Benny Andersson (ABBA) - Piano (2017)

Year: 29 September 2017 (CD 2017)
Label: Mono Music (Sweden), 479 8143
Style: Classical, Instrumental, Piano Music
Country: Stockholm, Sweden (16 December 1946)
Time: 76:48
Format: Flac Tracks 16/44,1 kHz
Size: 253 Mb

Provided it’s played by a virtuoso, the Piano is one of the most beautiful acoustic instruments to ever grace humanity. As far as virtuosos go, it’s fair to say that Benny Andersson fits that description for his musical prowess is legendary.
While Andersson is clearly the focus here, Piano delivers a collection of songs that were not only written by Andersson but penned in collaboration with other exceptional tunesmiths. From ABBA to Benny Anderssons Orkester to Chess, Piano is a life’s work, reworked for the piano, and it is nothing short of spectacular.
More often than not, however, music is appreciated in the background to numerous other aspects of our lives, but if you have the opportunity to sit and listen, this album will not only captivate you but will likely bring you to tears.
(full version: subjectivesounds.com/musicblog/benny-andersson-piano-album-review)

01. I Let The Music Speak (03:33)
02. You And I (06:43)
03. Aldrig (04:04)
04. Thank You For The Music (03:43)
05. Stockholm By Night (03:15)
06. Chess (03:57)
07. The Day Before You Came (04:36)
08. Someone Else's Story (03:48)
09. Midnattsdans (03:24)
10. Malarskolan (02:12)
11. I Wonder (Departure) (03:43)
12. Embassy Lament (01:27)
13. Anthem (03:19)
14. My Love, My Life (03:46)
15. Mountain Duet (04:33)
16. Flickornas Rum (02:13)
17. Efter Regnet (02:37)
18. Trostevisa (03:33)
19. En Skrift I Snon (05:14)
20. Happy New Year (03:14)
21. I Gott Bevar (03:45)

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Benny Anderssons Orkester (ABBA) - Benny Anderssons Orkester (2001)

Year: 28 June 2001 (CD 2001)
Label: Mono Music (Sweden), MMCD 017
Style: Folk Pop, Classical, Jazz, Instrumental
Country: Stockholm, Sweden (16 December 1946)
Time: 47:21
Format: Flac Tracks 16/44,1 kHz
Size: 255 Mb

Charts: SWE #1; Time in weeks: 55; Gold (26 September 2001), Platinum (29 January 2002).
Benny Anderssons orkester, a folk music group founded in 2001 by former ABBA member Benny Andersson, follows the style of Andersson's two solo albums from the 1980s, Klinga mina klockor and November 1989. The album combines traditional Swedish folk music with classical, pop und jazz influences. Out of the 14 tracks on the album, 12 are instrumentals and two ("Var sista dans" and "Latt som en sommarfjaril") feature vocals by Helen Sjoholm, who played the role of Kristina in the musical Kristina fran Duvemala, written by Andersson and former ABBA colleague Bjorn Ulvaeus. Ulvaeus is credited on this album as well, writing the lyrics for the two aforementioned tracks. All music is composed by Benny Andersson, who also produced the album.
The album was recorded on two weekends in the spring of 2001 at Atlantis Studios in Stockholm. This studio, formerly known as Metronome Studio, was the location of many recording sessions for ABBA up until 1976. According to Andersson (the "Kapellmastaren", as he calls himself in the booklet), the recording of the album was "live", which means that all the instruments (including Helen Sjoholm's vocals) were recorded at the same time, in one session. Only slight changes were made afterwards, when the album was finally mixed at Andersson's Mono Music Studios.
Various recordings from this album have also been included on film soundtracks. The film Sanger fran andra vaningen by Roy Andersson includes "Sang fran andra vaningen", "Laureen" and "Tosabiten", and the film Nu ar pappa trott igen by Marie-Louise Ekman features "Cirkus finemang" and "P.S.".
The song "Briggens blaogda blonda kapten" is a tribute to Gorel Hanser (the "blue-eyed, blonde captain", as the title puts it), who has worked together with Andersson and ABBA since the 1970s. To this day, she is responsible for the business aspects of many of Andersson's productions. One of the largest, "Briggenteater Produktion", is responsible for Andersson and Ulvaeus's three musical theatre projects Kristina fran Duvemala, Chess and Mamma Mia!.
The album's opening track, "Hardangervidda", is named after the famous Hardangervidda mountain plateau in Norway. Both vocal tracks on the album were later re-recorded with English lyrics.
(en.wikipedia.org/wiki/Benny_Anderssons_orkester_(album))

