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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
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, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6
Nagranie EKSTREMALNIE audiofilskie
BRAHMS, Joseph Szigeti, Mieczyslaw Horszowski, John Barrows
Trio for Violin, Horn & Piano/ Sonata No. 2
- Trio for Violin, Horn and Piano in E flat major, Op. 40 >>> Posłuchaj fragmentu <<<
- Sonata for Violin and Piano No. 2 in A major, Op.100
- Joseph Szigeti - violin
- Mieczyslaw Horszowski - piano
- John Barrows - horn
- BRAHMS
139.00 PLN
LP-180G 33rpm:
Nr kat.: SR90210Label : Mercury
In the 18th and 19th century, a great many chamber-music works for winds were composed with a specific occasion in mind. Brahms’s Horn Trio, however, is an exception in that it was not especially written for a contemporary virtuoso. It is known, though, that Brahms himself played this difficult instrument fairly well, that he valued the beauty of its tone, and that he was inspired to compose the work recorded here by an inner urge. In his performance, John Barrows concentrates upon bringing out the compositional layout of the work, which largely dispenses with a display of virtuosi fireworks. The sonorous tonal character of the horn and its range of expression – from lyrical to mournful – are shown off to great effect. In the rapid Finale, however, Barrows pays tribute to the various playing techniques offered by this aristocratic instrument. With blaring staccatos and organ-like bass notes, he goads his fellow musicians to join him in a musical hunt, as it were, and they take up his challenge with thrilling effect. "…The Hungarian violinist Joseph Szigeti (pronounced 'Zuh-geh-tee'), about whom I wrote at length in this magazine some ten years ago, was one of this century's great artists…his insight into one of the greatest of the great nineteenth-century concertos is still consummately thoughtful and deeply moving. Wobbly intonation is simply the price you pay with Szigeti, early or late. In my opinion, it is a price well worth paying for the intelligence and expressiveness that you are always rewarded with, the Brahms Sonata No. 2 being a case in point." - Jonathan Valin, The Absolute Sound, June/July 2006