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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, Heidi Grant Murphy, Andrew Litton, Dallas Symphony Orchestra
Symphony No. 4
79.00 PLN
CD:
Nr kat.: DE3261Label : DELOS (USA)
The Mahler 4th, shortest of all his symphonies, less than one hour in length, is also the most immediately accessible. As Andrew Litton says, ?The Fourth Symphony is Mahler?s search for innocence, his exploration, in a deeply profound way, of a very simple subject. The music is sublime. It?s just extraordinary how the man could pour so much human emotion and soul into his music. All these layers present in Mahler?s writing are indicative of the depth and profundity of his intellect.? The ecstatic finale, in which the soprano soloist joins the orchestra in a childlike interpretation of heavenly bliss, has an ideal interpreter in Heidi Grant Murphy. She fulfills to the letter Andrew Litton?s vision of this finale. ?It?s a song about innocence, that?s why it?s so essential that it not sound like parody or pastiche, that it be sung in the most pure and innocent manner.? The sound of this recording, supervised by John Eargle, is extraordinary. Exquisite detail in the woodwinds, meltingly beautiful string tone, radiant horns and brass are all enhanced by Dallas? McDermott Hall?s wonderful acoustics.