Lobo Archives - NativeDSD Music https://www.nativedsd.com/composer/lobo/ Highest DSD Resolution Audio Downloads (up to DSD 1024) Mon, 03 Feb 2025 10:39:07 +0000 en-US hourly 1 https://media.nativedsd.com/storage/nativedsd.com/wp-content/uploads/2020/07/13144547/cropped-favicon-32x32.png Lobo Archives - NativeDSD Music https://www.nativedsd.com/composer/lobo/ 32 32 175205050 Blue https://www.nativedsd.com/product/2xhddp1236-blue/ https://www.nativedsd.com/product/2xhddp1236-blue/#respond Mon, 15 Jan 2024 22:00:23 +0000 https://www.nativedsd.com/product/2xhddp1236-blue/ Exclusively available in Stereo DSD 512, DSD 256 and DSD 64 at NativeDSD thanks to our signature Higher Rates Program.

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Blue is Jazz Singer Diana Panton‘s 3rd DSD release at NativeDSD.  Following her earlier albums To Brazil With Love and If The Moon Turns Green.

The album is exclusively available in Stereo DSD 512, DSD 256 and DSD 64 at NativeDSD thanks to our signature Higher Rates Program.

Blue won the 2022 Silver Disc Award in Japan, a 2023 Juno Nomination and selected as one of the Ten Best Canadian Jazz Albums of 2022 by Peter Hum of The Ottawa Citizen.

The album is the final chapter in a trilogy of works that began with Pink (Silver Disc Award Winner in Japan), followed by Red (2015 Juno Winner). The albums span over a decade and chart an ultimately ill-fated relationship.

Blue showcases Panton at the height of her interpretive powers. Don Thompson sculpts bespoke arrangements around Panton’s emotive vocals, featuring stirring accompaniment by the renowned Penderecki String Quartet, plus bassist Jim Vivian with spectacular solos by Phil Dwyer, Reg Schwager and Thompson himself. Listeners who appreciate details and feeling in music will be rewarded.


Diana Panton, Vocals
Don Thompson, Piano & Arrangements
Jim Vivian, Bass
Phil Dwyer, Saxophone
Reg Schwager, Guitar
Penderecki String Quartet

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Growing Up https://www.nativedsd.com/product/sl1059a-growing-up/ https://www.nativedsd.com/product/sl1059a-growing-up/#respond Wed, 04 Jan 2023 12:56:10 +0000 https://www.nativedsd.com/product/sl1059a-growing-up/ Growing Up: Simon Rigter Plays Ballads is Saxophone Player Simon Rigter’s second album from Sound Liaison at NativeDSD. It follows his earlier Jazz Quintet recording of Wild Man Blues – a Live Recording with a Studio Audience of the Music of Louis Armstrong. On the new album titled Growing Up, Rigter and his Jazz Quintet […]

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Growing Up: Simon Rigter Plays Ballads is Saxophone Player Simon Rigter’s second album from Sound Liaison at NativeDSD. It follows his earlier Jazz Quintet recording of Wild Man Blues – a Live Recording with a Studio Audience of the Music of Louis Armstrong.

On the new album titled Growing Up, Rigter and his Jazz Quintet changes their focus to familiar ballads. Including Things We Did Last Summer by Sammy Cahn & Jule Styne, People Time by Benny Carter, Angel Eyes (from the film Jennifer) by Matt Dennis & Earl Brent, Growing Up by Cees Slinger and Chelsea Bridge by Billy Strayhorn.

From the opening of ‘Things We Did Last Summer‘ to the closing ‘Chelsea Bridge‘ the sound of Simon Rigter’s tenor saxophone on these carefully selected compositions, awakes a wealth of feelings; melancholy, tenderness, compassion and warmth. It’s passion with controlled emotion, it’s a sound somewhere between a smile and a tear, a sound that touches your heart.

The amiable comping of Vincent Koning, Karel Boehlee’s superb interplay, Cas Jiskoot and Joost van Schaik’s compassionate rhythmic foundation, makes the required arch form; solo-duo-quartet-duo-solo, feel like a spontaneous ballad suite.

“Since I was a child music has been fascinating to me. I’m on a never-ending quest searching for the essence. I have realized that you don’t have to come up with something new all the time. What’s important is that you play spontaneously. I prefer playing in small clubs where I can seek freedom and take risks, where music can be spontaneous and intimate at the same time. Jazz is ‘up close & personal’ music. In that respect, Studio 2 is ideal for recording. The hall’s warm and intimate sound as well as its special historic vibe practically compels spontaneous creation.” — Simon Rigter

Simon Rigter – Tenor Saxophone
Vincent Koning – Guitar (Tracks 2,6)
Karel Boehlee – Piano (Tracks 3,4,5)
Cas Jiskoot – Double Bass (Tracks 3,4)
Joost van Schaik – Drums (Tracks 3,4)

The Arch Manifesto

Each recording starts and ends with the main artist alone in the hall, the only interplay being the acoustics of the hall and his mind. No audience is present except the ghosts from the past. The music must create an Arch, going from the single-instrument performance to the more complex band performance and back to the last solo performance. The same principle goes for the engineering; each recording starts out with only one Josephson C700S 3-channel stereo microphone. As the music gains in complexity more microphones may be deployed, the only limit being the imagination and technical skills of the recording engineer. The producer and engineer must aim to make the album have a unifying sound, despite the different recording techniques employed.

