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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
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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
BRAHMS, Sviatoslav Richter, Lorin Maazel, Orchestre de Paris
Piano Concerto No.2 in B Flat, op.83
- Sviatoslav Richter - piano
- Lorin Maazel - conductor
- Orchestre de Paris - orchestra
- BRAHMS
149.00 PLN
LP-180G 33rpm:
Nr kat.: HIQLP018Label : Hi-Q Records
Gramophone critic Bryce Morrison described Richter as follows: "Idiosyncratic, plain-speaking, heroic, reserved, lyrical, virtuosic and perhaps above all, profoundly enigmatic, Sviatoslav Richter remains one of the greatest recreative artists of all time." Richter, largely self-taught, was an eccentric genius who often performed in darkened halls so the public were not distracted by any of his mannerisms: "...I don't play for the audience, I play for myself, and if I derive any satisfaction from it, then the audience, too, is content." He disliked recording and many of his recordings are live but once engaged, took the process very seriously and teamed with Maazel and the Paris Orchestra, these 1969 studio sessions for EMI were magic. Curiously, he never recorded Brahm's first piano concerto. In the original October 1970 review, Trevor Harvey of the GRAMOPHONE wrote: "This is a magnificent performance. As sheer piano playing, for a start – however much you may think other aspects of the work matter more, you can hardly help enjoying the extraordinary range of the pianism, for there is scarcely a passage that doesn't bring new delights... There is everything here; the power, the darting delicacy and, above all, the most beautifully expressive soft playing... I have a list as long as my arm of splendid things about this performance, from Maazel as well as from Richter. And not least is the piano tone, which is superbly caught in every way from brilliance to the most lovely quiet warmth..."