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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
UHQCD - dotknij Oryginału - MQA (Master Quality Authenticated)
Gregorio Paniagua, Atrium Musicae de Madrid
La Spagna Paniagua
Premiera nowego nośnika Ultimate HQCD
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, MENDELSSOHN, Martha Argerich, Charles Dutoit, Royal Philharmonic Orchestra
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
BERLIOZ, BEETHOVEN, BBC Symphony Orchestra, Royal Philharmonic Orchestra, Sir Thomas Beecham
Grande Messe des Morts / Symphony No. 7
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89.00 PLN
2 CD:
Nr kat.: BBCS4403Label : BBC Legends
The Royal Albert Hall in 1951 proved a tricky environment for recording; despite every engineering effort the sound quality of the RPO Corsaire – percussive tuttis, tremulous legato strings – is unappealing, whereas the Trojan March, recorded in Bristol a few months later, sounds deep, even stodgy. Yet even through Le corsaire there shine Beecham’s outstanding qualities as a Berliozian; and they are still more ingratiatingly present in a grand account of King Lear (RFH, 1954) and an excellent Harold in Italy, recorded in the Usher Hall during the 1956 Edinburgh Festival. Beecham’s Berlioz is at the same time careful in its consideration of the composer’s notated intentions (the dynamic range of this recording shames many recent studio CDs of Berlioz), and daring in its exploitation of total control to enlarge phrases, zip ahead with a new section and attain from a melting account of slower music climaxes of dizzy abandon. Riddle’s strong-toned viola-playing responds admirably to Beecham’s determination, all too rarely emulated, to take literally Berlioz’s request to accelerate, in the first movement, to something like double the original speed. The middle movements of Harold are particularly enjoyable: the opening Adagio, however, is marred by a fit of coughing unseasonable in August, even for Edinburgh. Julian Rushton