KATHLEEN FERRIER — Edition (2004) 10xCD BOX-SET | Kathleen Ferrier Edition Series | APE (image+.cue), lossless

Although her career was tragically short, Kathleen Ferrier was among the most famous English singers of the twentieth century. Her contralto voice -- a rarity in itself -- was characterized by a firm, warm tone that found its expressive niche in the great works of oratorio and art song, as well as in her two operatic roles (only two!): Lucretia in Britten's The Rape of Lucretia and Orfeo in Gluck's Orfeo ed Euridice.

Born in Lancashire on April 22, 1912, Ferrier studied the piano with great success as a child and intended a concert career; her concurrent vocal studies were considered more recreational in nature. In her mid-20s, however, after taking two first prizes at the 1937 Carlisle Festival -- one for piano and one for singing -- she made the decision to pursue singing as her vocation. She studied with J.E. Hutchinson in Newcastle upon Tyne, then with Roy Henderson in London.

During the years of WWII Ferrier toured widely in England, gaining a reputation as an especially fine concert artist. She joined the Bach Choir in London, and was alto soloist for a 1943 performance of Handel's Messiah at Westminster Abbey. Benjamin Britten first put her on the operatic stage at Glyndebourne on July 12, 1946, in the premiere of his chamber opera The Rape of Lucretia. She then toured with the work throughout England and appeared on an historic recording of major extracts from the work conducted by the composer. Britten would later compose the alto part in his Canticle No. 2 for her.

She appeared in the United States for the first time in Mahler's Das Lied von der Erde with the New York Philharmonic and Bruno Walter; her subsequent recording of the work -- also under Walter's direction -- remains a classic. Walter also appeared as her accompanist in lieder recitals in Edinburgh and London. Another of Ferrier's notable successes was the part of the Angel in Elgar's The Dream of Gerontius.

In February 1953, Covent Garden staged Gluck's Orfeo ed Euridice specifically for Ferrier, who was deemed ideal for the part of Orpheus. However, she was able to appear in only two of the scheduled four performances because of weakness caused by her already advanced cancer. These were her last appearances; she died in London on October 8, 1953. Before she died she was made a Commander of the Order of the British Empire. Rovi Staff

Tracklist :

CD01 Gluck - Orfeo ed Euridice
CD02 Bach St Matthew Passion
CD03 Kathleen Ferrier
CD04 Schumann-Brahms-Schubert
CD05 Chausson-Brahms-Ferguson-Wordsworth-Rubbra-Ferrier
CD06 Purcell-Handel-Bach-Wolf-Stanford-Warlock
CD07 Historical Recordings 1947-1952
CD08 Blow the Wind Southerly - Traditional Songs
CD09 Bruno Walter - The Legendary Edinburgh Festival
CD10 Mahler-Brahms

BUSONI : Piano Music • 1 — Fantasia Contrappuntistica · An die Jugens (Wolf Harden) (2001) FLAC (tracks), lossless

Busoni's music for solo piano embraces the virtuosity of Liszt and the technical discipline of Bach. Nowhere are these characteristics more apparent than in his works drawn from or inspired by Bach, as this disc magnificently shows. The centrepiece is the massive Fantasia Contrappuntistica, an extraordinary series of fugues which stretch both pianist and piano to the limit. The suite An die Jugend contains original compositions and transcriptions inspired by Bach, Mozart and Paganini. Two majestic single works, one by Busoni and the other a transcription by him from Bach, round off an immensely satisfying programme. naxos

Ferruccio Busoni (1866-1924)
1. Toccata & Fugue In D Minor, BWV 565 (9:26)
Adapted By [Transcribed By] – Ferruccio Busoni
Composed By – J.S. Bach
2. Prelude & Fugue In C Minor    4:19
3-7.    An Die Jugend    (25:32)
8-13. Fantasia Contrappuntistica    (30:38)
Credits :
Piano – Wolf Harden

BUSONI : Piano Music • 2 — Variation and fuga on Chopin's Prelude in C minor · Transcription of J.S. Bach for solo violin (Wolf Harden) (2001) FLAC (tracks), lossless

