Logowanie
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
MAHLER, Leonard Bernstein, Wiener Philharmoniker
Symphonie No. 5
- Leonard Bernstein - conductor
- Wiener Philharmoniker - orchestra
- MAHLER
429.00 PLN
2 LP-180G 33rpm:
Nr kat.: 4236081Label : Analogphonic
Edycja kolekcjonerska, limitowana, jednorazowa
(...)Bernstein’s tempo for the Funeral March in the first movement of the Fifth Symphony became slower in the 23 years that separated his New York CBS recording from this one, made during a performance in Frankfurt. The strings-only passage at fig 15 in the first movement is exquisitely played, as is the long horn solo in the Scherzo. And there’s one marvellously exciting moment – the bright gleam of trumpet tone at one bar before fig 29 in the second movement. Best of all is Bernstein himself, here at his exciting best, giving a demonic edge to the music where it’s appropriate and building the symphony inexorably to its final triumph. Thanks to a very clear and well-balanced recording, every subtlety of scoring, especially some of the lower strings’ counterpoint, comes through as the conductor intended. One is made aware of the daring novelty of much of the orchestration, of how advanced it must have sounded in the early years of this century. Here we get the structure, the sound and the emotion. The Adagietto isn’t dragged out, and the scrupulous attention to Mahler’s dynamics allows the delightfully silken sound of the Vienna strings to be heard to captivating advantage, with the harp well recorded too. Bernstein is strongest in Mahler when the work itself is one of the more optimistic symphonies with less temptation for him to add a few degrees more of Angst. https://www.gramophone.co.uk/editorial/mahlers-symphony-no-5
