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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
MENDELSSOHN, TCHAIKOVSKY, Nathan Milstein, Wiener Philharmoniker, Claudio Abbado
Violin Concertos
Although he has lived in the USA since 1929 and even took on American citizenship in 1942, Nathan Milstein is often referred to as perhaps the last “Russian” among all Russian violinists due to his art of playing – which is governed wholly by intellect. This does not mean that Milstein plays in an academic or cool manner; his art is thoughtful and controlled – in the very best sense of the meaning. And this should certainly not be equated with “deliberateness”. On the contrary. Milstein’s tremendous virtuosity, particularly in the fiendishly difficult final movements of Tchaikovsky’s and Mendelssohn’s concertos, takes both works to new heights. Although never a forceful presence since he employs relatively little vibrato and thus achieves a slender tone, Milstein’s playing is filled with amazing assertion and luminance, and is quite fascinating for its extraordinary purity. And this is precisely what enhances his interpretation of these two great classical concertos, lending them a legendary grace, a feeling of rightness – that there is no other way. The Vienna Philharmonic with their great tradition provide support of the first order, and Claudio Abbado proves once again that he is a more than circumspect master of the baton.
