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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
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Gregorio Paniagua, Atrium Musicae de Madrid
La Spagna Paniagua
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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
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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
BEETHOVEN, Rene Kollo, Hanna Schwarz, Edda Moser, Leonard Bernstein, Concertgebouworkestr
Missa Solemnis
- Rene Kollo - tenor
- Hanna Schwarz - alto
- Edda Moser - soprano
- Leonard Bernstein - conductor
- Concertgebouworkestr - orchestra
- BEETHOVEN
AllMusic Review by James Leonard [-]
People say this is the "good" Bernstein Missa Solemnis and that sure, the 1960 New York Philharmonic recording for Columbia was a sloppy, soupy mess, but this 1979 Concertgebouw Orchestra recording is the "good" one. Well, it's better conducted, better played, and better recorded and that counts for something. The Concertgebouw intuits Bernstein's subjective technique and responds with lush and powerful virtuosity. Deutsche Grammophon's sound is warm and vivid, even if a little pinched in climaxes. So in that way, this is the "good" Bernstein Missa Solemnis. But does that mean it's a good Missa Solemnis? Not really: the improved technical quality of the performance only reveals the poverty of Bernstein's interpretation. Bernstein no doubt means each and every note with his whole heart and soul, but despite the pomp and splendor of Bernstein's interpretation, the whole heart and soul of the performance is not enough to save his interpretation from overwhelming spiritual hubris. Rather than communicate Beethoven's beatific vision, all Bernstein's pomp and splendor only gild the frame of Bernstein's narcissistic mirror.
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