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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
LINN Records - Delikatesy!
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
BENJAMIN, Ensemble Modern, Ensemble Modern Orchestra, George Benjamin
Palimpsests
ZamknijGaleria okładek
- 1 Palimpsests I 8.05
- 2 II 11.35
- Premiere recording
- Performance given at the opening concert of the Ars Musica Festival.
- Recorded in Brussels, 6 March 2003, Flagey, Studio 4.
- By permission of Ars Musica and of RTBF Musique 3
- 3 At First Light I 2.12
- 4 II 9.29
- 5 III 7.22
- Performance given in the Mozarteum, Salzburg, 27 July 1995 at the Salzburg Festival.
- By permission of ORF, Wien and of the Salzburg Festival
- 6 Sudden Time 14.37
- Performance given in Frankfurt, 28 February 2000 at the Alte Oper Frankfurt
- By permission of hrMedia, Frankfurt
- 7 Olicantus 4.04
- conducted by Oliver Knussen
- Performance given in Frankfurt, 17 January 2003 at the Alte Oper Frankfurt
- By permission hrMedia, Frankfurt
- Ensemble Modern
- Ensemble Modern Orchestra - orchestra
- George Benjamin - conductor
- BENJAMIN
'At First Light' had its premiere in a London Sinfonietta concert in St. John's, Smith Square. 'At First Light' is written for a chamber orchestra of fourteen and was inspired by a late painting by Turner, his 'Northam Castle, Sunrise' in the Tate Gallery. The music is "a contemplation of dawn, a celebration of the colours and noises of daybreak". Reviews Such is the acuity of the composer’s ear, however, that the listener is amazed at the variety of colour achieved. The work begins in near-inaudibility, and the tiny first movement is composed of fragments, scraps of ideas, long held notes and twitters, that never really blend into anything tangible. The other movements are longer, the second more dramatic, the third calm, with fragments of melody and ravishing instrumental sonorities. But this is music with few audible signposts. Sudden Time confirms that impression. This is a work for large orchestra, but there is very little in the way of melodic writing, little to latch on to, being composed instead of fragments once again, moments of harmony and ever-changing sonorities. Try this disc for yourself, with open ears and an open mind. William Hedley, musicweb-international.com