Logowanie
HIMALAJE aufiofilizmu
ORFF, Tschechische Philharmonie Prag, Vaclav Smetacek
Carmina Burana
BACH, Jean Guillou
Toccatas et Fugues (BWV 538, 540, 564 & 565)
Duke Ellington, SCHUMANN, VIVALDI, Arne Domnerus, Gustaf Sjökvist
Antiphone Blues
Arne Domnerus, Bengt Hallberg, Lars Erstrand
Jazz At The Pawnshop
Legendarne brzmienie DORIAN
Winylowy niezbędnik
ClearAudio
Double Matrix Professional - Sonic
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
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
BRAHMS, MENDELSSOHN, Henryk Szeryng, Bernard Haitink, Royal Concertgebouw Orchestra – Violin Concertos
| Wykonawcy / kompozytorzy | |
|---|---|
| BRAHMS (composer) | |
| MENDELSSOHN (composer) | |
| Henryk Szeryng (violin) | |
| Bernard Haitink (conductor) | |
| Royal Concertgebouw Orchestra (orchestra) | |
- Johannes Brahms,
- Violin Concerto in D major, Op. 77
- 1. I. Allegro non troppo 23:14 >
- 2. II. Adagio 09:27
- 3. III. Allegro giocoso, ma non troppo vivace 08:39
- Felix Mendelssohn,
- Violin Concerto in E minor, Op. 64
- 4.I. Allegro molto appassionato - 13:23
- 5. II. Andante - 08:04
- 6. III. Allegretto non troppo - Allegro molto vivace 07:07
- Łączny czas: 01:09:54
- Henryk Szeryng - violin
- Bernard Haitink - conductor
- Royal Concertgebouw Orchestra - orchestra
- BRAHMS
- MENDELSSOHN
The great Polish-born violinist Henryk Szeryng performs two cornerstones of the violin repertoire. Szeryng, who had a strong association with the Brahms concerto throughout his career, brings his technical assurance and elegant style to both performances, joined by the renowned partnership of Bernard Haitink and the Royal Concertgebouw Orchestra. “The lyricism of the first two movements is polished and intimate (the high-lying cantilene especially finely drawn) … The new performance … is spaciously conceived, with Haitink precisely and punctiliously attending to the soloist’s every need. In the first movement the broad tempo is offset by the brilliance of Szeryng’s playing; in the finale everything is gratifyingly alert, stylish and unrushed.” (Gramophone, October 1996)