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Najbardziej analogowe brzmienie na CD - XRCD!
TCHAIKOVSKY, Arthur Rubinstein, Erich Leinsdorf, Boston Symphony Orchestra
Piano Concerto No. 1
KWINTESENCJA BRZMIENIA ANALOGOWEGO
MOZART, Jean-Francois Paillard, Jean-Francois Paillard Chamber Orchestra
Serenade No. 7 'Haffner'
KWINTESENCJA BRZMIENIA ANALOGOWEGO
BRAHMS, Arthur Rubinstein
Piano Sonata No.3 in F Minor, Op.5 / Intermezzo in E, Op.116, No.6 / Romance in F, Op.118, No.5
KWINTESENCJA BRZMIENIA ANALOGOWEGO
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, Evgeny Mravinsky, Leningrad Philharmonic Orchestra
Synfonies 4-6
Nagranie EKSTREMALNIE audiofilskie
FRANCK, DEBUSSY, Kyung-Wha Chung, Radu Lupu
Sonatas For Violin And Piano
- Kyung-Wha Chung - violin
- Radu Lupu - piano
- FRANCK
- DEBUSSY
From The Original Analogue Masters of Universal Music!
Violinist Kyung-Wha Chung and pianist Radu Lupu perform sonatas for violin and piano by Franck and Debussy. Recorded at Kingsway Hall, May 9-12, 1977. I enjoyed this record enormously. Why I liked this new issue so much is primarily because Kyung-Wha Chung and Radu Lupu do not sound like two internationally famous soloists flung together in a recording studio just for an afternoon. They not only play into each other's hands like a true, long-attuned duo, but also appreciate the very special intimacy of style (without any suggestion of muted ardour) inherent in chamber music. In Franck's Sonata the music itself seems to generate the ideal tempo for them and in this movement I also preferred their more restrained rubato in the first quasi lento episode so that its resur-gence a few bars later (Tempo 1, Allegro) can emerge the more emphatic. The natural 'speaking' eloquence of the newcomers seems to me more truly Franckian. I also think the greater clarity of their recording is all to the music's good. Neither instru-ment sounds too close to the microphone. (Regarding the Debussy), I would suggest the new issue of this sonata as the easi-est to live with, catching all the music's moon-struck fantasy and wheedling melodic charm without self-conscious pursuit of either. -Gramophone