Yo-Yo Ma / Edgar Meyer / Mark O’Connor – Appalachian Journey (2000) {PS3 ISO + Hi-Res FLAC}

Yo-Yo Ma / Edgar Meyer / Mark O’Connor – Appalachian Journey (2000)
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 70:35 minutes | Scans included | 3,26 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,33 GB
Genre: Classical

From their sold-out concert at New York City’s Avery Fisher Hall, legendary cellist Yo-Yo Ma, violinist Mark O’Connor and bassist Edgar Meyer, along with special guests James Taylor and Alison Krauss, perform works from the trio’s acclaimed albums that span many musical genres.

The follow-up album to the highly successful Appalachia Waltz collaboration, Appalachian Journey continues the combination of classical music with Appalachian, bluegrass, and American roots music in general. Yo-Yo Ma, alongside violinist Mark O’Connor and bass player Edgar Meyer, runs through a number of original compositions fusing the traditions, as well as a few old standards from the genre repertoire. As stated by the artists, Appalachia Waltz explored the combination of the three artists’ sounds put together, while Journey expands upon this theme, exploring the sound of the three artists as a singular group. Joining with the trio are James Taylor on a pair of works (on both guitar and vocals) and Alison Krauss on fiddle and vocals. The vocalists are added specifically on a pair of old Stephen Foster works, the songs themselves thematically bridging the gap between the classical and folk realms. The tone can change easily from cheerful jigging to outright nostalgic, depending largely on who’s doing the soloing at any given time. There’s an embracing down-home atmosphere set up by the artists, using warm tones and motives throughout the album. At the same time, the trio displays some remarkable virtuosity (as would be expected from this group), burning through some fiery sets of triplets on otherwise slow instruments (the cello and bass, specifically), but keeping up with the violin while avoiding the easily hit distortion sounds that usually come from high speed, low frequency playing. Reels fit easily with waltzes here, and also with traditional songs with virtuosic passages from original compositions. The old and the older are easily made compatible here largely on the strength of the performers involved. It’s a worthwhile album for listeners curious about the newer directions being taken in the classical realm.

Tracklist:
01. 1B
02. Misty Moonlight Waltz
03. Hard Times Come Again No More (with James Taylor, guitar & vocals)
04. Indecision
05. Limerock
06. Benjamin (with James Taylor, guitar)
07. Fisher’s Hornpipe (with Alison Krauss, violin)
08. Duet for Cello and Bass
09. Emily’s Reel
10. Cloverfoot Reel
11. Poem for Carlita
12. Caprice for Three
13. Second Time Around
14. Slumber My Darling (with Alison Krauss, vocals)
15. Vistas

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Yo-Yo Ma – Soul Of The Tango: The Music of Astor Piazzolla (1997) [Japanese Reissue 2003] {PS3 ISO + Hi-Res FLAC}

Yo-Yo Ma – Soul Of The Tango: The Music of Astor Piazzolla (1997) [Japanese Reissue 2003]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 63:41 minutes | Scans included | 2,56 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,21 GB
Genre: Classical

Yo-Yo Ma might seem like an unlikely protagonist for the tango, but this intrepid musical explorer has taken his task seriously, collaborating with experienced tango musicians. Ma even participates in a posthumous collaboration with one 1987 Piazzolla recording. Furthermore, while he’s obviously the headliner here, he doesn’t dominate the arrangements nearly as much as he does the billing and photography of the disc. While the result isn’t your essential Piazzolla album (that would have to include more of the composer’s own playing), it’s an atmospheric and convincing collection, perhaps a good introduction for those who don’t know the music.