01. Hardangervidda (04:09)
02. Snedseglarn (02:46)
03. Cirkus Finemang (04:19)
04. Var Sista Dans (04:49)
05. Briggens Blaogda Blonda Kapten (03:52)
06. Knasluvan (01:56)
07. Anitas Polska (03:17)
08. Schottis I Tyrolen (02:56)
09. Sang Fran Andra Vaningen (03:46)
10. Lauren (04:28)
11. Tosabiten (03:08)
12. Nya Manvalsen (03:06)
13. Latt Som En Sommarfjaril (03:41)
14. P.S. (01:02)

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Benny Andersson (ABBA) - November 1989 (1989)

Year: 1989 (CD 1989)
Label: Mono Music (Sweden), MMCD 003
Style: Folk, Classical, Instrumental
Country: Stockholm, Sweden (16 December 1946)
Time: 34:54
Format: Flac Tracks 16/44,1 kHz
Size: 179 Mb

November 1989 is an album by Benny Andersson that released in 1989. This album of Swedish folk music was a hit in Scandinavia. The first track, "Skallgeng", was used to open the 2022 virtual concert residency ABBA Voyage. Word meaning search party (lit. echo walk).
(en.wikipedia.org/wiki/November_1989_(album))
Benny's second solo album "November 1989" was finished. The track "Stockholm By Night" is from the film "Den hemliga vannen" (The secret friend). "Malarskolan" is music from a TV series. He received a Grammy award in Sweden for this record.
(abba-intermezzo.de/estory.htm)

01. Skallgеng (03:44)
02. Machopolska (03:19)
03. Vals Efter Efraim Andersson (03:40)
04. Sekelskiftesidyll (03:25)
05. Dans Pе Vindbryggan (02:29)
06. Stjuls (02:57)
07. Trostevisa (03:46)
08. Mеlarskolan (02:33)
09. Novell #1 (02:02)
10. The conducator (03:57)
11. Stockholm By Night (02:57)

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I Musici - Antonio Vivaldi - The Four Seasons (1970)

Year: 1970 (CD 1987)
Label: Philips (West Germany), 420 356-2
Style: Classical, Baroque
Country: Roma, Italia
Time: 68:57
Format: Flac Tracks 16/44,1 kHz
Size: 355 Mb

I Musici, also known as I Musici di Roma, is an Italian chamber orchestra from Rome formed in 1951. They are well known for their interpretations of Baroque and other works, particularly Antonio Vivaldi and Tomaso Albinoni.
Among their engagements, the original chamber orchestra completed acclaimed tours of Southern Africa 1956, and again in 1967, with a few replacement performers.
In the 1970s, I Musici recorded the first classical music video and, later, the group was the first to record a compact disc for the Philips label.
I Musici consists of a group of string instruments and one harpsichord. The strings include six violins, two violas, two cellos, and one double bass. I Musici is a conductorless ensemble; the relationships among the twelve musicians enable great harmony in their music-making.
(en.wikipedia.org/wiki/I_Musici)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Concerto No.1 In E, Rv 269, 'Spring' - Allegro (03:38)
02. Concerto No.1 In E, Rv 269, 'Spring' - Largo (03:03)
03. Concerto No.1 In E, Rv 269, 'Spring' - Allegro (Pastoral Dance) (04:29)
04. Concerto No.2 In G Minor, Rv 315, 'Summer' - Allegro Non Molto. Allegro (05:33)
05. Concerto No.2 In G Minor, Rv 315, 'Summer' - Adagio. Presto. Allegro (02:07)
06. Concerto No.2 In G Minor, Rv 315, 'Summer' - Presto (Summer Storm) (03:06)
07. Concerto No.3 In F, Rv 293, 'Autumn' - Allegro (Peasant Dance And Song) (05:32)
08. Concerto No.3 In F, Rv 293, 'Autumn' - Adagio Molto (Sleeping Drunkards) (03:25)
09. Concerto No.3 In F, Rv 293, 'Autumn' - Allegro (The Hunt) (03:33)
10. Concerto No.4 In F Minor, Rv 297, 'Winter' - Allegro Non Molto (03:28)
11. Concerto No.4 In F Minor, Rv 297, 'Winter' - Largo (02:45)
12. Concerto No.4 In F Minor, Rv 297, 'Winter' - Allegro (03:09)
13. Concerto In B Flat Op.8 No.10, Rv 362, 'The Hunt' - Allegro (03:43)
14. Concerto In B Flat Op.8 No.10, Rv 362, 'The Hunt' - Adagio (03:07)
15. Concerto In B Flat Op.8 No.10, Rv 362, 'The Hunt' - Allegro (02:59)
16. Concerto In A, Rv 552, 'With Distant Echo' - Allegro (06:54)
17. Concerto In A, Rv 552, 'With Distant Echo' - Larghetto (04:32)
18. Concerto In A, Rv 552, 'With Distant Echo' - Allegro (03:54)

