Logowanie

Najbardziej analogowe brzmienie na CD - XRCD!

BEETHOVEN, GERSHWIN, PIAZZOLLA, PAGANINI, KREISLER, Salvatore Accardo, Laura Manzini, Orchestra da Camera Italiana
The Master

PREMIERA

ELGAR, RACHMANINOV, CHOPIN, WIENIAWSKI, Narimichi Kawabata
On Wings of Song

TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1

KWINTESENCJA BRZMIENIA ANALOGOWEGO

BEETHOVEN, David Oistrakh, Lev Oborin
Violin Sonatas Nos. 5 - 'Spring' & 9 'Kreuzer'

MOZART, Orchestre de Chambre, Jean-Francois Paillard
Serenade No. 9 'Posthorn' / Serenade No. 6 'Serenata Notturna'

MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'

KWINTESENCJA BRZMIENIA ANALOGOWEGO

Tsuyoshi Yamamoto Trio, Koji Moriyama
Hida-Takayama Jazz Sesiion

TCHAIKOVSKY, RIMSKY-KORSAKOV, Oscar Shumsky, Kiril Kondrashin, RCA Victor Orchestra
Capriccio italien, Op.45 / Capriccio espagnol,Op.34

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

Muzyczne Menu

LINN Records - Delikatesy!

BACH, Palladian Ensemble
Trio Sonatas

VICTORIA, ALLEGRI, PALESTRINA, LASSUS, DESPREZ, Magnificat, Philip Cave
The Golden Age

MONTEVERDI, CACCINI, D'INDIA, Jill Feldman, Nigel North
Udite Amanti: 17th Century Italian Love Songs

Martin Taylor
Portraits with special guest Chet Atkins

David Newton
Victim of Circumstance

Winylowy niezbędnik

kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio

wirtuozeria, przestrzeń i głębia, mikrokosmos!

finezja, lekkość, oczarowanie

rzetelność, konsekwencja i świeżość

perfekcja, elegancja, wirtuozeria

Osobowości

BEETHOVEN, Gidon Kremer, Martha Argerich
Violin Sonatas Nos. 6-8

RACHMANINOV, SCHUBERT, BRAHMS, MASSENET, Virtuosi, Maxim Vengerov
Vengerov & Virtuosi

VIVALDI, Rachel Podger, Arte Dei Suonatori
La Stravaganza - 12 Violin Concertos

TCHAIKOVSKY, Valery Gergiev, Wiener Symphoniker
Symphony No. 5

MENDELSSOHN, DRIGO, ELGAR, GARDNER, DEBUSSY, Alfredo Campoli
Encores Vol. 2

SCHUBERT, Kun-Woo Paik
Impromptus, Drei Klavierstucke, Moments Musicaux

reedycja ultra audiofiska!

TELEMANN, Arthur Grumiaux
Fantasie per violino solo

TCHAIKOVSKY, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6

Nagranie EKSTREMALNIE audiofilskie

BEETHOVEN, Gre Brouwenstijn, Concertgebouworkestr, Otto Klemperer

Symphony No.9

Galeria okładek

1. Symphony No.9 D Minor Op.125 : I. Allegro ma non troppo, un poco maestoso 16:24 2. Symphony No.9 D Minor Op.125 : II. Scherzo : Molto vivace 14:48 3. Symphony No.9 D Minor Op.125 : III. Adagio molto e cantabile 13:55 4. Symphony No.9 D Minor Op.125 : IV. Finale : Presto etc. 22:56

Otto Klemperer - conductor
Gre Brouwenstijn - soprano
Concertgebouworkestr - orchestra

BEETHOVEN

Produkt w tej chwili niedostępny.

Archipel Desert Island Collection

"Fascinating to have a Beethoven 9 conducted by Klemperer but not with the Philharmonia, about a year and a half before the famous 1957 Philharmonia recording (and the riveting live performance given concurrently with that, available on the Testament label). Klemperer had worked with the Concertgebouw Orchestra many times since first appearing with them in 1917, and there are other great performances from the 50s that have appeared on CD, Mahler 2 (with Vincent and Ferrier) and Mahler 4 (with Maria Stader) for example. The first movement timing here is identical with that of the 1957 live performance in London, whereas the other three movements were all slightly quicker in Amsterdam. Timings are not a crucial issue. Both are magnificent performances, with differences of timbre between the two orchestras appreciable. The Concertgebouw strings are outstandingly songful in the third movement. The recording quality is better in London (stereo). In Amsterdam (mono) louder sections do not open out, and at those points there is a restricted feel to the sound, although overall its limitations are not serious and not a bar to enjoyment. (Not, in my view, sufficient reason to remove a star.) The chorus makes less impact than desirable, although singing with total commitment, but it is definitely placed behind the orchestra in the sound-picture. A passionate and powerful performance that demands to be heard. If you can only buy one version, then the 1957 London one on Testament would be the one; but on this occasion "Buy both!" is the best advice."