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TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1
KWINTESENCJA BRZMIENIA ANALOGOWEGO
MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'
KWINTESENCJA BRZMIENIA ANALOGOWEGO
BRAHMS, Arthur Rubinstein
Piano Sonata No.3 in F Minor, Op.5 / Intermezzo in E, Op.116, No.6 / Romance in F, Op.118, No.5
KWINTESENCJA BRZMIENIA ANALOGOWEGO
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, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6
Nagranie EKSTREMALNIE audiofilskie
BEETHOVEN, Glenn Gould, Leonard Bernstein, Columbia Symphony Orchestra
Piano Concerto No. 3 in C minor
Pianist Glenn Gould performs Beethoven's Third Piano Concerto with Leonard Bernstein conducting the Columbia Symphony Orchestra. The composition of Beethoven's Third Piano Concerto is linked to a number of musical innovations that mark the character of this weighty work in C minor. Unlike his two previous concertos for the keyboard, in the Third Beethoven does not permit the piano part to melt with the orchestra, but lets the instrument act for itself as a opponent, as it were, within the symphonic context. Glenn Gould, whose analytical Bach interpretations won him international acclaim, appears to be born to re-enact Beethoven?s idiosyncrasies in a special setting. The soloist strives against the forceful orchestral introduction with angular chords ' and for a moment one holds one?s breath in suspense. Completely engrossed and highly concentrated, Gould moulds the Largo with his fingers, consolingly answered in dark sounds from the depth of the orchestra. The Finale comes on with Bach-like strictness, all the notes as though carved in stone. Again and again the movement changes from lyrical song to turbulent ecstasy, which drives forward to the end with electrifying emotion.