Inspired by a general love of the tango, and more specifically the tango of Astor Piazzolla, on the part of Yo-Yo Ma, the Soul of the Tango album is a masterful work of the nuevo tango, played by Ma’s cello and many of Piazzolla’s former associates. Piazzolla’s old guitarists Sergio and Odair Assad even showed up to work on a pair of tracks arranged by Sergio: the Tango Suite (consisting of Andante and Allegro). The sheer beauty of one of Piazzolla’s tangos is generally enough to warrant the purchase of an album involving them. An album such as this one, where all of the songs (save one: Tango Remembrances, where Ma plays along with outtakes from Piazzolla’s recording of The Rough Dancer and the Cyclical Night album) are compositions by Piazzolla is even better. Add to this the masterful playing of Ma, and the surprising facility in which the cello fits into the tango, and you’ve got what could become a classic album, if only it weren’t on the classical label from Sony. The album begins with Libertango, a composition from Piazzolla’s first album that became the theme song for the movie The Tango Lesson. Following is the pair of tracks in the Tango Suite from Sergio Assad. Then comes Sur: Regreso al Amor, a softer work, though with some definite virtuosity displayed. Le Grand Tango is an eleven minute tour de force in the tango, and Fugata is a tango written under the guidelines of a classical fugue. The next work is the aforementioned Tango Remembrances, which is a particularly nice work, probably due to the appearance of Piazzolla’s own playing. Mumuki is a more complicated composition, and Tres Minutos con la Realidad is a choppier, peppier work. Milonga del Angel is a seemingly sentimental work that shows off Piazzolla’s ability to express the emotions of a song perfectly and purely. To finish the album, Ma presents Café 1930, a rather slow paced work, but again, as in Milonga del Angel, expresses emotion very fully in its nostalgia. Overall, the album is a stunning work of art, and even those that may not have heard of Piazzolla could easily be lured to his music via this single album.

Tracklist:
01. Libertango
02. Tango Suite: Andante
03. Tango Suite: Allegro
04. Sur : Regreso al amor
05. Le Grand Tango
06. Fugata
07. Tango Remembrances
08. Mumuki
09. Tres minutos con la realidad (Three Minutes with Reality)
10. Milonga del Angel
11. Cafe 1930

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Yo-Yo Ma – Yo-Yo Ma Plays Ennio Morricone (2004) [2.0 & 5.1] {PS3 ISO + Hi-Res FLAC}

Yo-Yo Ma – Yo-Yo Ma Plays Ennio Morricone (2004) [2.0 & 5.1]
PS3 Rip | ISO | SACD DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 55:49 minutes | Scans included | 3,52 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,01 GB
Classical / Soundtrack | Features 2.0 Stereo and 5.1 multichannel surround sound

Recorded with the Roma Sinfonietta Orchestra, Yo-Yo Ma Plays Ennio Morricone sees the American cellist tackle some of the legendary Italian composer’s most famous film scores. Produced by Morricone himself, the 2004 release features new arrangements of iconic soundtracks from The Good, The Bad and The Ugly, Cinema Paradiso, and Once Upon a Time in America, alongside lesser-known works from The Mission, A Pure Formality, and The Legend of 1900.

Sure to remain a top seller on the classical charts for some time to come, Yo-Yo Ma Plays Ennio Morricone is a new installment in the great cellist’s long series of crossover albums. It diverges from most of the others, however, in its collaborative aspect: the music’s original creator, Morricone, had as much to do with this album as did Ma and his creative team. Morricone’s career in film music began during the era of the spaghetti Western in the 1960s and has flourished ever since, on both sides of the Atlantic. Morricone and Ma met at the 2001 Academy Awards, where Ma was performing and Morricone was nominated for his score to Giuseppe Tornatore’s Malèna. They hatched the idea for this album together, and all the adaptations of Morricone’s music are his own. He also conducts the Roma Sinfonietta Orchestra.

Overall, the results are gorgeous. Morricone opens and closes the album with pairs of excerpts from two individual films, The Mission and the rarely seen The Lady Caliph. In between are four suites of excerpts, three of them associated with Morricone’s favorite directorial collaborators (Sergio Leone, Brian de Palma, and Tornatore). These suites, comprising varied but closely related stretches of music, really allow Ma to go to town. He has rarely achieved a more lushly beautiful tone or a more direct emotional appeal. Morricone deftly adapts his music for the cello-and-orchestra combination. At different times, Ma’s cello plays the role of another solo instrument (the pan pipes in the Mission score, for instance), sings the wordless vocal lines that populate many of Morricone’s scores, or plays lines of orchestral counterpoint that are elaborated into some pretty fancy fingerwork.

