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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
RESPIGHI, Antal Dorati, Philharmonia Hungarica
Ancient Dances and Airs for Lute
- Ancient Dances and Airs for Lute Suites 1, 2 & 3
- 01. Ancient Dances and Airs for Lute, Suite No. 1 (for Orchestra) - I. Balletto detto "Il Conte Orlando" (3:10)
- 02. Ancient Dances and Airs for Lute, Suite No. 1 (for Orchestra) - II. Gagliarda (3:54)
- 03. Ancient Dances and Airs for Lute, Suite No. 1 (for Orchestra) - III. Villanella (5:14)
- 04. Ancient Dances and Airs for Lute, Suite No. 1 (for Orchestra) - IV. Passo mezzo e Mascherada (4:15)
- 05. Ancient Dances and Airs for Lute, Suite No. 2 (for Orchestra) - I. Laura soave: balletto con gagliarda, saltarello e canario (4:07)
- 06. Ancient Dances and Airs for Lute, Suite No. 2 (for Orchestra) - II. Danza rustica (4:13)
- 07. Ancient Dances and Airs for Lute, Suite No. 2 (for Orchestra) - III. Campanae parisienses - Aria (5:11)
- 08. Ancient Dances and Airs for Lute, Suite No. 2 (for Orchestra) - IV. Bergamasca (5:44)
- 09. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - I. Italiana (3:43)
- 10. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - IIa. Arie di corte, Andante cantabile (1:58)
- 11. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - IIb. Arie di corte, Allegretto (0:27)
- 12. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - IIc. Arie di corte, Vivace (0:45)
- 13. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - IId. Arie di corte, Lento con grande espressione (1:28)
- 14. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - IIe. Arie di corte, Allegro vivace (0:15)
- 15. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - IIf. Arie di corte, Vivacissimo (0:42)
- 16. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - IIg. Arie di corte, Andante cantabile (2:14)
- 17. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - III. Siciliana (3:05)
- 18. Ancient Dances and Airs for Lute, Suite No. 3 (for Strings) - IV. Passacaglia (4:09)
- Antal Dorati - conductor
- Philharmonia Hungarica - orchestra
- RESPIGHI
The common practice in concert houses today of performing early music on modern orchestral instruments is owed largely to the endeavors of Ottorino Respighi. His free transcription of Renaissance works for the lute (1932) opened the way to the rediscovery of forgotten rhythms and timbres. Although Respighi altered the structure of the music by dissecting phrases right down to their basic elements, re-ordering them and redefining their sonority by the use of heavy brass and timpani, the art of the ancient maestri remained unscathed. Cadences and harmonic idioms are given a modern coloring at the most, but are never destroyed. Antal Dorati and his famous Philharmonia Hungarica have all that is needed to bring the score to life. Even in opulent passages the individual instruments can be heard distinctly. This works particularly well in the first two suites in which each movement is treated to a process of refinement by means of differing orchestration. That the third suite, written purely for stringed instruments, soars away, just like the proverbial Aeolian harp is only to be expected from this orchestra
