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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
BRUCH, WIENIAWSKI, Mischa Elman, London Philharmonic Orchestra, Sir Adrian Boult – Violin Concertos
| Wykonawcy / kompozytorzy | |
|---|---|
| BRUCH (composer) | |
| WIENIAWSKI (composer) | |
| Mischa Elman (violin) | |
| London Philharmonic Orchestra (orchestra) | |
| Sir Adrian Boult (conductor) | |
Side 1
Bruch : Concerto No. 1 In G Minor For Violin And Orchestra, Op. 26
First Movement: Varspiel - Allegro Moderato
Second movement: Adagio
Third Movement: Finale (Allegro Energico)
Side 2
Wieniawski : concerto no. 2 In D Minor For Violin And Orchestra, Op. 22
First Movement: Allegro Moderato
Second Movement: Romance (Andante Non Troppo)
Third Movement: Allegro Con Fuoco - Allegro Moderato
- Mischa Elman - violin
- London Philharmonic Orchestra - orchestra
- Sir Adrian Boult - conductor
- BRUCH
- WIENIAWSKI
179.00 PLN
LP-180G 33rpm:
Cat. nr: LP43122Label : Analogphonic
Elman treats the opening and closing movements of the Bruch expansively... this phrasing becomes more careful, more appropriate, and more interesting in the slow movement where the violinist seems more at home. Elman begins with reasonable liveliness, but slows down to project the lyrical second subject. Nevertheless, there is more flow and less choppiness here... The Romanze is particularly congenial to the violinist's talent; here he has a chance to sing with freedom of style and beauty of tone, and he takes full advantage of the opportunity. - High Fidelity
