(The Album’s Worldwide Official Release Date is November 1st)

Are you not a Plus Member but want to purchase this exclusive early release, as well as receive 15% Off every album purchase + all lower resolutions? Then you can Become a Plus Member now for only €110/year or €10/month.

This Boundary-Challenging new recording of Beethoven’s Complete Sonatas for Piano and Violin features the acclaimed duo: violinist Shunske Sato and pianist Shuann Chai. Beethoven’s pieces occupied a special place in their repertoire for a long time – in fact the Kreutzer Sonata was the very first piece they played together. Apart from playing Beethoven, both of them spent an inordinate amount of time deling into historical sources and old recordings.

We soak up what we can – reading anecdotes, newspapers articles, letters from people who heard Beethoven. And then… we let go and make it our own.
– Shunske Sato

‘Copying’ Beethoven is never the goal. Anyway, from what we know about his edgy and near-scandalous performances, I get the feeling that nothing we do now would be far enough! In a live performance we rarely plan what to do specifically; we agree on some general things. Our recording, then, is a version of what we might do, not the version. Beethoven had so much to say, and left us with so many possibilities. His scores are like treasure maps – there’s something wonderful everywhere you look, and it’s our responsibility to dig around and show what we’ve found! And everyone who searches will find something different, so I think it is important to own one’s interpretation.
– Shuann Chai

The motivation to make this recording arose when Shunske Sato and Shuann Chai played all Sonatas as a mini-marathon. It turned out to be a worthy endeavor: they got tremendously positive feedback. This recording allows them to share ‘their’ Beethoven with even more people.

Beethoven in a nutshell:
*10 sonatas
*235 minutes of music
*Creative, expressive and daring musicians *Gorgeous sounding historical instruments *Recent insights from the historical informed
performance practice

Shunske Sato, Violin
Shuann Chai, Piano

The post Beethoven: The Complete Violin Sonatas [Triple Album] [Exclusive Early Release for Plus Members] appeared first on NativeDSD Music.

In celebration of his 80th birthday, Grace is a 4-Album Set that spans more than five decades of Michael Tilson Thomas’ compositional career. It features 18 works, from premiere recordings to remastered archival recordings available for the first time.

The deluxe collection also includes an extensive booklet containing composer’s notes, original essays, and a timeline of archival photos chronicling MTT’s life as a pianist, conductor, composer, recording artist, and teacher.

There are two key times in an artist’s life. The first is inventing yourself. The second, the harder part, is going the distance. How do you sustain the vision, make it grow, and share it? To be an artist means to have the courage for rebirth and growth. It’s never ending.

San Francisco Symphony (Volume 1,2,3,4)
Jean-Yves Thibaudet (Volume 1,2)
Bay Brass (Volume 1)
Isabel Leonard (Volume 1)
Sasha Cooke (Volume 1,4)
Audra McDonald (Volume 2)
New World Symphony (Volume 2,3,4)
Renée Fleming (Volume 2)
Lisa Vroman (Volume 2)
Thomas Hampson (Volume 2)
Ian Bousfield (Volume 4)
John Wilson (Volume 4)
Michael Tilson Thomas, Conductor (Volume 1,2,3,4)
Edwin Outwater, Conductor (Volume 2)

PLEASE NOTE: the audio samples below are only from Volume 1 of this 4 album set.

The post Grace: The Music of Michael Tilson Thomas [4-Album Set] appeared first on NativeDSD Music.

Recorded, mixed and mastered in Stereo and Immersive Surround Sound DXD by multi Grammy Award winner Jim Anderson. The album is being released at NativeDSD in Stereo DSD 512, DSD 256, DSD 128, DSD 64 and DXD from the 32 Bit DXD Edit Master Source this year.  With the Immersive Surround Sound edition of the album arriving in 2025.

The 2023 Guggenheim Fellow and Juilliard Professor Donald Vega shared his inspiration behind the album. Echoing the traditions of holiday albums by Oscar Peterson and Nat King Cole, and taking inspiration from Vince Guaraldi’s holiday classic, Vega set out to make an album that families will enjoy for years to come.

Donald Vega Trio
Donald Vega, Piano
Clovis Nicolas, Bass
Pete Van Nostrand, Drums

The post All Is Merry And Bright appeared first on NativeDSD Music.

Save 20% on this and 2 other albums with the Rafael Payare DSD Bundle

The Orchestre symphonique de Montréal and its Music Director Rafael Payare celebrate Arnold Schoenberg’s 150th birthday with a recording of two of his late-Romantic masterworks: Pelleas und Melisande and Verklärte Nacht.
Both pieces are based on stories evolving around love, jealousy, acceptance and forgiveness, and showcase Schoenberg’s expressive harmonic language and scintillating, multifarious orchestration. The album booklet features unique photography and paintings by Arnold Schoenberg, sketching a vivid picture of this extraordinarily versatile artist. After their acclaimed PENTATONE recordings of Mahler’s Fifth Symphony (2023), as well as his Rückert-Lieder and Strauss’s Ein Heldenleben (2024), Payare and the orchestra further explore this late-Romantic repertoire that fits them like a glove.