Busoni was one of the most important composers of the early twentieth century, with a distinct and profound aesthetic of his own. His music for solo piano embraces the virtuosity of Liszt and the technical discipline of Bach. Nowhere are these characteristics more apparent than in his works drawn from or inspired by Bach, as this disc magnificently shows. It opens with Busoni’s magisterial transcription for piano of Bach’s powerful Chaconne in D minor, in which Busoni presents an entirely legitimate late romantic version of the original composition for solo violin. Equally impressive are the Variations and Fugue in free form on Chopin’s in C, inspired by Chopin’s visionary twentieth prelude from his set of twenty-four. naxos

Ferruccio Busoni (1866-1924)
1.    Chaconne For Solo Violin, B24 (13:36)
Composed By – Johann Sebastian Bach
Transcription By – Ferruccio Busoni
2.    Etude En Forme De Variations, Op.17 K.206 (9:04)
3.    Variations On "Kommt Ein Vogel Geflogen", K.222 (6:19)
4.    Theme And Variations In C Major, K.6 (1873) 3:50
5.    Inno Variations, K.16 (1874) 2:54
Variations And Fugue On Chopin's Prélude In C Minor, Op.22 K.213
6.    Theme And Variations     (25:24)
7.    Fugue (5:49)
Credits :
Piano – Wolf Harden

BUSONI : Piano Music • 3 — Indian Diary · Trois Morceaux · Two Dance · Pieces Ballet Scenes (Wolf Harden) (2007) FLAC (tracks), lossless

The music of Ferruccio Busoni was comparatively neglected for many decades, perhaps because he didn't fit any of the "-isms" that were contending to be the main line of musical development. There was too much Liszt in his music for him to be part of the neo-Classical crowd. Now that it's clear that that effort was itself a big part of classical music's problems, Busoni is showing up on more programs and recordings. He wrote tonal music, which for some disqualified him right off the bat. And there was a dry, rigorous quality even to his slightest compositions that placed him far from late Romanticism. Annotator Richard Whitehouse puts it nicely here when he writes that Busoni was "neither inherently conservative nor demonstratively radical," and that his innovations "were bound up with a re-creative approach to the musical past that has only gained wider currency over recent decades." In a way, John Adams is one of his heirs.
This disc, part of a series of Naxos releases covering all of Busoni's piano music, introduces some of Busoni's diverse impulses, all of them tied together by his devotion to contrapuntal art and artifice. There is a relatively straight Bach transcription; a set of Three Pieces, Op. 4-6, that use concise scherzo, prelude, and fugue forms; five virtuoso works Busoni called Ballet Scenes; some light waltz music intended as a tribute to Strauss but actually closer to Ravel's La valse (though not so grim); and finally an Indianische Tagebuch (Indian Diary) that is entirely different in effect from so-called Indianist compositions in the U.S. Hear the second part, "Song of Victory" (track 14), which uses an ostinato as the basis for the subtle motivic evolution present in many of Busoni's pieces. The Fourth Ballet Scene in the Form of a Concert Waltz, Op. 33a, is a good introduction to Busoni in general, with neither its waltz opening nor its thunderous conclusion ever really letting the listener sit back and relax -- there's always too much going on at the local level. German pianist Wolf Harden has the equipment to handle the pianistically thorny passages, with a powerful, bass-heavy sound, and he had a fine feel for the unique mixture of intellect and showmanship in Busoni that is sounding better and better every year. A good choice as part of the Naxos set or for anyone curious about this composer. James Manheim  

The essence of Busoni’s music lies in a synthesis of his Italian and German ancestry: emotion and intellect, imagination and discipline, often allied with a re-creative approach to the musical past. His arrangement of Bach’s Toccata, Adagio and Fugue in D minor, BWV565 represents the virtuoso transcription, derived from Brahms and Liszt, at its most commanding. Tanzwalzer, dedicated ‘to the memory of Johann Strauss’ is a homage to the golden age of the Viennese waltz. Drawing on Amerindian rhythms and melodies, the Indian Diary depicts life among the North American Indians whose wretched plight Busoni had witnessed on a visit to America in 1910. naxos

