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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
BARTOK, Geza Anda, Ferenc Fricsay, Radio-Smphonie-Orchester Berlin
Piano Concerto No. 1
169.00 PLN
LP-180G 33rpm:
Nr kat.: 138708Label : SpeakersCorner
Between Bartók?s Rhapsody for Piano and his First Piano Concerto lie 22 years of development, a struggle to find subject matter, form and his own musical language. While the Rhapsody from 1904 is dominated by a late-Romantic tone, which delights in a free, craggy and capricious feast of affable harmonies, the Piano Concerto reflects contemplation and a delving into the formal strictness of the classical three-movement concerto form. Rather less concerto-like and unconventional is, however, the use of the piano as a percussion instrument, which after just a few bars on the winds, hammers out an unrelenting staccato against the harsh and dissonant orchestra. In the slow movement too the piano is predominantly employed as a percussion instrument that, like the pendulum of a clock, rhythmically bulldozes on against the cheerless, bleak winds. Wild emotion predominates in the Finale. Stormy, insistent figures in the piano are answered by the orchestra with animated blows, but the quick flashes of melodies cannot establish themselves and are slashed to pieces as if caught in a storm. This uncompromising severity presents an enormous challenge that is mastered with aplomb by Géza Anda and the RSO Berlin under Ferenc Fricsay. Bartók?s musical language is milder and more accessible in his Second and Third Piano Concertos.