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Treasures of Cathedrals, New Spain 17th Century https://www.nativedsd.com/product/psal036-treasures-of-cathedrals-newspain-17th-century/ https://www.nativedsd.com/product/psal036-treasures-of-cathedrals-newspain-17th-century/#respond Fri, 13 Aug 2021 08:26:08 +0000 https://www.nativedsd.com/catalogue/uncategorized/psal036-treasures-of-cathedrals-newspain-17th-century/ Under European influence, the New Spain (Mexico) developed a rich musical tradition in the Baroque period. After recording the repertoire of the Convent of Incarnation in Mexico City, the Vox Cantoris ensemble reveals the treasures of polyphonies that were sung by the choir of the Mexico City Cathedral for the feast of the Assumption of […]

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Under European influence, the New Spain (Mexico) developed a rich musical tradition in the Baroque period.

After recording the repertoire of the Convent of Incarnation in Mexico City, the Vox Cantoris ensemble reveals the treasures of polyphonies that were sung by the choir of the Mexico City Cathedral for the feast of the Assumption of the Virgin, which combines the hieratic Iberic style with the New World fervor.

Vox Cantoris
Jean-Christophe Candau, Director

 

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A Spanish Nativity: Christmas Music by Lobo, Guerrero, Morales, & Victoria https://www.nativedsd.com/product/902312di-a-spanish-nativity/ https://www.nativedsd.com/product/902312di-a-spanish-nativity/#respond Thu, 24 Oct 2019 00:00:00 +0000 https://development.nativedsd.com/product/a-spanish-nativity-christmas-music-by-lobo-guerrero-morales-victoria/ This Album is exclusively available in DSD 64, DSD 128, DSD 256, DSD 512 & DXD here, at NativeDSD Music! A Spanish Nativity is Stile Antico’s 11th DSD release at the Native DSD Music store.  It is also the first harmonia mundi album to be available in Stereo and Multichannel DSD 256, DSD 128. and […]

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This Album is exclusively available in DSD 64, DSD 128, DSD 256, DSD 512 & DXD here, at NativeDSD Music!

A Spanish Nativity is Stile Antico’s 11th DSD release at the Native DSD Music store.  It is also the first harmonia mundi album to be available in Stereo and Multichannel DSD 256, DSD 128. and DXD, along with a Stereo DSD 512 edition along with the familiar Stereo and Multichannel DSD 64 editions of this release. And yes, it is a DSD Exclusive, Not Available on SACD title as well. Exclusively available in DSD and DXD from Native DSD Music.

The Spanish ‘Golden Age’ witnessed an astonishing musical flowering, worthy of Spain’s new-found preeminence on the world stage. A Spanish Nativity focuses on works for Christmas and Epiphany. 

Stile Antico explores this glittering musical treasury, drawing together an irresistible mix of sumptuous polyphony and infectiously joyful folk dances. The centerpiece of the disc is the superbly rich and luminous Missa Beata Dei genitrix Maria by Alonso Lobo. Interspersed between its movements are motets by Tomás Luis de Victoria, Francisco Guerrero, and Cristóbal de Morales, an exuberant ‘ensalada’ by Mateo Flecha, and classic villancicos – Spain’s answer to the traditional carol.

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From the Imperial Court – Music for the House of Hapsburg https://www.nativedsd.com/product/from-the-imperial-court-music-for-the-house-of-hapsburg/ https://www.nativedsd.com/product/from-the-imperial-court-music-for-the-house-of-hapsburg/#respond Thu, 06 Nov 2014 00:00:00 +0000 https://development.nativedsd.com/product/from-the-imperial-court-music-for-the-house-of-hapsburg/ One of Europe’s most extraordinary ruling dynasties, the Hapsburgs ruled greater or lesser portions of Europe fromthe 11th century until 1918, their heyday coinciding with the supreme musical flourishing of the 16th century. Their rule saw a particular increase during the reign of Maximilian I (son of Fredrick III, Duke of Austria, King of Germany […]

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One of Europe’s most extraordinary ruling dynasties, the Hapsburgs ruled greater or lesser portions of Europe fromthe 11th century until 1918, their heyday coinciding with the supreme musical flourishing of the 16th century. Their rule saw a particular increase during the reign of Maximilian I (son of Fredrick III, Duke of Austria, King of Germany and Holy Roman Emperor) – secured first by his marriage to Mary of Burgundy in 1477 and then by the union of their son Philip ‘the Handsome’ with Joanna ‘the Mad’ of Castille. Thus his grandson Charles V essentially ruled Spain, Germany, Austria, Burgundy and the Low Countries, before he in turn divided his territories between his son Philip II and his brother Ferdinand of Austria in 1555-6. As these successive generations enlarged their power and territory, they gathered around themselves the leading composers of the day.

Maximilian’s most notable court composer was Heinrich Isaac, whom he appointed in 1497 and who remained in his employment until the composer’s death in 1517. Though he was often overshadowed in his lifetime by the renowned Josquin, a famous letter advising the Duke of Ferrara on the appointment of a court composer in 1503 is revealing: ‘[Isaac] is of a better disposition… and he will compose new works more often. It is true that Josquin composes better, but he composes when he wants to and not when one wants him to.’ Duke Ercole favoured prestige over reliability and hired Josquin; meanwhile, in Maximilian’s service, Isaac’s Virgo prudentissima is a good example of a piece written to order: it was composed for the Reichstag of 1507 which confirmed Maximilian’s position as Holy Roman Emperor, and was performed under the direction of a certain ‘Georgius’ – Jurij Slatkonja, who was Maximilian’s first Kapellmeister and can therefore be considered the founding director of what is now the Vienna Boys’ Choir. Rather unusually, he even receives a mention in the motet, the text of which is a somewhat unwieldy one written for the occasion – and one at which a less obliging composer might perhaps have protested! Isaac’s motet is a work of stunning grandeur, employing a musical language which is both strikingly individual, yet self-consciously influenced by the music of the previous generation: full sections with monumental block chords and slow-moving harmony alternate with florid, virtuosic passages for reduced forces.

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