The only complaints pertain to the selection of music, and it’s debatable whether there’s really anything to complain about. Represented here are Morricone’s big, romantic scores, mostly of fairly recent vintage. Cinema Paradiso, two cues from which are included, is an example casual filmgoers may be acquainted with. The edgier, more experimental scores Morricone wrote for Western and suspense films are ignored, and it was these that endeared the composer to scenesters like John Zorn, who recorded a memorable deconstruction of The Big Gundown some years ago. On the few tracks where electronic elements are introduced, they aren’t well integrated into the general concept. As a whole, though, the album hangs together wonderfully, and the music can stand up to anything in the current neo-Romantic rage. Play the “Cockeye’s Song” cue from Once Upon a Time in America for classical purists unfamiliar with Morricone, and ask them to guess the composer. Watch them squirm. And then introduce one of the great composers of our time, presented by one of our foremost interpreters.

Tracklist:
The Mission
01. Gabriel’s Oboe
02. The Mission: The Falls
Giuseppe Tornatore Suite
03. The Legend of 1900: Playing Love
04. Cinema Paradiso: Nostalgia
05. Cinema Paradiso: Looking for You
06. Malèna: Main Theme
07. A Pure Formality: Main Theme
Sergio Leone Suite
08. Once Upon a Time in America: Deborah’s Theme
09. Once Upon a Time in America: Cockeye’s Song
10. Once Upon a Time in America: Main Theme
11. Once Upon a Time in the West: Main Theme
12. The Good, the Bad, and the Ugly: Ecstasy of Gold
Brian De Palma Suite
13. Casualties of War: Main Theme
14. The Untouchables: Death Theme
Moses and Marco Polo Suite
15. Moses: Journey
16. Moses: Main Theme
17. Marco Polo: Main Theme
The Lady Caliph
18. Dinner
19. Nocturne

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Zebrahead – Playmate Of The Year (2000) {PS3 ISO + Hi-Res FLAC}

Zebrahead – Playmate Of The Year (2000)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 50:01 minutes | Scans included | 2,02 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,01 GB
Genre: Alternative

Having failed to score commercially with their debut album Waste of Mind, Zebrahead returns two years later with more of the same, which is to say fast-paced hard rock on which Justin Mauriello’s male adolescent musings are augmented by Ali Tabatabaee’s aggressive raps. At their best, on the title song (sort of a musical version of a Farrelly Brothers movie in under three minutes), the group approaches the sound of Cheap Trick, with their shimmering guitar lines, furious rhythm playing, and Mauriello’s self-deprecating, humorous lyrics. A few other songs, notably “The Hell That Is My Life” and “Wasted,” are almost as effective, but much of Zebrahead’s music is too busy for its own good, and when they attempt social commentary on “What’s Goin’ On?” (where have we seen that title before?) the results are embarrassing, while as a change of pace like “Livin’ Libido Loco” is more reminiscent of Barry Manilow than Ricky Martin. The hidden track at the end of the album is a prank call made by Mauriello to Sony Music in which he impersonates his mother and demands to know when he is going to start seeing some money from his record contract. It may indicate the band will pack it in unless Playmate of the Year breaks through, but even with a tie-in to Playboy magazine that still seems like a long shot.

Tracklist:
01. I Am
02. Playmate Of The Year
03. Now Or Never
04. Wasted
05. I’m Money
06. Go
07. What’s Goin’ On?
08. Subtract You
09. The Hell That Is My Life
10. E Generation
11. Livin’ Libido Loco
12. In My Room

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Zoot Sims – Zoot Sims and The Gershwin Brothers (1975) [Reissue 2003] {PS3 ISO + Hi-Res FLAC}

Zoot Sims – Zoot Sims and The Gershwin Brothers (1975) [Reissue 2003]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 49:42 minutes | Scans included | 2,02 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,01 GB
Genre: Jazz

Along with his album with Count Basie (Basie and Zoot) during the same period, this is one of Sims’ most exciting recordings of his career. Greatly assisted by pianist Oscar Peterson, guitarist Joe Pass, bassist George Mraz, and drummer Grady Tate, he explores ten songs written by George and Ira Gershwin. Somehow the magic was definitely present and, whether it be stomps such as “The Man I Love,” “Lady Be Good,” and “I Got Rhythm” or warm ballads (including “I’ve Got a Crush on You” and “Embraceable You”), Zoot Sims is heard at the peak of his powers. A true gem.

