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Te tytuły za chwilę znikną z oferty
Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen
Jazz at the Pawnshop
NAJWYŻSZY, NAJBARDZIEJ AUDIOFILSKI WINYLOWY NOŚNIK NA ŚWIECIE
CHOPIN, LISZT, Martha Argerich, Claudio Abbado, The London Symphony Orchestra
Concerto for Piano and Orchestra No. 1 in E minor, op. 11 / Concerto for Piano and Orchestra No. 1 in E flat major
UHQCD - dotknij Oryginału - MQA (Master Quality Authenticated)
Gregorio Paniagua, Atrium Musicae de Madrid
La Spagna Paniagua
Premiera nowego nośnika Ultimate HQCD
Audiophile Classic - Extended HD2
KODALY, ALBENIZ, Minneapolis Symphony Orchestra, Antal Dorati
Hary Janos Suite, / Iberia
Extended High Definition Mastering 2
DVORAK, Columbia Symphony Orchestra, Bruno Walter
Symphony No. 9 From the New World
Extended High Definition Mastering 2
Miles Davis, Julian 'Cannonball' Adderley, Paul Chambers, Jimmy Cobb, John Coltrane, Bill Evans, Wynton Kelly
Kinf Of Blue
Extended High Definition Mastering 2
GOUNOD, Vienna State Opera Orchestra, Armando Aliberti
Faust / Vienna Waltzes
Extended High Definition Mastering 2
RIMSKY-KORSAKOV, L'Orchestre de la Suisse Romande, Ernest Ansermet
Scheherazade
Extended High Definition Mastering 2
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
TCHAIKOVSKY, MENDELSSOHN, Martha Argerich, Charles Dutoit, Royal Philharmonic Orchestra
Piano Concerto No. 1 in B-flat minor, Op. 23 / Concerto for Violin, Piano and String Orchestra in D minor -
Nikt nigdy szybciej tego koncertu nie zagrał. Wirtuozeria i maestria
BACH, Edwin Fischer
The Well-Tempered Clavier
- Edwin Fischer - piano
- BACH
89.00 PLN
3 CD:
Nr kat.: 7631882Label : EMI
Nagranie pod każdym względem oceniane na 10/10, mimo, iż pochodzi z lat 1933-36
AllMusic Review by James Leonard [-] Edwin Fischer's performances of Bach's Well-Tempered Clavier may not be perfect -- there are far too many technical slips for that term to be strictly applicable -- but they may well be ideal. Recorded between 1933 and 1936 in faded but honest sound, Fischer's performances have nothing extravagant about them or extraneous in them. One gets the music pure and straight with no additives. To some, Fischer's articulation may at first seem odd as in the staccato arpeggios in the C major Prelude that opens Book One. But the seriousness of his attitude and the sincerity of his approach soon render such criticisms irrelevant. Beyond these qualities, however, what truly distinguishes Fischer's performances is the clarity of his thought and the lucidity of his interpretations. Here, even the gnarliest fugues, like the dense G sharp minor Fugue from Book Two, sound completely cogent and entirely logical, ideal terms to apply to Bach's Well-Tempered Clavier. Though fans of historically informed performance practice may miss the sound of the harpsichord and fans of note-perfect performance practice may miss technically impeccable playing, fans of Bach have every reason to seek out these classic recordings.