Ferruccio Busoni (1866-1924)
1-3. Organ Toccata, Adagio And Fugue, BWV 564 (13:07)
Arranged By – Ferruccio Busoni
Composed By – Johann Sebastian Bach
4-6. Trois Morceaux, Op. 4-6, K 197    (9:40)
7. (First) Ballet Scene, Op. 6 (3:39)
8. Second Ballet Scene, Op. 20, K 209 (5:31)
9-10. Two Dance Pieces, Op. 30a, K 235a (6:18)
11. Fourth Ballet Scene (In The Form Of A Concert Waltz), Op. 33a, K 238    (7:39)
12. Tanzwalzer, Op. 53, K 288 (8:42)
Transcription By – Michael Von Zadora
13-16. Indianische Tagebuch, Book 1 (Indian Diary), K 267    (10:58)
Credits :
Piano – Wolf Harden

BUSONI : Piano Music • 5 — Six Études · Six Pieces · Ten Variations on Chopin's C Minor Prelude (Wolf Harden) (2009) FLAC (tracks), lossless

Wolf Harden returns to Busoni for Naxos in this, his fifth volume of Busoni's piano music for the label, and Harden seems to be more on his game here than in the fourth volume. While flanked by Busoni's familiar transcription of J.S. Bach's "St. Anne" prelude and his extraordinary 1922 rewrite of his much earlier Variations on Chopin's C minor Prelude, the real jewels in this crown are a couple of obscure suites, the Six Etudes, Op. 16 (1883), and the Six Pieces, Op. 33b (1895-1896). The first set is a wild and wooly series of etudes Busoni composed when he was only 17 years of age, and it contains so many seeds of his mature style that certain pieces -- such as the fifth etude "Fuga" -- could nearly be mistaken for the Busoni of 30 or so years later. The Six Pieces date from just before the Violin Concerto and Violin Sonata No. 2, Op. 36a, which Busoni cited as representing a stylistic breakthrough for him. The virtuoso textures he achieves in these pieces -- "Frohsion" utilizes a sweeping figure Busoni returned to in the elegy entitled "Meine Seele bangt und hofft zu Dir" from the Sechs Elegien of 1907 -- are ones that he would revisit. The rest of it -- its comparatively conservative harmonic style and stern, seriously minded post-romantic posture -- are things Busoni would leave behind for good.

Harden is very sharp throughout this whole recording, even as his piano seems to have something of a hiccup here and there. In the Bach transcription and Chopin variations, Harden is entering the market with some already stiff competition afoot, for example Demidenko in the Bach and Kaoru Bingham in the Chopin. However, in the other works Harden is running practically unopposed, and while no "world premiere" is claimed for the Six Pieces Op. 33b, this does seem to be the first complete recording of that set, from which the "Fantasia in modo antico" is usually singled out and played as a separate entity. If Harden may feel the competition, he doesn't show it, as he treats all of the music here with the same level of respect and has obviously put a lot of hard work into this production. Uncle Dave Lewis  

Wolf Harden’s Busoni Piano Edition has been warmly applauded for its ‘spacious aural frame’ (Vol. 1—8.555034), ‘stunningly authoritative’ playing (Vol. 2—8.555699), ‘lightness of touch and excellent phrasing’ (Vol. 3—8.570249) and ‘prestidigitatory prowess’ (Vol. 4—8.570543). For this fifth volume, Busoni’s magisterial transcription of Bach’s ‘St. Anne’ Prelude and Fugue and his inspired variations on Chopin’s famous ‘Choral’ Prelude flank two equally powerful, subtle and wide-ranging sets of shorter yet equally virtuosic works, the splendid Études and the harmonically adventurous Six Pieces. naxos

Ferruccio Busoni (1866-1924)
1-2.     Prelude And Fugue In E Flat Major, BWV 552, 'St. Anne' (13:56)
Arranged By – Ferruccio Busoni
Composed By – J.S. Bach
3-8.     6 Études, Op. 16    (22:22)
9-14. 6 Pieces, Op. 33b    (24:22)
15. 10 Variations On Chopin's C Minor Prelude (Revised 1922 Version Of Op. 22)    12:48
Credits :
Piano – Wolf Harden 

BUSONI : Piano Music • 10 — Transcriptions of Works by J.S. Bach, Brahms, Cramer, Liszt and Mozart (Wolf Harden) (2018) FLAC (tracks), lossless

Busoni embodied an essentially recreative approach to the music of the past. His Bach transcriptions reveal an absolute command of intricate polyphony and a limpid clarity. Mozart stood as an aesthetic and technical exemplar while Cramer’s little-known Etudes are adapted for modern piano technique. Busoni preserved the Lutheran austerity of Brahms’s Chorale Preludes for Organ, Op. 122 whereas in the Mephisto Waltz No. 1 he augments Liszt’s heady writing with a super-virtuosity of his own. naxos