Tracklist:
01. The Man I Love
02. How Long Has This Been Going On?
03. Lady Be Good
04. I’ve Got A Crush On You
05. I Got Rhythm
06. Embraceable You
07. ‘S Wonderful
08. Someone To Watch Over Me
09. Isn’t It A Pity
10. Summertime
11. They Can’t Take That Away From Me

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Various Artists – The RS500 Super Audio CD Sampler (2003) [2.0 & 5.1] {PS3 ISO + Hi-Res FLAC}

Various Artists – The RS500 Super Audio CD Sampler (2003) [2.0 & 5.1]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 41:15 minutes | Scans included | 2,6 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | 40:39 min | Scans | 837 MB
Genre: Rock

From Bob Dylan to Norah Jones, the greatest music ever made is being reborn on Super Audio CD. You can enjoy this RS500 Sampler in multichannel surround sound or play in stereo mode.

Tracklist:
01. Bob Dylan: Simple Twist Of Fate
02. Pink Floyd: Money
03. The Who: Pinball Wizard
04. Herbie Hancock: Watermelon Man
05. Norah Jones: Come Away With Me
06. Elton John: Goodbye Yellow Brick Road
07. Billy Joel: Movin’ Out (Anthony’s Song)
08. Miles Davis: Blue In Green
09. Aerosmith: Sweet Emotion

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Various Artists – VH1 Divas Live (1998) [Reissue 2001] {PS3 ISO + Hi-Res FLAC}

Various Artists – VH1 Divas Live (1998) [Reissue 2001]
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 74:56 minutes | Scans included | 3,44 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,57 GB
Genre: Pop

VH1 Divas Live brings VH1′s original 1998 gathering of superstar songbirds to SACD. Gloria Estefan, Celine Dion, Mariah Carey, Aretha Franklin, and Shania Twain perform some of their biggest hits, including Carey’s “My All,” Twain’s “You’re Still the One,” Dion’s “My Heart Will Go On,” and Estefan’s “Turn the Beat Around.” All five divas share the spotlight — to the extent that a diva can share the spotlight — on the set’s finale, “Natural Woman” and “Testimony.” A worthwhile set for those who want to see as well as hear their VH1 Divas Live album, the disc offers little in the way of additional features but remains a faithful translation of the special TV concert.

Tracklist:
01. Mariah Carey – My All
02. Mariah Carey – Make It Happen
03. Gloria Estefan – Turn The Beat Around
04. Gloria Estefan – Heaven’s What I Feel
05. Gloria Estefan – Megamix
06. Shania Twain – Man! I Feel Like A Woman!
07. Shania Twain – You’re Still The One
08. Aretha Franklin & Mariah Carey – Chain Of Fools
09. Celine Dion – River Deep, Mountain High
10. Celine Dion & Carole King – 10] The Reason
11. Celine Dion – My Heart Will Go On
12. Celine Dion, Gloria Estefan, Shania Twain, Carole King – You’ve Got A Friend
13. The Divas – A Natural Woman
14. The Divas – Testimony

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Valery Gergiev, Kirov Orchestra (Mariinsky) & Rotterdam Philarmonic Orchestra – Shostakovich: Symphony 7 "Leningrad" (2004) {PS3 ISO + Hi-Res FLAC}

Valery Gergiev, Kirov Orchestra (Mariinsky) & Rotterdam Philarmonic Orchestra
– Dmitry Shostakovich: Symphony No. 7 “Leningrad” (2004)

PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 78:35 minutes | Artwork (PDF) | 3,84 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Artwork (PDF) | 1,35 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Decca/Philips # 470 623-2
Genre: Classical

