Logowanie
OSTATNIE EGZEMPLARZE
Jakość LABORATORYJNA!
ORFF, Gundula Janowitz, Gerhard Stolze, Dietrich-Fischer Dieskau, Deutsche Oper Berlin, Eugen Jochum
Carmina Burana
ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Direct-To-Disc
PIAZZOLLA, ChamberJam Europe
Tangos del Ángel y del Diablo
Direct-to-Disc ( D2D ) - Numbered Limited Edition
CHOPIN, Vlado Perlemuter
Etudes Opus 10 and Opus 25 / Trois nouvelles etudes
ZamknijGaleria okładek
- 1 Etudes, Opus 10 No. 1 in C (Allegro) 2.23
- 2 No. 2 in A minor (Allegro) 1.42
- 3 No. 3 in E (Lento ma non troppo) 4.09
- 4 No. 4 in C sharp minor (Presto) 2.30
- 5 No. 5 in G flat (Vivace) 1.59
- 6 No. 6 in E flat minor (Andante) 3.19
- 7 No. 7 in C (Vivace) 1.45
- 8 No. 8 in F (Allegro) 2.51
- 9 No. 9 in F minor (Allegro molto agitato) 2.13
- 10 No. 10 in A flat (Vivace assai) 2.32
- 11 No. 11 in E flat (Allegretto) 2.27
- 12 No. 12 in C minor (Allegro con fuoco) 2..53
- 13 Etudes, Opus 25 No. 1 in A flat (Allegro sostenuto) 2.26
- 14 No. 2 in F minor (Presto) 1.39
- 15 No. 3 in F (Allegro) 2.08
- 16 No. 4 in A minor (Agitato) 1.45
- 17 No. 5 in E minor (Vivace) 3.29
- 18 No. 6 in G sharp minor (Allegro) 2.14
- 19 No. 7 in C sharp minor (Lento) 4.50
- 20 No. 8 in D flat (Vivace legato) 1.17
- 21 No. 9 in G flat (Allegro vivace) 1.07
- 22 No. 10 in B minor (Allegro con fuoco) 4.09
- 23 No. 11 in A minor (Lento) 4.02
- 24 No. 12 in C minor (Allegro molto, con fuoco) 2.58
- 25 Trois nouvelles etudes No. 1 in F minor (Andantino) 1.58
- 26 No. 2 in D flat (allegretto) 1.57
- 27 No. 3 in A flat (Allegretto) 1.47
- Vlado Perlemuter - piano
- CHOPIN
59.00 PLN
CD:
Nr kat.: NI5095Label : Nimbus Records
To Chopin the piano was as natural and instinctive a means of expression as speech or writing are to others. He thought in terms of the instrument, and all his music is designed to fit the character of human hands at the keyboard. But they were hands developed beyond anything previously achieved in terms of technique, taking advantage of improvements in piano manufacture that allowed wider range and more capacity for varied dynamics and ‘colour’. His first Etudes were composed precisely for this end, partly under the spell of hearing Paganini’s dazzling violin virtuosity on a visit to Warsaw in 1829, when Chopin was aged 19, end partly to help him in relation to his own F minor Piano Concerto which he was then writing. He completed this the following year, shortly before he left Poland, to seek his fame in Vienna and then in Paris.