Logowanie
Te tytuły za chwilę znikną z oferty
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
CHOPIN, Wilhelm Backhaus
Piano Works
- 1. Piano Sonata No. 2 in B flat minor, Op. 35, CT. 202: I. Grave - Doppio movimento 19:25
- 2. Piano Sonata No. 2 in B flat minor, Op. 35, CT. 202: II. Scherzo 1:29
- 3. Piano Sonata No. 2 in B flat minor, Op. 35, CT. 202: III. Marche fun?bre (lento)
- 4. Piano Sonata No. 2 in B flat minor, Op. 35, CT. 202: IV. Finale (presto)
- 5. Etude for piano No. 2 in A minor, Op. 10/2, CT. 15
- 6. Etude for piano No. 5 in G flat major, Op. 10/5, CT. 18
- 7. Etude for piano No. 8 in F major, Op. 10/8, CT. 21
- 8. Etude for piano No. 10 in A flat major, Op. 10/10, CT. 23
- 9. Etude for piano No. 13 in A flat major, Op. 25/1, CT. 26
- 10. Etude for piano No. 14 in F minor, Op. 25/2, CT. 27
- 11. Etude for piano No. 15 in F major, Op. 25/3, CT 28.
- 12. Etude for piano No. 18 in G sharp minor, Op. 25/6, CT. 31
- 13. Etude for piano No. 19 in C sharp minor, Op. 25/7, CT. 32
- 14. Etude for piano No. 20 in D flat major, Op. 25/8, CT. 33
- 15. Etude for piano No. 21 in G flat major, Op. 25/9, C. 34
- 16. Etude for piano No. 23 in A minor, Op. 25/11, CT. 36
- 17. Ballade for piano No. 1 in G minor, Op. 23, CT. 2
- 18. Etude for piano No. 3 in E major, Op. 10/3, CT. 16
- 19. Mazurka for piano No. 17 in B flat minor, Op. 24/4, CT. 67
- 20. Mazurka for piano No. 20 in D flat major, Op. 30/3, CT. 70
- 21. Mazurka for piano No. 24 in C major, Op. 33/3, CT. 74
- 22. Waltz for piano No. 2 in A flat major, Op. 34/1, CT. 208
- Wilhelm Backhaus - piano
- CHOPIN
64.00 PLN
CD:
Nr kat.: SBT1335Label : Testament (UK)
The stylistic sympathy and technical élan Wilhelm Backhaus brought to his pioneering 1928 HMV set of Chopin's Etudes had largely eroded when he came to make his early 1950s Chopin recordings for Decca. In the B-flat minor sonata's opening movement Backhaus' heavy touch and squarish phrasing are compounded by blurred notes and overpedaled passages. He starts the Scherzo at one tempo, only to speed up to another after several bars (one of Backhaus' most irritating habits), although his rock-steady control in the Finale impresses. Some of the Etudes, such as the F major (Op. 10 No. 8), "Butterfly" (Op. 25 No. 9), and "Winter Wind" (Op. 25 No. 11), are quite virile and solidly projected; not so the stodgy, Teutonic (or rather "Two-ton-ic") A-flat major (Op. 10 No. 10), C-sharp minor (Op. 25 No. 7), and F major (Op. 25 No. 3). The G minor Ballade contains marvelously fleet passagework (the coda's right-hand runs, for instance) alongside the heavy-handed, overpedaled qualities cited in the Sonata. On the other hand, Backhaus reveals an unsuspected affinity for the three Mazurkas and the A-flat Waltz, all crisply dispatched with lilt, rhythmic point, and character. As you've gathered by now, this is an uneven collection, but specialist collectors will appreciate Testament's superb transfers. (Jed Distler, ClassicsToday.com)