Ferruccio Busoni (1866-1924)
1-3.     Fantasia, Adagio e Fuga (after J.S. Bach's BWV 906 and 968)
 Mozart - Piano Concerto No. 9 in E-Flat Major, K. 271, "Jeunehomme": II. Andantino
4.    Mozart - Piano Concerto No. 9 in E-Flat Major, K. 271, "Jeunehomme": II. Andantino
5-12.    Klavierübung in 5 Teilen (first edition, 1917-22), Part IV: 8 Etudes after Cramer
Johannes Brahms /  Ferruccio Busoni - Arranger
13-18.     11 Chorale Preludes, Op. 122 (arr. F. Busoni for piano) (excerpts)
Franz Liszt, / Ferruccio Busoni - Arranger
Der Tanz in der Dorfschenke, S110/R427, "Mephisto Waltz No. 1" (arr. F. Busoni for piano)
Credits :
Wolf Harden - Piano 

BUSONI : Piano Music • 11 — Ten Chorale Preludes · Sonatina brevis Nº.5 · Preludio al Corale e Fuga (Edizione minore) Prelude, Fugue and Allegro (Wolf Harden) (2019) FLAC (tracks), lossless

Transcriptions occupied Ferruccio Busoni from early in his career, but his famously Romantic version of the Chaconne in D minor (Naxos 8.555699) contrasts with the later and more austere Sonatina brevis based on Bach’s Fantasy and Fugue in D minor, BWV 905. Music from Bach’s The Art of Fugue is invoked in the rarely heard Edizione minore version of the Fantasia contrappuntistica, and the Ten Chorale Preludes include the glorious Wachet auf, ruft uns die Stimme. Sir Edward Elgar considered Busoni ‘the greatest musical mind of his time’, and Wolf Harden’s playing of Busoni has been described as ‘the clear current benchmark’ (BBC Music Magazine on Volume 2, 8.555699). naxos

Ferruccio Busoni (1899-1924)
1.    Sonata Brevis (No. 5) 'In Signo Joannis Sebatiani Magni', BV.280 (1919) 5:11
2-6.    Preludio Et Corale E Fuga Sopra Un Frammento Di Bach (Edizione Minore Della Fantasia Contrappuntistica), BV. 256a (1912) 18:57
7.    Prelude, Fugue And Allegro In E Flat Major, BWV 998, BV B.36 (1915) 8:36
J.S. Bach / Ferruccio Busoni - Arranger
8-17.    Ten Chorale Preludes, BV B. 27 (1898)
J.S. Bach / Transcription By – Ferruccio Busoni
Wolf Harden - Piano

