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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
BRUCKNER, Carl Schuricht, Vienna Philharmonic
Symphonie Nr. 3 in d-moll (1889 Version)
139.00 PLN
LP-180G 33rpm:
Nr kat.: ASD2284Label : Testament (UK)
The symphony, in spite of its overall grandeur, is by far the least successfully organized of the nine. It began in 1873-74 as an excessively loose structure, containing deliberate and literal quotations of motives from Wagner's music-dramas, and this original score was replaced by Bruckner's revision of 1878. But this revision still contained weaknesses?notably in the development sections of the first and last movements ?which were undeniably strengthened in the final revision of 1889. Unfortunately, even these improvements did not really get to the heart of the trouble; and this score contained new features which made matters far worse, and must be attributed to Schalk's interference. Two small but ludicrous ones are the sudden grandiloquent gesture at bar 159 in the first movement, which succeeds in completely destroying the long flowing momentum of the second group, and the student's-exercise modulatory link in bars 63-64 of the finale, which replaces one of Bruckner's most impressive pauses with a piece of utter banality and takes all the surprise out of his startling key-switch from D minor/G minor to F sharp major for the second subject. However, what makes the final revision totally unacceptable is the wholesale butchery of the recapitulation of the finale. The section is certainly ramshackle in the earlier version, but Schalk's idea of not bothering to restate the first subject at all, and of cutting ruthlessly to get to the coda as quickly as possible, merely makes it seem that Bruckner had given up all hope of bringing his symphony to any sort of satisfactory culmination. (Gramophone, November 1966,p. 47)