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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
MOZART, Herbert von Karajan, Berlin Philharmonic
Symphony No.40 in G minor, K550 / Symphony No.41 in C, K551 'Jupiter'
- Herbert von Karajan - conductor
- Berlin Philharmonic - orchestra
- MOZART
Originally issued as a boxed set of all the late Mozart Symphonies (from No.35 to No.41, complete with rehearsal disc), these recordings are generally considered to be the most successful Karajan made of these works and although it is still very much Mozart in the Grand Manner, the performances manage to combine a richness and beauty of sound with vigorous rhythmic detail, superbly caught by the EMI engineers. Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS82 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional 'advance' playback head, making the cut a totally analogue process. In the original September 1971 review, Trevor Harvey of the GRAMOPHONE wrote: "There is surely no doubt about Karajan's quality as a Mozartian; if there is, these performances should dispel them... First of all, there is gusto in plenty - this is no 'eighteenth-century drawing room' approach to Mozart; but since the orchestra is the Berlin Philharmonic there is never any exuberance conveyed at the expense of fine orchestral playing. At the same time, there is plenty of tender affection... No.40 is not as dark as some conductors make it and... beautifully... played. No.41 is splendid throughout, with really superb playing of the great finale."
