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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
BRUCKNER, Wiener Symphoniker, Carlo Maria Giulini
Symphony No 2
Perhaps the greatest of all recordings of the work, spacious, involved, profoundly human. So persuasive is Giulini's interpretation, it makes it almost impossible to take seriously the attempt at a more detached, monumental approach found in Daniel Barenboim's relatively recent Teldec performance. Giulini's ability to convey fervour without sentimentality is little short of miraculous, and it's clear from the way the early stages of the first movement effortlessly project an ideal balance between the lyrical and the dramatic that this reading will be exceptional. The recording might not have the dynamic range of current digital issues, and resonance can sound rather artificial in louder passages. There's also an obtrusive extension of the trumpet triplets seven bars before the end of the first movement. But such things count for less than nothing in the face of a performance which culminates in a finale of such glowing spontaneity you could almost believe that the orchestra are playing it for the first time, and that neither they (nor any other orchestra) will ever play it better. A fuller and more authentic text of the symphony is available at super-bargain price in Georg Tintner's fine account of the 1872 edition (on Naxos; reviewed above). Serious collectors will need both. Yet the last thing you're likely to feel after hearing Giulini is that there's something inauthentic about this Bruckner. Matters musicological fade to vanishing point, given such communicative genius. - The Gramophone Classic Music Guide, 2010
