Ballet Concert

Trevor Pinnock, The English Concert & Choir - Handel: Belshazzar (2004)

Trevor Pinnock, The English Concert & Choir - Handel: Belshazzar (2004)
EAC | FLAC | Image (Cue & Log) ~ 793 Mb | Total time: 57:18+52:43+61:30 | Scans included
Classical | Label: Archiv Produktion | # 477 037-2 | Recorded: 1990

Belshazzar (HWV 61) is an oratorio by George Frideric Handel. The libretto was by Charles Jennens, and Handel abridged it considerably. Jennens' libretto was based on the Biblical account of the fall of Babylon at the hands of Cyrus the Great and the subsequent freeing of the Jewish nation, as found in the Book of Daniel.
Handel composed Belshazzar in the late Summer of 1744 concurrently with Hercules, during a time that Winton Dean calls "the peak of Handel's creative life".The work premiered the following Lenten season on 27 March 1745 at the King's Theatre, London.The work fell into neglect after Handel's death, with revivals of the work occurring in the United Kingdom in 1847, 1848 and 1873.With the revival of interest in Baroque music and historically informed musical performance since the 1960s, Belsahzzar receives performances in concert form today and is also sometimes fully staged as an opera.
The New Palais Royale Orchestra & Percussion Ensemble, Maurice Peress - George Antheil: Ballet Mecanique (1992) Reissue 2010

George Antheil - Ballet Mécanique (1992) Reissue 2010
A Jazz Symphony; Second Sonata for Violin, Piano and Drum; String Quartet No.1
A recreation of the Carnegie Hall concert from 1927
The New Palais Royale Orchestra & Percussion Ensemble; conducted by Maurice Peress
Rex Lawson, pianola; Ivan Davis, piano; Mendelssohn String Quartet
Randall Hodgkinson, piano; Charles Castleman, violin

EAC | FLAC | Image (Cue&Log) ~ 298 Mb | Mp3 (CBR320) ~ 173 Mb | Scans included
Classical, Early Avant-Garde | Label: Nimbus | # NI 2567 | Time: 01:00:54

George Antheil's avant-garde signature piece, the Ballet Méchanique, created riots in Paris at the Theatre Champs Elysees in June of 1926, and the following April in New York's Carnegie Hall. Even though it was the focus of one of the most written about events in 20th century American music history, it was not to be heard again for 62 years, until American conductor and musicologist Maurice Peress searched out the original score and restaged the 1927 concert in the very same Carnegie Hall on July 12, 1989. This world premiere recording now makes it possible to hear the original which contained Antheil's most advanced ideas; a futurist, machine-age, ragtime inspired music, of a complexity beyond human playing capabilities and a conception beyond most music composed in 1925.
Ensemble Correspondances & Sebastien Dauce - Le Concert Royal de la Nuit (2015) [2CD] {Harmonia Mundi}

Ensemble Correspondances & Sebastien Dauce - Le Concert Royal de la Nuit (2015) [2CD] {Harmonia Mundi}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 754 Mb | MP3 @320 -> 369 Mb
Full Artwork @ 300 dpi (jpg+pdf) -> 33 Mb | 5% repair rar
© 2015 Harmonia Mundi | HMC 952223.24
Classical / Baroque / Chamber Music / Ballet Music

In late February 1653, just after the Fronde rebellion, the most influential spectacle of the early reign of Louis XIV was presented at the Louvre: the Ballet Royal de la Nuit. Grandiose, and carefully elaborated at the highest levels of the state, the libretto by Benserade called upon the finest artists of the time. Banishing the troubles of night, Louis XIV danced in the Sun King costume that would henceforth be forever associated with him. This unmissable world premiere recording presents a reconstruction of the work created by Sebastien Dauce that includes music by Jean de Cambefort, Antoine Boesset, Louis Constantin, Michel Lambert, Francesco Cavalli and Luigi Rossi.
Jordi Savall & Le Concert Des Nations - Handel - Water Music & Music For The Royal Fireworks (2008) {Alia Vox AVSA 9860}

Jordi Savall & Le Concert Des Nations - Handel - Water Music & Music For The Royal Fireworks (2008) {Alia Vox AVSA 9860}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 412 Mb | MP3 @320 -> 173 Mb
Full Artwork @ 300 dpi (jpg) -> 76 Mb | 5% repair rar
© 1993, 2008 Alia Vox | AVSA 9860
Classical / Baroque / Orchestral

This is a reissue of a recording from 1993 (re-released a few years ago and deleted in 2003), recently remastered for SACD, and it really impresses with a renewed presence and impact, even on standard CD playback. As I said in my original review, Savall's reading "comes as close as these things can to placing us in the best seat in the house and treats us to a rare experience: the sensation of believing we're hearing a ruggedly familiar piece for the first time. Literally bursting with energy, scintillating strings, blazing horns, and incisive winds, and never boring even for one second, these performances give you Handel at his most exciting." If you have the earlier release, you probably don't need this one–unless you now own an SACD system–but it does deserve a place in every Handel collection, not only for the unsurpassed performances, but also for the effect of Savall's several decidedly "non-standard" tempos(!), and of course for the phenomenal sound, which now must have reached its ultimate realism in this format.
Camel - Pressure Points: Live In Concert (1984) {1991, Japanese Reissue}

Camel - Pressure Points: Live In Concert (1984) {1991, Japanese Reissue}
EAC Rip | WV (Img) + Cue + Log ~ 283 Mb | MP3 CBR320 ~ 116 Mb
Covers Included (JPG, 300 dpi) | RAR 5% Recovery
Art Rock, Progressive Rock | Deram / Polydor #POCD-1832

Camel are an English progressive rock band formed in 1971. Led by founder member Andrew Latimer, they have produced 14 original studio albums, 14 singles plus numerous other compilation and live albums. The band's music combines elements taken from jazz, classical and Baroque music, blues and electronic music. Pressure Points: Live in Concert is a live album by progressive rock band Camel, released in 1984.

