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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
Roy Orbison
A love so beautiful
- Roy Orbison - vocals, guitar
149.00 PLN
CD:
Nr kat.: SICP5623Label : SONY (Japan)
AllMusic Review by Stephen Thomas Erlewine [-] Roy Orbison's old Sun labelmate Elvis Presley wound up scoring an international hit in 2015 with If I Can Dream, an album where the Royal Philharmonic Orchestra played over old Elvis recordings. With an audience established, other artist estates stepped into the breech, including Orbison's, who endorsed pairing old Roy recordings with the Royal Philharmonic Orchestra. Given that Orbison's hits often verged on the symphonic, this pairing might seem to make more sense than Presley, but A Love So Beautiful contains a considerable amount of rockers -- "Oh, Pretty Woman," "Dream Baby," "Uptown," "Mean Woman Blues" -- that do not lend themselves well to ornate arrangements; they sound pretty silly with the strings sawing. Odder still, Orbison's lush classics -- "In Dreams," "Crying," "It's Over," "Running Scared" -- do not benefit from the orchestral reinterpretations; they sound sticky and heavy. What was once elegant has curdled into something syrupy, and while the technological achievement is admirable -- the seams can't be heard between the old and new recordings -- the resulting record does a disservice to the imagination of the original Orbison recordings and his gorgeous voice.