By its very nature, patriotism is vulgar: loud and proud, bombastic and sentimental, and wholeheartedly simple-minded. Or is that less a description of patriotism than a précis of Shostakovich’s Symphony No. 7? Written during the siege of Leningrad at the start of the Great Patriotic War, the Seventh is incredibly vulgar — critics at its American premiere savaged it for its banality — and incredibly effective. Its trite themes, its hackneyed harmonies, its straight-four rhythms, its primary color scoring, its “play it to the last row of the balcony” climaxes: all of these things are vulgar, but all of them are — in the right performance — overwhelmingly effective and altogether inspiring. In this performance by Valery Gergiev conducting the Kirov Orchestra and the Rotterdam Philharmonic Orchestra, the Seventh is incredibly vulgar and unbelievably loud, proud, bombastic, and sentimental. But it is also incredibly effective: the opening Allegretto is monstrously evil and absolutely devastating, the following Moderato is quiet but deadly, the following Adagio is heartbreakingly mournful, the closing Allegro non troppo is enormously celebratory, and the entire work is a colossal monument to patriotism. The conjoined Kirov and Rotterdam orchestras play with all the bloodthirsty enthusiasm of the Red Army taking Berlin in 1945, and Philips’ sound gets bigger and bigger and bigger and bigger until the walls of the Reichstag come crashing down. Vulgar or not, this is as great a recording of Shostakovich’s Seventh as there has ever been.

Tracklist:
01. Shostakovich: Symphony No.7 “Leningrad” – I Allegretto
02. Shostakovich: Symphony No.7 “Leningrad” – II Moderato (poco allegretto)
03. Shostakovich: Symphony No.7 “Leningrad” – III Adagio
04. Shostakovich: Symphony No.7 “Leningrad” – IV Allegro non troppo

Executive producer: Clive Bennett. Recording producer: Andrew Cornall.
Balance engineers: Philip Siney; Jan Stellingwerff (DutchView).
Recording facilities by Dutchview on behalf of Emil Berliner Studios.
Editing facilities by Emil Berliner Studios. Mixing engineer: Philip Siney.
Mixed and mastered at Classic Sound Limited. Mixed for SACD by Andrew Cornall and Philip Siney.
Recording location: De doelen, Rotterdam, The Netherlands, 19-21 September 2001.
Production co-ordinator: Alice Fields.

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Valery Gergiev, Kirov Orchestra (Mariinsky) – Shostakovich Symphony 4 (2004) {PS3 ISO + Hi-Res FLAC}

Valery Gergiev, Kirov Orchestra (Mariinsky) – Shostakovich Symphony 4 (2004)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 64:14 minutes | Artwork (PDF) | 3,96 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Artwork (PDF) | 1,17 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Decca/Philips # 475 6190
Genre: Classical

Valery Gergiev holds the opening movement of Shostakovich’s Symphony No. 4 together by sheer willpower. Since the gargantuan movement sprawls like a drunken giant, lurching from pseudo-exposition through inchoate development and faux-recapitulation and amorphous coda, nothing else but willpower could possibly do it. And, amazingly enough, it works. With the tremendously muscular playing of the Kirov Orchestra, Gergiev makes chaos cohere and even convince, if not quite compel. After the opening movement, Shostakovich’s Fourth does hold together and hold together brilliantly. The central movement is as tight and hard as a blackjack and the closing movement, although even larger and longer than the opening, has a dramatic logic as rigorous and severe as a machine gun. But Gergiev’s will power never relaxes and his closing movement is not only coherent and convincing, it is immensely compelling. Indeed, taken altogether, Gergiev and the Kirov’s Fourth is surely the most compelling recording of the work to come out of Russia since Kiril Kondrashin’s premiere recording from the ’60s. No higher praise is possible. Philips’ sound has the impact and immediacy of a sledgehammer.

