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BEETHOVEN, Isaac Stern, Leonard Bernstein, New York Philharmonic
Violin Concerto Opus 61

ORFF, Philadelphia Orchestra, Eugene Ormandy
Carmina Burana

BARBER, VAUGHAN-WILLIAMS, TCHAIKOVSKY, MAHLER, Leonard Bernstein
Adagio

MOZART, Bruno Walter, Columbia Symphony Orchestra
Eine Kleine Nachtmusik / Masonic Funeral Music

HEROLD, SUPPE, ROSSINI, THOMAS, Leonard Bernstein
Favorite Overtures

BIZET, Leopold Stokowski
Carmen and L'Arlesienne Suites

MUSSORGSKY, Leonard Bernstein, New York Philharmonic
Pictures at an Exhibition / Night on Bald Mountain

Muzyczne Menu

ENCYKLOPEDIA arcydzieł

SCHUBERT, Gunter Wand, Berliner Philharmoniker
Symphony 8 & 9

TCHAIKOVSKY, STRAUSS R., Pierre Monteux, Boston Symphony Orchestra
Symphony IV / Death and Transfiguration

WAGNER, STRAUSS R., Chicago Symphony Orchestra, Fritz Reiner
Die Meistersinger von Numberg / Gotterdammerung / Don Juan

BRUCKNER, NDR Sinfonie-Orchester, Gunter Wand
Symphony Nr. 8 - 2 SHM-CD

SCHUMANN, PROKOFIEV, LISZT, CHOPIN, Evgeny Kissin
Carnegie Hall Debut Concert - September 30, 1990

Jeden z najbardziej spektakularnych debiutów ostatniego półwiecza!

RAVEL, Lorin Maazel, Vienna Philharmonic
Bolero, La Valse, Daphnis et Chloe - Suites 1 & 2, Rapsodie Espagnole

RACHMANINOV, Valdimir Horowitz, New York Philharmonic, Eugene Ormandy
Piano Concerto No. 3 in D Minor, Op. 30 // Piano Sonata No 2. in B-Flat Minor, Op. 36

BEETHOVEN, BRAHMS, Jascha Heifetz, Charles Munch, Fritz Reiner
Violin Concertos

BEETHOVEN, Phyllis Curtin, John McCollum, Florence Kopleff, Donald Gramm, Fritz Reiner
Symphony No.9 / Coriolan

BRAHMS, Arthur Rubinstein, Henryk Szeryng
Brahms Violin Sonatas

Winylowy niezbędnik

ClearAudio
Docisk CONCEPT - Plattenklemme, Record Clamp

Nieodzowny!

ClearAudio
Cartridge Alignment Gauge - uniwersalny przyrząd do ustawiania geometrii wkładki i ramienia

Jedyny na rynku, tak wszechstronny i właściwy do każdego typu gramofonu!

ClearAudio
VTA Lifter - winda do nieba

ClearAudio
Maestro V2 MM

perfekcja, elegancja, wirtuozeria

ClearAudio
Harmo-nicer - nie tylko mata gramofonowa

Najlepsze rozwiązania leżą tuż obok
IDEALNA MATA ANTYPOŚLIZGOWA I ANTYWIBRACYJNA.

Osobowości

BRAHMS, Erica Morini, Artur Rodzinski, Philharmonic Symphony Orchestra of London
Violin Concerto in D Major, Op. 77

SKROWACZEWSKI, Stanislaw Skrowaczewski, Minnesota Orchestra
Concerto Nicolo for piano left hand and orchestra

WORLD PREMIERE!

CHOPIN, Vlado Perlemuter
Paino Works

BACH, Mieczyslaw Horszowski
The Well-Tempered Clavier, Book One

Valdimir Horowitz, Gregor Piatigorsky, Rudolf Serkin, Nathan Milstein, Wanda Landowska
Great Musicians in Copenhagen 1932-1934

MOZART, Fritz Reiner, Chicago Symphony Orchestra, NBC Symphony Orchestra

Serenade No.13 K.525 Eine kleine Nachtmusik / Divertimenti Nos. 11 & 17

Galeria okładek

1. Serenade No.13, K.525 ‘Eine kleine Nachtmusik’
2. Divertimento No.17, K.334
3. Divertimento No.11, K.251

Fritz Reiner - conductor
Chicago Symphony Orchestra - orchestra
NBC Symphony Orchestra - orchestra

MOZART

Produkt w tej chwili niedostępny.

Niezwykła nowość w katalogu firmy TESTAMENT - nagranie Fritza Reinera z Chicago Symphony Orchestra, z która to orkiestrą zaprezentował wiele niedoścignionych i wzorcowych interpretacji, także pod względem walorów audiofilskich. Let's be blunt: Fritz Reiner was a brilliant conductor who took the Chicago Symphony to unprecedented heights, but he did it through fear. In his nine-year reign of terror as the music director of the Chicago Symphony, Reiner polished the Chicago until its performances were models of power and precision, but its playing was completely without warmth and humanity. Even in these recordings from Reiner's tenure with the Chicago, the players' fear is palpable. In the 1954 Eine kleine Nachtmusik, the phrasing is marvelously articulated and the rhythm is wonderfully poised, but the tone is cool and the content is cold. In the 1955 Divertimento, K. 334, the playing is close to ideal, but it expresses next to nothing. And the 1955 Divertimento, K. 251, with Reiner conducting the NBC Symphony, would be perfect except that the players are as manifestly afraid of Reiner as they were of their previous conductor, Toscanini, and it shows in their playing. Why, after defeating the fascists in Europe and Asia, the United States continued to permit fascists to run orchestras in America is anybody's guess, but that the results were technically admirable but musically despicable is painfully obvious. Testament's remastering of RCA's monaural original recordings is likewise a model of technical precision: clean, clear, and honest. (James Leonard, allmusic.com)