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OSTATNIE EGZEMPLARZE
Jakość LABORATORYJNA!
ORFF, Gundula Janowitz, Gerhard Stolze, Dietrich-Fischer Dieskau, Deutsche Oper Berlin, Eugen Jochum
Carmina Burana
ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Direct-To-Disc
PIAZZOLLA, ChamberJam Europe
Tangos del Ángel y del Diablo
Direct-to-Disc ( D2D ) - Numbered Limited Edition
BEETHOVEN, Emil Gilels, Philharmonia Orchestra, Leopold Ludwig
Piano Concertos 4 and 5
- 1. Piano Concerto No. 4 In G, Op. 58: Allegro Moderato - Cadenza - Allegro Moderato
- 2. Piano Concerto No. 4 In G, Op. 58: Andante con moto
- 3. Piano Concerto No. 4 In G, Op. 58: Rondo (Vivace - Cadenza - Tempo I)
- 4. Piano Concerto No. 5 in E flat, Op. 73: Allegro
- 5. Piano Concerto No. 5 in E flat, Op. 73: Adagio un poco mosso
- 6. Piano Concerto No. 5 in E flat, Op. 73: Rondo (Allegro piu allegro)
- Emil Gilels - piano
- Leopold Ludwig - conductor
- Philharmonia Orchestra - orchestra
- BEETHOVEN
The great Russian pianist recorded these concertos again later in his career, with George Szell and the incomparable Cleveland Orchestra for EMI. Those recordings are also available on CD. However, the critical consensus seems to be that Emil Gilels was in better form here, even if Ludwig was no Szell and the Philharmonia can't match the Clevelanders in precision or collective virtuosity. Mind you, there's nothing at all wrong with the conducting or the playing--it's quite fine--but it's Gilels who carries the day. He was one of those artists with technique to burn, but who placed it firmly in the service of the most classically severe music he could find. The result is a particularly combustible blend of passion and intellect, particularly in evidence here. (David Hurwitz) This is one of the perhaps the most perfect accounts of the Fourth Concerto recorded. Poetry and virtuosity are held in perfect poise, with Ludwig and the Philharmonia providing a near-ideal accompaniment. The recording is also very fine, though be sure to gauge the levels correctly by first sampling one of the tuttis. If the volume is set too high at the start, you'll miss the stealing magic of Gilels's and the orchestra's initial entries and you'll be further discomfited by tape hiss. The recording of the Emperor Concerto is also pretty good, not quite on a par with that of the Fourth. Ludwig and the orchestra tend to follow Gilels rather than always integrate with him and there are times, too, especially in the slow movement, when Gilels's playing borders on the selfindulgent. This isn't, however, sufficient reason for overlooking this fine and important reissue. - The Gramophone Classical Music Guide