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OSTATNIE EGZEMPLARZE
Jakość LABORATORYJNA!
ORFF, Gundula Janowitz, Gerhard Stolze, Dietrich-Fischer Dieskau, Deutsche Oper Berlin, Eugen Jochum
Carmina Burana
ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Direct-To-Disc
PIAZZOLLA, ChamberJam Europe
Tangos del Ángel y del Diablo
Direct-to-Disc ( D2D ) - Numbered Limited Edition
MENDELSSOHN, John Ogdon, The London Symphony Orchestra, Aldo Ceccato
Piano Concertos Nos. 1 and 2
- 1. Piano Concerto No. 1 in G minor, Op. 25 (20:34)
- 2. Piano Concerto No. 2 in D minor, Op. 40 (26:14)
- 3. Rondo brillant, for piano & orchestra in E flat major, Op. 29 (9:36)
- 4. The Holy Boy, prelude for piano (from Preludes (4)) (4:03)
- 5. April, for piano (from "Pieces (2) (1925)") (3:42)
- 6. Lotus Land for piano, Op. 47/1 (W 183) (4:15)
- 7. Danse Negre, for piano, Op. 58/5 (W 89) (2:00)
- John Ogdon - piano
- The London Symphony Orchestra - orchestra
- Aldo Ceccato - conductor
- MENDELSSOHN
Collectors in the early 1970s could count on John Ogdon's Mendelssohn concertos as plausible supplements to Rudolf Serkin's fiery reference versions--his fingers still commanded all the sparkle and sensitivity these works demand. For instance, his rapid chord playing in the finales boasts exceptional control of voicing, while the D minor's lyrical central movement, if somewhat sober next to more malleable treatments from András Schiff, Stephen Hough, and Jean-Yves Thibaudet, is spun out in sustained arcs. The London Symphony plays well for Aldo Ceccato but lacks both the breathtaking textural diversity Herbert Blomstedt inspires from the Leipzig Gewandhaus Orchestra (accompanying Thibaudet) and the opulent yet incisive strings exemplified by the Philadelphia Orchestra under Eugene Ormandy. The Rondo Brilliante is a shade foursquare and earthbound: it could have benefited from the scintillation and drive that distinguishes Serkin's recording. Lastly, Ogdon plays the John Ireland and Cyril Scott fillers as though he's sight-reading them to perfection while keeping emotional distance from their sexy harmonic language and wistful atmosphere. While Ogdon fans will be pleased to hear these Mendelssohn concertos, the aforementioned Schiff, Hough, and Thibaudet versions match, often surpass, and sonically supercede this release. [7/9/2003] (Jed Distler, ClassicsToday.com)