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HIMALAJE aufiofilizmu
ORFF, Tschechische Philharmonie Prag, Vaclav Smetacek
Carmina Burana
Legendarne nagranie, niezmiennie poszukiwane od dziesięcioleci
BACH, Jean Guillou
Toccatas et Fugues (BWV 538, 540, 564 & 565)
EDYCJA LIMITOWANA, NUMEROWANA - TYLKO 500 EGZEMPLARZY W SKALI ŚWIATOWEJ
ELLINGTON, SCHUMANN, VIVALDI, Arne Domnerus, Gustaf Sjokvist
Antiphone Blues
Uwaga! Pełna dynamika nagrania! EDYCJE NUMEROWANE, LIMITOWANE
Arne Domnerus, Bengt Hallberg, Lars Erstrand
Jazz At The Pawnshop
Najbardziej audiofilska płyta jazzowa minionego stulecia!
Legendarne brzmienie DORIAN
Winylowy niezbędnik
ClearAudio
Double Matrix Professional - Sonic
najbardziej inteligentna i skuteczna pralka do płyt winylowych wszelkiego typu - całkowicie automatyczna
Klasyczne evergreeny
BEETHOVEN, Valdimir Horowitz
Piano Sonata No. 23 in F Minor, Op. 57 APPASSIONATA // Piano Sonata No. 7 in D, Op. 10, No. 3
LIVING STEREO - NAJLEPSZE NAGRANIA W DZIEJACH FONOGRAFII!
TCHAIKOVSKY, RACHMANINOV, Arthur Rubinstein, Daniel Barenboim
Piano Concerto No. 1 in B-Flat Minor, Op. 23 // Piano Concerto No 2 in C Minor, Op. 18
24bit/92kHz Remastering from original source
BACH, VERACINI, KREISLER, DVORAK, PAGANINI, Saschko Gawriloff – What about this, Mr. Paganini?
| Wykonawcy / kompozytorzy | |
|---|---|
| BACH (composer) | |
| VERACINI (composer) | |
| KREISLER (composer) | |
| DVORAK (composer) | |
| PAGANINI (composer) | |
| Saschko Gawriloff (violin) | |
- Saschko Gawriloff - What About This, Mr. Paganini?
- Ponizsze fragmenty ukazują siedem instrumentów, których brzmia zostały porównane.
- 01. JS Bach, Partita d-Moll BW1004 (Amati, Cremona, 1640) (2:44)
- 02. JS Bach, Partita d-Moll BW1004 (Guadagnini, Turin, 1771) (2:41)
- 03. JS Bach, Partita d-Moll BW1004 (A Guarneri, Cremona 1671) (2:38)
- 04. JS Bach, Partita d-Moll BW1004 (P Guarneri, Venedig, ?) (2:46)
- 05. JS Bach, Partita d-Moll BW1004 (Horvath, Szombathely, 1992) (2:41)
- 06. JS Bach, Partita d-Moll BW1004 (Stradivari, Cremona, 1683) (2:50)
- 07. JS Bach, Partita d-Moll BW1004 (Vuillaume, Paris, 1870) (2:47)
- 08. FM Veracini, Sonata Concertante for Violin and Figured Bass, Ritornello Largo (P Guarneri, Venedig, ?) (3:49)
- 09. FM Veracini, Sonata Concertante for Violin and Figured Bass, Allegro Con Fuoco (P Guarneri, Venedig, ?) (3:42)
- 10. FM Veracini, Sonata Concertante for Violin and Figured Bass, Giga Presto (P Guarneri, Venedig, ?) (2:37)
- 11. F Kreisler, Variations on Tartini (A Guarneri, Cremona 1671) (3:12)
- 12. A Dvorak, Romantic Pieces for Violin and Piano Allegro, Moderato (Stradivari, Cremona, 1683) (2:43)
- 13. A Dvorak, Romantic Pieces for Violin and Piano Allegro, Allegro Maestoso (Stradivari, Cremona, 1683) (2:37)
- 14. A Dvorak, Romantic Pieces for Violin and Piano Allegro, Allegro Appassionato (Stradivari, Cremona, 1683) (1:56)
- 15. A Dvorak, Romantic Pieces for Violin and Piano Allegro, Larghetto (Stradivari, Cremona, 1683) (5:06)
- 16. N Paganini, Cantabile for Violin and Piano (Amati, Cremona, 1640) (3:17)
- 17. A Webern, Four Pieces op. 7, Very Slow (Horvath, Szombathely, 1992) (1:11)
- 18. A Webern, Four Pieces op. 7, Fast (Horvath, Szombathely, 1992) (1:15)
- 19. A Webern, Four Pieces op. 7, Very Slow (Horvath, Szombathely, 1992) (1:14)
- 20. A Webern, Four Pieces op. 7, With Movement (Horvath, Szombathely, 1992) (0:54)
- Saschko Gawriloff - violin
- BACH
- VERACINI
- KREISLER
- DVORAK
- PAGANINI
Audiophile Audition (05/01/2005):
MDR-Kultur (01/01/1997):
Stuttgarter Zeitung (01/01/1997):
SA-CD.net (06/21/2006):"This disc from Tacet gives the listener a unique opportunity - that of hearing a master musician playing seven different instruments from 1640 - 1992 in the same piece. It is a fascinating exercise and proceeds thus: Amati (1640), Guadagnini (1771), A Guarneri (1671), P Guarneri (?), Horvath (1992), Stradivari (1683), Vuillaume (1870) - it can be seen that the important Cremonese makers are covered together with a fine French manufacturer and a modern Hungarian model.
So, does it make a big difference? Well, yes & no - clearly the player makes the greatest difference between a good and bad sound but as the music & musician are constants here the differences are startling. more...