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Arne Domnerus - Antiphone Blues [K2HD] (1974)

Year: August 26, 1974 (CD April 2008)
Label: Lim Records (US), LIM K2HD 026
Style: Jazz, Classical, Saxophone, Clarinet
Country: Stockholm, Sweden (20 December 1924 - 2 September 2008)
Time: 38:06
Format: Flac Tracks 16/44,1 kHz
Size: 183 Mb

Sven Arne Domnerus (20 December 1924 – 2 September 2008) was a Swedish jazz saxophonist and clarinetist.
He began to play the clarinet at the age of 11 but had taken up the saxophone by the time he left school and then turned professional. In 1949 he performed at the Paris Jazz Festival and with Charlie Parker when Parker was on tour in Sweden in 1950. A few years later he recorded with Clifford Brown, Art Farmer, and James Moody. From the middle 1950s to the middle 1960s he was a featured soloist in the Swedish Radio Big Band. He wrote for film and television and recorded with Lars Gullin and Bengt Hallberg.
With Bengt-Arne Wallin, Rolf Ericson, and Ake Persson (the latter two were former members of Duke Ellington's Orchestra), he participated in the Jazz Workshops organised for the Ruhrfest in Recklinghausen by Hans Gertberg from the Hamburg radio station. He recorded several times with Quincy Jones in Sweden and is featured throughout, "The Midnight Sun Never Sets", composed and arranged by Jones and recorded under Jones' direction by Harry Arnold's orchestra in 1958. Domnerus' playing in his early career was typical of the cool, sophisticated, technically accomplished and lyrical style of Swedish modern jazz during the 1950s. Domnerus' health declined in his last years, and he retired from playing.
He was awarded the Illis quorum by the Swedish government in 1994 and the Litteris et Artibus in 2002.
(en.wikipedia.org/wiki/Arne_Domnerus)

K2HD: It is possible to expand digital data from low-grade formats (32kHz) up to high-grade formats with a maximum of 192kHz/24 bits with K2HD processing. For example, when a CD master is produced from an analog master tape, everything above 20kHz is cut during CD formatting. K2HD processing reproduces the lost high-frequency components almost the same as the analog master.

01. Traumerei (04:34)
02. Sometimes I Feel Like a Motherless Child (02:29)
03. Antiphone Blues (03:23)
04. Nobody Knows The Troble I've Seen (03:13)
05. Jog Vet En Dejlig Rosa (03:12)
06. Entonigt Klingar Den Lilla Klockan (02:43)
07. Heaven (04:37)
08. Come Sunday (03:14)
09. Den Signade Dag (03:39)
10. Almighty God (03:49)
11. Largo (03:09)

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David Darling (Jan Garbarek, Collin Walcott) - Cycles (1982)

Year: Recorded: November 1981, Oslo, Norway (CD 1992)
Label: ECM Records (US), ECM 1219
Style: Jazz, Contemporary Classical
Country: Elkhart, Indiana, U.S. (March 4, 1941 - January 8, 2021)
Time: 46:27
Format: Flac Tracks 16/44,1 kHz
Size: 209 Mb

Cellist David Darling has had a long, if sporadic, association with ECM, quietly forging—either under the guise of solo artist or buried in an album’s roster—some of the label’s most lyrical atmospheres. With Cycles, however, Darling magnified his sound-world through the inimitable talents of Jan Garbarek and Collin Walcott in a space both selfless and uniquely his own. Add to that the astonishing pianism of Steve Kuhn and the depth of Arild Andersen on bass, and you get what is, to this listener at least, one of ECM’s finest celestial alignments.
While I am tempted to give my usual track-by-track impressions, here the album’s title clues us in on another way me might listen to it: that is, as an ever-roving caravan without need of maps or guides. As it stands, Cycles is a bubble of possibility that only expands with every listen. In its opening strains, we kneel atop a cliff of unraveling. Darling’s needlepoint brings light to fullest dark, breathing through Walcott’s tabla and Garbarek’s shawm-like expectorations. Those fluid horsehairs sing like portals, beginning and ending in the same draw. Harmonies linger as afterthoughts of infinite space. From nebulae to star and back to billowing gauze, the music flows into rivers of light—quiet, intense, forgiving. Grooves flicker into life, voices settle into afterlife. Cello and sitar sing into one another, while Kuhn’s wafting fragrances remind us of what it felt like to be on Earth.
Were I to single out one track, however, from this multivalent exhalation, it would have to be “Fly,” a brooding intertwining of cello and saxophone that is a Mt. Everest in the ECM landscape. Garbarek emits some of his most satoric playing here, floating ever skyward. He is a lantern hung in the clouds, a riddle whose denouement only reveals further mystery.
The stellar playing throughout is only enhanced by the sound. The engineering on Cycles is pristine beyond measure and raised the bar of the label’s usual auditory standards. To prattle on any more would ruin the effect. Suffice it to say: don’t miss this one.
(ecmreviews.com/2011/11/08/cycles/)

