Logowanie
OSTATNIE EGZEMPLARZE
Jakość LABORATORYJNA!
ORFF, Gundula Janowitz, Gerhard Stolze, Dietrich-Fischer Dieskau, Deutsche Oper Berlin, Eugen Jochum
Carmina Burana
ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Direct-To-Disc
PIAZZOLLA, ChamberJam Europe
Tangos del Ángel y del Diablo
Direct-to-Disc ( D2D ) - Numbered Limited Edition
SMETANA, MARTINU,
Piano Trios
- Piano Trio in G minor, Op 15 Bedrich Smetana (1824-1884)
- 1 Movement 1: Moderato assai [10'08]
- 2 Movement 2: Allegro, ma non agitato [7'03]
- 3 Movement 3: Finale. Presto [7'58]
- Piano Trio No 1 'Cinq pièces brèves' Bohuslav Martinu (1890-1959)
- 4 No 1: Allegro moderato [1'44]
- 5 No 2: Adagio [3'17]
- 6 No 3: Allegro [1'32]
- 7 No 4: Allegro moderato [1'46]
- 8 No 5: Allegro con brio [2'23]
- Piano Trio Petr Eben (1929-2007)
- 9 Movement 1: Drammatico [4'46]
- 10 Movement 2: Andante con espressione [6'54]
- 11 Movement 3: Lento [4'54]
- 12 Movement 4: Agitato [4'33]
- The Florestan Trio - group
- SMETANA
- MARTINU
- EBEN
59.00 PLN
CD:
Nr kat.: CDA67730Label : Hyperion
The Florestan Trio is one of Britian’s best-loved chamber groups, and its many Hyperion recordings are routinely acclaimed as benchmark versions of the repertoire. After delighting listeners and critics with two discs of Dvorák, the ensemble now further explores the Czech piano trio repertoire. The three works on this CD cover the complete span of what is usually thought of as the Czech school of composition. Smetana, regarded as the founding father, first showed the way to bring traditional dance and song into the mainstream of European composition, forging a national style. Eben, who died in 2007, was one of the most distinguished composers who carried this line to the present day. But, as these three contrasting pieces demonstrate, Czech composers were subject to very different kinds of influence at different times. Smetana’s Piano Trio, an early work, shows more influence from the mainstream giants of the time—particularly Schumann and Liszt—than it does from any ‘folk’ elements. By the time Martinu wrote his first Piano Trio, he was immersed in the exciting cosmopolitan culture of twentieth-century Paris. And Petr Eben took the neoclassicism of Martinu and his contemporaries, and developed his own individual approach to it.