Orchestre symphonique de Montréal 
Rafael Payare – Music Director

The post Schoenberg: Pelleas und Melisande & Verklärte Nacht (Transfigured Night) [Exclusive Early Release] appeared first on NativeDSD Music.

The original Jazz At The Pawnshop album, recorded in 1976, has been regarded as “The Best Jazz Recording of the Century!” (also available at NativeDSD along with Jazz At The Pawnshop Volumes 2 and 3).

Anyone who owns Jazz At The Pawnshop will not be able to resist this album and experiencing the enduring spirit of an incredible musical evening. It’s called Jazz At The Pawnshop – Late Night because these tapes come from previously unreleased recording of the last two sets played late-hours at the closing of the famous Jazz At The Pawnshop recording.

The record company accidentally fell upon this treasure while looking for the masters of Volume II of the original album.  The 40 year-old tapes were in excellent condition, and over a week was spent editing and mastering them in high resolution.

The album keeps the musical tag which bands played to indicate the end of a set.  A slow fade-out and fade-in was made to identify the break before the last one.  You can hear the musicians walking back on stage, picking up their instruments, and getting into the final set of an electrifying evening.

Jazz At The Pawnshop – Late Night is a true gift. As a special bonus for our listeners, NativeDSD.Com brings you a Stereo DSD 512 edition of Jazz At The Pawnshop – Late Night. Exclusively available from NativeDSD Music.

Arne Domnerus – Alto Saxophone, Clarinet
Bengt Hallberg – Piano
Lars Erstrand – Vibes
Georg Riedel – Bass
Egil Johansen – Drums

The post Jazz At The Pawnshop – Late Night [Download & Vinyl Bundle] appeared first on NativeDSD Music.

He was an extremely influential composer a predecessor of Corelli and Vivaldi, Stradella started the “concerto grosso” and some of his works were exploited by Handel. His “Symphonies” are an exquisite example of the “sonata da chiesa” style.

L’Accademico Formato
Juan Utrera, Violin
Teresa Bartolomé, Violin
Javier Jiménez, Organ

The post Alessandro Stradella: Selected Symphonies appeared first on NativeDSD Music.

Where The Path Runs Straight And High is the 3rd album from the Hazelrigg Brothers on Outer Marker Records.  It is their tribute to the Music of Led Zeppelin recorded in Pure DSD 256. Exclusively available at NativeDSD in the recorded format and bit rate of Stereo Pure DSD 256!

The album follows their earlier releases Songs We Like: Deluxe Edition [Pure DSD] and Synchronicity: An Interpretation of the album by The Police. Both available at NativeDSD as well as their recent appearance on the album Time To Be Brave by Corrie Lynn Green & Her Band with the Hazelrigg Brothers.

As children of the nineteen-eighties, the Hazelrigg Brothers grew up with a variety of excellent music. From jazz fusion to synthesizer-driven pop to rock, the music industry was alive with innovation. At the same time, the classic rock radio format was born.

Led Zeppelin was, for us and many of our peers growing up (musicians and otherwise), the most significant in the pantheon of recording artists that now define so much of American, British, and world culture. They sat at an intersection of Elizabethan music, delta blues, and the technology of the day. Each member was a master of their instrument(s), and the ensemble was greater than their sum.

Where the Path Runs Straight and High is an adaptation and distillation of these elements into the format where we live a large portion of our musical lives: An intimate acoustic trio setting, not wielding the sheer sound pressure levels of a concert at Madison Square Garden, but with our careful attention on extracting the nectar of the genius in these songs.

Hazelrigg Brothers
George Hazelrigg, Piano
Geoff Hazelrigg, Double Bass
John O’Reilly, Drums

PLEASE NOTE The 2ch DXD version may download and show the name dxd-bi meaning binaural, but it is indeed the normal Stereo 2 channel version. We are working on correcting this naming issue.

The post Where The Path Runs Straight And High: Music of Led Zeppelin [Pure DSD] appeared first on NativeDSD Music.

This is the 10th release from Michael Kevin Jones at NativeDSD. The album is Exclusively Available in Stereo DSD 512, DSD 256, DSD 128, DSD 64 and the recorded format and bit rate of 32 Bit DXD from NativeDSD.

The idea of Cello Meditation comes from the beautiful opera by Massenet “Thaïs”. You will enjoy here many familiar melodies heard before in a violin piano combination but not that often on a cello.