BÉLA FLECK — Perpetual Motion (2001) FLAC (tracks+.cue), lossless

Banjo virtuoso Béla Fleck has certainly broken more boundaries than any other picker in recent memory, from his early days performing bluegrass-inspired folk compositions on Rounder in the late '70s to his quirky jazz freak-outs with the Flecktones throughout the '90s. In late 2001, this peculiar innovator released an album of banjo interpretations of classical works by Bach, Chopin, and Scarlatti. Before classical purists roll their eyes, they must remember that the banjo hasn't always been seen as the instrument of choice of backwoods musicians in the Appalachian mountains, but as recently as the 1940s was used as a primary rhythm instrument in all manner of parlor music. That being said, Perpetual Motion is a bright and unique take on several well-known classical pieces (Moonlight Sonata, Bach's Cello Suite No. 1) as well as a number of interpretations of Bach's two-part and three-part inventions. These light and brief inventions act as buffers between the longer, more dramatic pieces, but end up serving as some of the highlights of the album. With Fleck often accompanied by Evelyn Glennie on marimba and Appalachia Waltz musicians Joshua Bell and Edgar Meyer on violin and bass, these short, delicate pieces weave in and out of the album, proving that the banjo can be seen in a different light altogether. Fleck's picking is uniquely unparalleled in that he can so easily dip his feet into so many different genres with an instrument that is so quickly pigeonholed. The album drifts easily into the background, which is not necessarily a detraction but, knowing the fire that Fleck can unleash from his fingertips, it would have been nice to have a few more impassioned numbers on the album. The closest the ensemble comes to really making some noise is the final track, Paganini's Moto Perpetuo (arranged in a bluegrass style), which is not necessarily more forceful, but is certainly faster and louder. Zac Johnson
Tracklist :
1. Scarlatti: Keyboard Sonata In C Major K.159
2. Bach: Two-Part Invention No. 13
3. Debussy: ''Dortor Gradus Ad Parnassum'' From Children's Corner
4. Chopin: Mazurka In F-Sharp Minor
5. Bach: ''Prelude'' From Partita No. 3 For Solo Violin
6. Chopin: Etude In C-Sharp Minor
7. Chopin: Mazurka In F-Sharp Minor
8. Bach: Three-Part Invention No. 10
9. Tchaikovsky: Melody In E-Flat
10. Brahms: ''Presto In G Minor I After Bach''
11. Bach: ''Prelude'' From Suite For Unaccompanied Celllo No. 1
12. Bach: Three-Part Invention No. 15
13. Paganini: Moto Perpetuo
14. Scarlatti: Keyboard Sonata In D Minor K.213
15. Bach: Two-Part Invention No.6
16. Beethoven: ''Adagio Sostenuto'' From ''Moolight'' Sonata
17. Bach: Two-Part Invention No. 11
18. Beethoven: Seven Variations On ''God Save The King''
19. Bach: Three-Part Invention No. 7
20. Paganini: Moto Perpetuo (Bluegrass Version)
Credits :
Banjo – Béla Fleck
Bass, Piano – Edgar Meyer
Cello – Gary Hoffman
Guitar – John Williams
Mandolin – Chris Thile
Marimba – Evelyn Glennie
Steel Guitar [Steel String Guitar] – Bryan Sutton
Violin – Joshua Bell
Arranged By – Béla Fleck, Edgar Meyer

CARL PHILIPP EMANUEL | JOHANN CHRISTIAN | JOHANN SEBASTIAN BACH : Keyboard Concertos (Anastasia Injushina · Hamburger Camerata · Ralf Gothoni) (2013) FLAC (image+.cue) lossless

Carl Philipp Emanuel Bach (1714-1788)
[1]-[3] Concerto in D major, Wq 43/2

Johann Christian Bach (1735-1782)
[4]-[5] Concerto in D major, Op. 7/3
[6]-[8] Concerto in E flat major, Op. 7/5

Johann Sebastian Bach (1685-1750)
[9]-[11] Concerto No. II in E major, BWV 1053

Anastasia Injushina: Piano
Hamburger Camerata
Ralf Gothóni : Conductor

J.S. BACH : English Suites (Elina Mustonen) 2CD (2001) FLAC (image+.cue) lossless

Tracklist & Credits :

ASYA SELYUTINA — Guitar Solo (2016) FLAC (tracks), lossless

DAVID TANENBAUM - Lute Masterworks (1987) FLAC (image+.cue), lossless

FRANCESCO CANOVA DA MILANO (1497-1543)
Fantasia #40 / Ricercar #3 / Fantasia de Mon Trist, No 36 / Fantasia #28 / Ricercar, No. 5 / Ricercar, No. 34

JOHN DOWLAND  (1563-1626)
A Fantasie, No. 1a / Forlorn Hope Fancy, No. 2 / A Fancy, No. 73 / Farewell, No. 3

JOHANN SEBASTIAN BACH (1685-1626)
Lute Suite In A Minor

David Tanenbaum - Guitar

PABLO CASALS - The Complete EMI Recordings (1926-1955) 9CD / FLAC (tracks+.cue), lossless

CD1
J.S. Bach • Cello Suites 1-3

CD2
J.S. Bach • Cello Suites 4-6

CD3
Beethoven • Cello Sonats 1-3

CD4
Beethoven • Cello Sonata 4-5
Brahms • Cello Sonata Nr. 2

CD5
Dvorák • Cello Concerto
Elgar • Cello Concerto
Bruch • Koll Nidrei

CD6
Beethoven • Piano Trio Nr.7 'Archduke'
Schubert • Piano Trio Nr.1 D898

CD7
Mendelssohn • Piano Trio Nr.1 Op.49
Schumann • Piano Trio Nr.1 Op.63

CD8
Haydn • Piano Trio in G Hob. XV:25 Op.73 Nr.2
Brahms • Double Concerto
Boccherini • Cello Concerto in B flat

