobuz HD\" files are DRM-free and are 100% compatible with both Mac and PC. Moving away from the MP3-focused approach that has evolved over recent years at the expense of sound quality, Qobuz provides the sound calibre expected by all music lovers, allowing them to enjoy both the convenience and quality of online music.

Note 24-bit HD albums sold by Qobuz are created by our labels directly. They are not re-encoded using SACD and we guarantee their direct source. In order to continue on this path, we prohibit any tampering with the product.

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Film Soundtracks - Released February 1, 2019 | Sony Classical

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Film Soundtracks - Released January 4, 2019 | Sony Classical

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Film Soundtracks - Released December 7, 2018 | Decca (UMO) (Classics)

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Film Soundtracks - Released November 16, 2018 | Sony Classical

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Film Soundtracks - Released August 3, 2018 | Walt Disney Records

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Film Soundtracks - Released July 13, 2018 | Sony Classical

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For this Gus Van Sant movie depicting the life of John Callahan—a famous paraplegic cartoonist—Danny Elfman (Batman, Good Will Hunting, Milk) indulged in a particularly gratifying eclecticism. Rather logically, bebop pieces illustrate the improvised scenes between Joaquin Phoenix and Jonah Hill, as well as the epic wheelchair races. This aesthetic also allows to give energy to a story that is sometimes somewhat static (so to speak). And most of all, it translates the own dynamism, both atypical and deeply moving, of Callahan (Main title, The liquor store). In parallel with this jazzy energy, Danny Elfman offers quieter and orchestrally stripped-down moments, just like this beautiful piano piece called Mother’s name. In the same vein, the composer scatters on other sections many extremely smooth and warm timbers (piano, acoustic guitar, celesta, bells, ethereal voices, harp, flute, music box…) combined to highly strung writing, alternating strength, tenderness, unpredictability and slight worry. In short, this is a partition that perfectly reflects its colorful protagonist. Two songs complete this multicolored soundtrack, among which you will find a Texas when you go written and performed by John Callahan himself. It reaches heights of fragile emotion. ©Nicolas Magenham/Qobuz
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Film Soundtracks - Released July 6, 2018 | Hollywood Records

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Film Soundtracks - Released June 15, 2018 | Walt Disney Records

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Film Soundtracks - Released May 25, 2018 | Walt Disney Records

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Film Soundtracks - Released April 27, 2018 | Hollywood Records

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Film Soundtracks - Released April 20, 2018 | Sony Classical

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Film Soundtracks - Released March 9, 2018 | Masterworks

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Film Soundtracks - Released December 22, 2017 | Sony Classical

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Film Soundtracks - Released December 15, 2017 | Walt Disney Records

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When the first Star Wars film came out 40 years ago, film-maker George Lucas showed real nerve when he chose a strongly symphonic colour for the soundtrack, and picked out a composer who knew his classics (and his Wagner in particular). At the time, early electronic music was almost compulsory in science-fiction films. In 2017, the presence of John Williams in the opening credits of a Star Wars film doesn't have quite the same audacious feeling, and the thrill the audience feels when the prologue starts to roll derives mostly from the legendary status of both the music and its octogenarian writer. It has been asserted that in fact the real "last Jedi" in the film is John Williams! All the same, upon the release of this eighth episode, some voices have been raised (critic Michel Ciment's in particular) to insist that John Williams has served his time and that he should give way to a younger composer. But rather than getting bogged down in the question of "the age of the captain", we should look at the important thing: the score for this eighth work is very interesting. In particular, it shows up a fascinating dichotomy between the archetypal nature of the musical themes (very clearly illustrating a character or concept) and Williams's extremely subtle way of developing them, to say nothing of his indisputable skill with orchestration. Beyond the many epic pieces on this soundtrack, (The Battle of Crait, The Fathiers, etc.), special mention must go to the majestic Ahch-To Island, which sees a "retired" Luke Skywalker who wants to live out the rest of his days in peace and serenity. Moreover, listeners will be pleasantly surprised to find, nestled away within this remarkably written and well-controlled score, Canto Bight, a jazzy theme with a South American flavour (which at points pastiches Brazil), with a steel drum section! This is a piece which proves that John Williams is fully at ease with all musical genres and all orchestral colours. © NM / Qobuz
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Film Soundtracks - Released December 15, 2017 | Walt Disney Records

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Film Soundtracks - Released November 10, 2017 | Walt Disney Records

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Film Soundtracks - Released September 22, 2017 | Sony Classical

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Film Soundtracks - Released July 7, 2017 | Sony Classical

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Film Soundtracks - Released July 7, 2017 | Sony Classical

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Soundtracks - Released June 30, 2017 | Sony Classical

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