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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
SAINT-SAENS, CHAUSSON, RAVEL, Kyung-Wha Chung, Royal Philharmonic Orchestra, Charles Dutoit
Introduction & Rondo Capriccioso / Peme / Havanaise / Tzigane
ZamknijGaleria okładek
- Kyung-Wha Chung - violin
- Royal Philharmonic Orchestra - orchestra
- Charles Dutoit - conductor
- SAINT-SAENS
- CHAUSSON
- RAVEL
179.00 PLN
LP-180G 33rpm:
Nr kat.: LP43113Label : Analogphonic
From the original masters of Universal Music. Audiophile analogue mastering by Rainer Maillard at Emil Berliner Studios. 180g audiophile virgin vinyl pressed by Pallas Group GmbH in Germany. SXL-6851 These four pieces fit very well together; the more especially because the two Saint-Saëns contributions, very similar in style, are on separate sides. For this particular programme is it difficult to think olf a more suitable soloist than Kyung-Wha Chung, whose finger-tips throw off the fireworks (or the approach shots to fireworks) with ease, and who affords the more melting passages (in better supply) a sweetness which suits them ideally. Perhaps there will be a few listeners who would like, reasonably, the Tzigane to have a bit more passion, a bit more fire. perhaps I would like it myself. But all of us are possibly up the wrong tree, for it may be that the final degree of fire and passion in the violin sound is there all the time, and that what the ear needs in this piece is a rather stronger recording of the soloist. This could well be, for the recorded balance is that of the concert-hall, and composers do often have in their mind’s ear (their scoring declares) a rather more forward balance for their string soloist than the concert-hall really allows. Gramophone