CD9
E#ncores and showpieces • Sardanes de concert

PABLO CASALS : Cello

GEORGE ENESCU : Compozitor Și Interpret (Înregistrări Din Fonoteca De Aur) 2CD (2001) FLAC (image+.cue), lossless

1.1 Suita I-a Pentur Orchestră, Op.9
Composed By, Conductor [Dirijor] – George Enescu
Orchestra – Orchestra Filarmonică din București

1.2 Sonata Nr.1 În Sol Minor BWV 1001 Pentru Vioară Solo
Composed By – Johann Sebastian Bach
Performer [Interpret], Soloist, Violin – George Enescu

1.3 Sonata Nr.2 În La Minor BWV 1002 Pentru Vioară Solo
Composed By – Johann Sebastian Bach
Performer [Interpret], Soloist, Violin – George Enescu

2.1    Alai Țigănesc Din Suita Simfonică Op.5 „Priveliști Moldovenești” 10:01
Composed By – Mihail Jora
Conductor [Dirijor] – George Enescu
Orchestra – Orchestra Filarmonică din București

2.2    Cantabile Pentru Flaut Și Pian 3:49
Composed By, Piano – George Enescu
Flute – Vasile Jianu

2.3 Șase Cântece Din Ciclul „Șapte Cântece Pe Versuri De Clément Marot”, Op.15
Composed By, Piano – George Enescu
Lyrics By [Versuri De] – Clément Marot
Vocals – Constantin Stroescu

2.4 Simfonia A IV-a Op.98 În Mi Minor
Composed By – Johannes Brahms
Conductor [Dirijor] – George Enescu
Orchestra – Orchestra Filarmonică din București
Remastered By [Înregistrare Recondiționată De], Engineer – Andrei Papudof

ARTURO BENEDETTI MICHELANGELI - Icon : The Master Pianist Plays Beethoven, Mozart, Haydn, Schumann, Brahms, Chopin, Rachmaninov, Ravel (2008) 4CD / RM / MONO / APE (image+.cue), lossless

Cunningly, the first track on the first disc of this four-disc set dedicated to Arturo Benedetti Michelangeli's EMI recordings is his heaven-storming 1948 performance of Busoni's arrangement of Bach's Chaconne from his D minor Partita. If after its storms and thunder have faded the listener remains unconvinced of Michelangeli's virtuosity, intensity, and musicality, there is nothing else to be done. Because though the sound of some of the recordings here, including that of the Chaconne, is antique, the brilliance, tone, and depth of Michelangeli's playing is evident throughout. His prewar and war-time recordings of sonatas by Scarlatti and Beethoven are impeccably played and elegantly expressive, and though typically played out of order, his postwar Brahms' Paganini Variations is nearly demonic in its relentless drive. In recordings from the early '50s of three of Mozart's concertos, Michelangeli takes a slower tempo than one might expect, but his right hand's graceful legato and subtle left-hand rubato keeps the tempo flowing. His later, better known stereo recordings of Haydn's concertos are witty and poised, particularly in Nino Rota's two cadenzas. The best-known recordings here are Michelangeli's heroic take on Schumann's Carnaval, his Olympian reading of Ravel's Concerto in G, and his Dionysic account of Rachmaninov's Piano Concerto No. 4. Some might reasonably point out that the pianist also made many great recordings for Deutsche Grammophon, but after hearing it, few would deny that his EMI recording of the Bach/Busoni Chaconne all by itself justifies Michelangeli's outsized reputation. by James Leonard  
All Tracks & Credits

BACH 333 - J. S. Bach : The New Complete Edition {222 CD} (2018) FLAC (image+.cue), lossless

 

BACH 333 - Sacred Cantatas I : Cantatas 150, 4, 71, 196 (1706-1708) (2018) FLAC (image+.cue), lossless

BACH 333 - Sacred Cantatas I : Cantatas 131, 106, 143, 18 (1708-1713) (2018) FLAC (image+.cue), lossless

BACH 333 - Sacred Cantatas I : Cantatas 182, 12, 54, 172 (1714) (2018) FLAC (image+.cue), lossless

BACH 333 - Sacred Cantatas I : Cantatas 21, 199 (1714) (2018) FLAC (image+.cue), lossless