01. Cycle Song (07:10)
02. Cycle One: Namaste (04:11)
03. Fly (09:25)
04. Ode (06:55)
05. Cycle Two: Trio (05:30)
06. Cycle Three: Quintet and Coda (07:52)
07. Jessica's Sunwheel (05:21)

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Carl Orff - Carmina Burana [Hybrid SACD] (1936)

Year: 1935-1936 (CD 2001)
Label: Telarc (US), SACD-60575
Style: Pop Classical, Classical
Country: US / Scotland
Time: 59:40
Format: Flac Tracks 16/44,1 kHz
Size: 280 Mb

Atlanta Symphony Orchestra & Chorus. Conductor Donald Runnicles (born November 16, 1954 in Edinburgh, Scotland).
Carmina Burana is a cantata composed in 1935 and 1936 by Carl Orff, based on 24 poems from the medieval collection Carmina Burana. Its full Latin title is Carmina Burana: Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis ("Songs of Beuern: Secular songs for singers and choruses to be sung together with instruments and magical images"). It was first performed by the Oper Frankfurt on 8 June 1937. It is part of Trionfi, a musical triptych that also includes Catulli Carmina and Trionfo di Afrodite. The first and last sections of the piece are called "Fortuna Imperatrix Mundi" ("Fortune, Empress of the World") and start with "O Fortuna".
The autograph manuscript of the work is preserved in the Bavarian State Library, and was issued in a facsimile edition by Schott Music.
Orff's style demonstrates a desire for directness of speech and of access. Carmina Burana contains little or no development in the classical sense, and polyphony is also conspicuously absent. Carmina Burana avoids overt harmonic complexities, a fact which many musicians and critics have pointed out, such as Ann Powers of The New York Times.
Orff was influenced melodically by late Renaissance and early Baroque models including William Byrd and Claudio Monteverdi. It is a common misconception that Orff based the melodies of Carmina Burana on neumeatic melodies; while many of the lyrics in the Burana Codex are enhanced with neumes, almost none of these melodies had been deciphered at the time of Orff's composition, and none of them had served Orff as a melodic model. His shimmering orchestration shows a deference to Stravinsky. In particular, Orff's music is very reminiscent of Stravinsky's earlier work Les noces (The Wedding).
Rhythm, for Orff as it was for Stravinsky, is often the primary musical element. Overall, Carmina Burana sounds rhythmically straightforward and simple, but the metre changes freely from one measure to the next. While the rhythmic arc in a section is taken as a whole, a measure of five may be followed by one of seven, to one of four, and so on, often with caesura marked between them.
Some of the solo arias pose bold challenges for singers: the only solo tenor aria, Olim lacus colueram, is often sung almost completely in falsetto to demonstrate the suffering of the character (in this case, a roasting swan). The baritone arias often demand high notes not commonly found in baritone repertoire, and parts of the baritone aria Dies nox et omnia are often sung in falsetto, a rare example in baritone repertoire. Also noted is the solo soprano aria Dulcissime, which demands extremely high notes. Orff intended this aria for a lyric soprano, not a coloratura, so that the musical tensions would be more obvious.
(en.wikipedia.org/wiki/Carmina_Burana_(Orff))

01. O Fortuna (02:26)
02. Fortune plango vulnera (02:33)
03. Veris leta facies (04:05)
04. Omnia sol temperat (02:20)
05. Ecce gratum (02:35)
06. Tanz (03:21)
07. Floret silva nobilis (01:39)
08. Chramer, gip die varwe mir (03:45)
09. Reie (Orchestra) and Songs (05:15)
10. Were diu werit alle min (00:56)
11. Estuans interius (02:10)
12. Olim lacus colueram (03:28)
13. Ego sum abbas (01:22)
14. In taberna quando sumus (03:04)
15. Amor volat undique (03:09)
16. Dies, nox et omnia (02:17)
17. Stetit puella (01:47)
18. Circa mea pectora (01:51)
19. Si puer cum puellula (00:51)
20. Veni, veni, venias (00:57)
21. In trutina (01:57)
22. Tempus est iocundum (02:19)
23. Dulcissime (00:48)
24. Ave formosissima (01:57)
25. O Fortuna (02:36)

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