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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
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Premiera nowego nośnika Ultimate HQCD
Audiophile Classic - Extended HD2
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Extended High Definition Mastering 2
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Symphony No. 9 From the New World
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Scheherazade
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ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
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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, Gidon Kremer, Academy of St. Marin in the Fields, Sir Neville Marriner
Violin Concerto in D major, Op. 61 (Cadenzas by Alfred Schnittke)
- Beethoven, Ludwig van
- Violin Concerto in D major, Op. 61
- 1. I. Allegro ma non troppo (Cadenza by A. Schnittke) 00:24:11
- 2. II. Larghetto (Cadenza by A. Schnittke) 00:09:57
- 3. III. Rondo: Allegro (Cadenza by A. Schnittke) 00:10:20
- Łączny czas: 00:44:28
- Gidon Kremer - violin
- Academy of St. Marin in the Fields - orchestra
- Sir Neville Marriner - conductor
- BEETHOVEN
49.00 PLN
CD:
Nr kat.: 8802064Label : Newton Classics
One of the great violinists of our age in the Everest of violin concertos is in itself an enticing prospect. That’s further enhanced here by an unlikely but stimulating meeting of minds in which Kremer links Beethoven to one of the great composers of our own age. As a long-standing friend and musical partner of Alfred Schnittke – together they played on the recording of Arvo Pärt’s Tabula Rasa that brought the Estonian composer to international attention – Gidon Kremer asked him for cadenzas that would, naturally, go beyond the Romantic tropes of Joachim and Kreisler beloved of most violinists. Schnittke did not disappoint, with material – not just the main first-movement cadenza but lead-ins at appropriate points in the finale – that take Beethoven’s material – as any cadenza should – and reflect it through a more modern, fragmentary prism, in which the whole literature of violin concertos is wittily referenced and obliquely reflected. His cadenzas, and Kremer’s ever-committed playing, make a striking example of what Schnittke called his ‘polystylism’, demonstrating his belief in the essential unity of musical thought through all the changes in style across the centuries.