Cuong Vu 4-tet - Ballet - The Music Of Michael Gibbs (2017)  Music

Posted by Domestos at Oct. 17, 2017
Cuong Vu 4-tet - Ballet - The Music Of Michael Gibbs (2017)

Cuong Vu 4-tet - Ballet - The Music Of Michael Gibbs (2017)
WEB FLAC (tracks) ~ 250.42 Mb | 41:51 | Covers
Modern Creative, Post-Bop | Label: RareNoise Records (RNR079)

It sounds as if Seattle-based trumpeter Cuong Vu is in the early stages of lining up the jazz guitar gods and recording and releasing an album with each. The year 2015 saw him offer up Cuong Vu Trio Meets Pat Metheny (Nonesuch Records), and 2017 finds him bringing Bill Frisell into his orbit, with Ballet: The Music Of Michael Gibbs. These are two distinct guitar voices, joining in the crafting of two distinctly different sounds. The Metheny collaboration featured—like much of Vu's recorded output—a lot of electricity: a wired up trumpet, Metheny's guitar spewing tidal surges of electrons into a heavy sludge of bass and drums, resulting in a sonic density that seemed, at times, impenetrable. A sound so dense that, if you ran a Roomba at it, the little electro-machine's sensor might "detect" a wall; it might make the little vacuum cleaner do a hundred and eighty and go the other way.
Hervé Niquet, Concert Spirituel Chorus & Le Concert Spirituel - Handel: Messiah, HWV 56 (1754 Version) (2017)

Hervé Niquet, Concert Spirituel Chorus & Le Concert Spirituel - Handel: Messiah, HWV 56 (1754 Version)
Classical, Vocal | WEB FLAC (tracks) & d. booklet | 114:31 min | 593 MB
Label: Alpha | Tracks: 46 | Rls.date: 2017

Why yet another Messiah? ‘I went through the different scores that exist and decided on the very interesting 1754 version, which features five soloists. You must remember that, when Handel arrived somewhere to perform his oratorio, he had soloists of varying standards available to him. So he quickly revised his score accordingly… All this is directly related to the reality of Handel’s situation as a concert promoter. In those days, to earn a living from his music, a composer absolutely had to get his works performed and make a profit on the evening.

a Ballet Education - Issue 7 - October 2017  Magazines

Posted by crazy-slim at Oct. 16, 2017
a Ballet Education - Issue 7 - October 2017

a Ballet Education - October 2017
English | 79 pages | PDF | 194 MB
The Pineapple Thief - Where We Stood (In Concert) (2017) {2CD Deluxe Edition}

The Pineapple Thief - Where We Stood (In Concert)
EAC Rip | FLAC (tracks)+cue, log, front cover | 85:25 min | 541 MB
Label: Kscope ‎– KSCOPE536 | Tracks: 15 | Rls.date: 2017
Progressive Rock

Bringing to close an unforgettable 14-date European Winter tour of their 2016 summer hit album 'Your Wilderness', The Pineapple Thief, led by post-progressive mastermind Bruce Soord and reinforced by Gavin Harrison (King Crimson) on drums with Darran Charles (Godsticks) on guitar, gave the sold-out Islington Assembly Hall in London a truly awe-inspiring gig on 11th February 2017. 'Where We Stood' showcases a tight performance from both band regulars and guests on new tracks from 'Your Wilderness', including "In Exile", "No Man's Land" and "The Final Thing On My Mind", and of the classics from previous albums, "Nothing At Best", "Show A Little Love" and "Simple As That".
John Cage, Sun Ra - John Cage Meets Sun Ra (The Complete Concert, June 8, 1986, Coney Island, NY) (Reissue) (2016)

John Cage, Sun Ra - John Cage Meets Sun Ra (The Complete Concert, June 8, 1986, Coney Island, NY) (Reissue) (2016)
EAC Rip | FLAC (tracks+.cue, log) ~ 246.30 Mb | 1:10:01 | Cover
Avant-garde Jazz, Free Jazz | Country: USA | Label: Modern Harmonic (MHCD-20)

This live album documents the meeting of two avant-garde legends, but it is not exactly a "super duo." The curious chemistry these two share is subtler and possibly more rewarding than that. John Cage was a quotable artist. On the subject of albums, he once remarked that “records ruin the landscape.” Elsewhere, in a treatise collected in his 1961 book Silence, the composer offered some opinions about jazz. The genre “derives from serious music,” he wrote, “and when serious music derives from it, the situation becomes rather silly.” Given those harsh judgments, it makes sense to venture an opening question about Cage’s one-off appearance alongside swing-and-improv icon Sun Ra. If Cage himself thought jazz unsuited for “serious” contexts and recordings lame, why should this document of their 1986 shared bill be anything other than a curiosity?