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Arne Domnerus, Bengt Hallberg, Georg Riedel, Egil Johansen
Jazz at the Pawnshop
NAJWYŻSZY, NAJBARDZIEJ AUDIOFILSKI WINYLOWY NOŚNIK NA ŚWIECIE
CHOPIN, LISZT, Martha Argerich, Claudio Abbado, The London Symphony Orchestra
Concerto for Piano and Orchestra No. 1 in E minor, op. 11 / Concerto for Piano and Orchestra No. 1 in E flat major
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Gregorio Paniagua, Atrium Musicae de Madrid
La Spagna Paniagua
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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
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ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Osobowości
TCHAIKOVSKY, MENDELSSOHN, Martha Argerich, Charles Dutoit, Royal Philharmonic Orchestra
Piano Concerto No. 1 in B-flat minor, Op. 23 / Concerto for Violin, Piano and String Orchestra in D minor -
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MOSSO, HINDEMITH, Letizia Romiti
Organ Works - Sonate I
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Nr kat.: tc931301Label : TACTUS (Italy)
The organ works in this world premier recording are very representative of the multifaceted talent of the composer Carlo Mosso, a musician from Piemonte who may not be well-known but who is important for his authentic and consistent creativity. In this recording, since the large new organ at the Academy of Music in Alessandria was available, it seemed philologically right and especially sentimentally justified, to play the organ in place of the harmonium. Paul Hindemith composed three sonatas for organ, very different in style and emotional significance between 1937 and 1940. This first sonata "Sonate I", very dramatic, is based on great sound contrasts, at times rather taken to the extreme, always suspended between the violent and the lyrical and it was probably inspired by the horrors of the great conflicts and the tragedies that were already beginning to mark the twentieth century. Unlike the other two Sonatas, the first seems very near to the aesthetics dictated by the expressionism that Hindemith soon denied, to embrace the more reassuring neoclassical forms that fill, for example, the second Sonata. Although it does not bear any relationship from the structural standpoint, this first sonata seems the closest to the expressive characteristics of Mosso’s compositions, particularly the suite where the composer best uses the art of contrast that he admired so much in the great composers of the Baroque period, particularly in Frescobaldi, whose work for keyboard instruments he knew in depth.