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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
FIORENZA, DURANTE, LEO, Orchestra da Camera Milano Classica, Marcello Scandelli – Viaggio a Napoli
| Wykonawcy / kompozytorzy | |
|---|---|
| FIORENZA (composer) | |
| DURANTE (composer) | |
| LEO (composer) | |
| Orchestra da Camera Milano Classica (orchestra) | |
| Marcello Scandelli (conductor) | |
Durante, F: Concerto No. 8 in A major “La Pazzia”
Fiorenza: Concerto per violini cello obbligato e basso
Leo: Concerto per cello archi e continuo
- Orchestra da Camera Milano Classica - orchestra
- Marcello Scandelli - conductor
- FIORENZA
- DURANTE
- LEO
Viaggio a Napoli Marcello Scandelli (cello, direction) Orchestra Milano Classica Nicola Fiorenza (1700-1764), Francesco Durante (1684-1755) and Leonardo Leo (1694-1744) are three of the most important composers of the Neapolitan School of the 18th century. Their music shows a peculiar affinity for stringed instruments and, in particular, for the cello as opposed to the gamba: more articulation, technique, insistence on the higher register and a new use of the thumb position. All these elements do not omit the distinguishing Neapolitan tendency to melody, even when the human voice is not present.