Our Cello Meditation ranges from Bach and Handel to Rachmaninoff, Fauré, Massenet, Gounod, Schumann. A very special composition closes the program: Max Bruch’s “Kol Nidrei” a feast for cello fans and everyone else.

Michael Kevin Jones, Violoncello
John Bryden, Piano

The post Cello Meditation appeared first on NativeDSD Music.

What is most striking about this session is the way that all six artists luxuriate in the ensemble’s collective sound and the spaces in between. There is a stunning sense of ambience around each note, and every wisp of melody is held in fragile suspension by each musician’s sensitive contribution. — Shaun Brady, Jazziz

Fun House highlights the rare double-trio configuration is a ground-breaking encounter between jazz piano and the sonic resources of contemporary classical music, between American tradition and the European avant-garde, but above all between two fantastic pianists (coincidentally, both winners of the Grand Prix du Disque for jazz).

Fred Hersch’s quest for absolute beauty and impeccable virtuosity have become legendary. Benoît Delbecq is one of Europe’s most prominent jazz keyboardists; his compositions and elegant, complex improvisations build on John Cage’s prepared piano techniques. Add to this Steve Argüelles’ stealthy ‘assistance and obstacles’ live sampling, and three of the most celebrated rhythm section players of today, and the result is a multi-faceted collaboration, with opportunities for various combinations of duos and trios as well as full-group interaction. The music has its moments of abstraction, its moonlit soundscapes such as “One is Several,” but also embraces a jazzier aesthetic, for example the Monkish/Lacyish “Night for Day.”

The project was sparked in 2008 when Fred came to a New York gig Benoît was playing with the John Hébert Trio. They had only met once before but had been digging each other’s playing on record. Fred: “The first time I listened to Pursuit I was completely mesmerized – it is an amazing project and it showed me that Benoît is a completely unique pianist, composer and conceptualist.” Benoît: “I had a few albums with Fred including Chicoutimi (with Michael Moore and Mark Helias) which had an immediate and very special effect on me: there was something in Fred’s playing I felt more connected to than ever. I’ve always so admired his rare musicianship and subtle touch and the rhythmicity in his playing.” Benoît came up with the idea of a double trio including his longtime collaborators Jean-Jacques Avenel and Argüelles, and Fred had a long history with Mark Helias and Gerry Hemingway. Benoît: “The personnel came very naturally. Everybody knew each other already. The first minutes of the first rehearsal I remember very precisely, they just showed we’d made a great choice! The music found its flow and freedom from the beginning.”

Most of Delbecq’s pieces here were written for the group. “I was imagining scenarios and road maps for each tune, although leaving a lot of space for everyone’s creativity. I believe I imagined it as a sextet, trying to find enough ideas to make the ideas blossom in an original way for each tune…And Steve’s electronics are always bringing something unexpected we react to.” (“Tide” is an Argüelles remix.) “Lonely Woman” was played as a duo encore one night and worked so well they decided to record it that way at the studio as the final track.

The recording took two days. Benoît: “Drums were in booths on the first day but we agreed it was important to record the whole thing once again the second day but this time all together in the same room. A big part of the record comes from day 2. Not that the music was less strong on day 1, simply the drummers felt less isolated and the music found itself even more easily in term of blending all together.” The pianos are somewhat panned in the mix (Hersch left, Delbecq right). Fred: “When I listened back for the first time to the recording, I was struck by both the similarities and the differences between us, especially regarding tone. But there were also places where I was not sure who was playing what! I think we stepped into each other’s musical/pianistic world so well.” Benoît: “What makes us close at certain designated moments is that, I think, we have a related way of breathing inside the lines, or might I say between the lines…Every great player has a sense of dynamics of his/her own – like, creativity in sounds and accents, in phrasing, in ways to play with time or silence. Every parameter has a dynamic relation to every other parameter in music.”

Benoît Delbecq, Piano
Fred Hersch, Piano
Jean-Jacques Avenel, Bass
Mark Helias, Bass
Steve Argüelles, Drums & Live Electronics
Gerry Hemingway, Drums

The post Fun House appeared first on NativeDSD Music.

Beethoven’s symphonies have been a point of reference for the orchestra over the last few decades, serving as a bright beacon at the very heart of symphonic literature. While Beethoven’s Second Symphony follows the classic trajectory of his First Symphony, it marks a transition from his earlier works to a more assertive and individual style, demonstrating his defiance against personal struggles, particularly his encroaching deafness.

Representing a monumental shift in the symphonic genre, Beethoven’s Third Symphony, ‘Eroica,’ breaks away from conventional norms. It revolutionized symphonic composition by expanding the symphony’s scope, duration, and expressive potential, laying the foundation for Romanticism in music.

Flanders Symphony Orchestra
Kristiina Poska, Conductor

The post Beethoven Complete Symphonies Vol. 2 (Nos. 2 & 3) appeared first on NativeDSD Music.