Tracklist:
01. Shostakovich: Symphony No.4 in C minor, op. 43 – I a. Allegro poco moderato
02. Shostakovich: Symphony No.4 in C minor, op. 43 – I b. Presto
03. Shostakovich: Symphony No.4 in C minor, op. 43 – II. Moderato con moto
04. Shostakovich: Symphony No.4 in C minor, op. 43 – III a. Largo
05. Shostakovich: Symphony No.4 in C minor, op. 43 – III b. Allegro
06. Shostakovich: Symphony No.4 in C minor, op. 43 – III c. (Allegro)

Executive producer: Clive Bennett. Recording producer: Andrew Cornall.
Balance engineer: Philip Siney. Recording engineers: Vladimir Ryabenko & Sergei Parfenov.
Recording facilities by the Mariinsky Theatre on behalf of Emil Berliner Studios.
Editing facilities by Emil Berliner Studios. Recording editor: Ingmar Haas.
Mixed and mastered at Classic Sound Limited. Mixing engineer: Philip Siney.
Recording location: Mariinsky Theatre, St Petersburg, Russia, 20-22 November 2001.
Production co-ordinator: Alice Fields. SACD surround mix: Philip Siney.

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Valery Gergiev, Kirov Orchestra (Mariinsky) – Shostakovich Symphony 5 & 9 (2004) {PS3 ISO + Hi-Res FLAC}

Valery Gergiev, Kirov Orchestra (Mariinsky) – Shostakovich Symphony 5 & 9 (2004)
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 73:36 minutes | Artwork (PDF) | 4,24 GB
or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Artwork (PDF) | 1,36 GB
Features 2.0 Stereo and 5.1 multichannel surround sound | Decca/Philips # 470 651-2
Genre: Classical

The argument could be made that Valery Gergiev and his Kirov orchestra’s 2002 recording of Shostakovich’s Fifth and Ninth symphonies on Philips is the ne plus ultra of Shostakovich recordings. The sound of the recording is staggering: crisp, rich, and vivid. The playing of the orchestra is stunning: plush, powerful, and precise. The conducting is superb: strong, firm, and flexible.
The argument could also be made that this is far more a Gergiev/Kirov recording than a Shostakovich recording. Gergiev interprets like mad: pushing and pulling tempos, stopping, starting, then suddenly changing the tempo altogether. His louds are overwhelming, his quiets are almost inaudible, and the distance between the two is incommensurable. There are times in this recording when it sounds as if the music is going to explode from the incredible and inexorable intensity of Gergiev’s interpretations. While nothing like the recordings of Yevgeny Mravinsky with the Leningrad Philharmonic, the conductor and orchestra that gave the work its premiere, Gergiev with the Kirov’s recording is nothing if it’s not the ne plus ultra.

Tracklist:
01. Shostakovich: Symphonies Nos. 5 & 9 – Symphony No.5: I Moderato
02. Shostakovich: Symphonies Nos. 5 & 9 – Symphony No.5: II Allegretto
03. Shostakovich: Symphonies Nos. 5 & 9 – Symphony No.5: III Largo
04. Shostakovich: Symphonies Nos. 5 & 9 – Symphony No.5: IV Allegro non troppo
05. Shostakovich: Symphonies Nos. 5 & 9 – Symphony No.9: I Allegro
06. Symphonies Nos. 5 & 9 – Symphony No.9: II Moderato
07. Symphonies Nos. 5 & 9 – Symphony No.9: III Presto
08. Shostakovich: Symphonies Nos. 5 & 9 – Symphony No.9: IV Largo
09. Shostakovich: Symphonies Nos. 5 & 9 – Symphony No.9: V Allegretto – Allegro

Executive producer: Clive Bennett. Recording producer: Andrew Cornall.
Balance engineer: Philip Siney. Recording engineers: Vladimir Ryabenko & Sergei Parfenov.
Recording facilities by the Mariinsky Theatre on behalf of Emil Berliner Studios (No.9); the Mariinsky Theatre & Martti Talvela Hall (No.5).
Editing facilities by Emil Berliner Studios. Recording editor: Ingmar Haas.
Mixed at Decca Studio, Chiswick & mastered at Classic Sound Limited. Mixing engineer: Philip Siney.
Recording locations: Mariinsky Theatre. St Petersburg, Russia, 14-18 May 2002 (No.9);
Mikaeli-Martti Talvela Hall, Mikkeli, Finland, 30 June 2002 (No.5)
Production co-ordinator: Alice Fields. SACD surround mix: Philip Siney.

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