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Lilya Zilberstein - Claude Debussy: Pour le Piano, Estampes; Maurice Ravel: Miroirs, Sonatine, Jeux d'eau (1994)

Posted By: Designol
Lilya Zilberstein - Claude Debussy: Pour le Piano, Estampes; Maurice Ravel: Miroirs, Sonatine, Jeux d'eau (1994)

Lilya Zilberstein - Claude Debussy: Pour le Piano; Estampes
Maurice Ravel: Miroirs; Sonatine; Jeux d'eau (1994)

EAC | FLAC | Tracks (Cue&Log) ~ 215 Mb | Mp3 (CBR320) ~ 189 Mb | Scans included
Genre: Classical | Label: Deutsche Grammophon | # 439 927-2 | Time: 01:13:55

Lilya Zilberstein has already taken on some of the virtuoso pillars of the repertoire for DG—Brahms's Paganini Variations, the Mussorgsky Pictures, Rachmaninov's Third Concerto and so it is fascinating to hear her in music of a more subtle evocation and delicacy. And although her Debussy and Ravel are hardly consistent or to the manner born, they are rarely less than individual or distinguished. Like other Russian pianists before her she places greater emphasis on the music's sensuous and expressive warmth than on its formal clarity. Her response to say, ''Le soiree dans Grenade'' (from Estampes) is richly coloured and inflected (a reminder, perhaps, of Falla's awe of Debussy's Hispanicism) and in ''Jardins sous la pluie'' her virtuosity evokes a coldly drenched and windswept garden its flowers momentarily bejewelled by passing sunlight. She is also highly successful in the more objective patterning of Pour le piano, making the opening Prelude's fortissimo chording and shooting-star glissandos resonate with unusual power.

Goran Sollscher - The Renaissance Album (2005)

Posted By: Designol
Goran Sollscher - The Renaissance Album (2005)

Göran Söllscher - The Renaissance Album (2005)
EAC | FLAC | Image (Cue&Log) ~ 278 Mb | Mp3 (CBR320) ~ 179 Mb | Scans included
Classical, Guitar | Label: Deutsche Grammophon | # 00289 477 5726 | Time: 01:05:17

This project from Göran Söllscher is a follow-up to his previous CD, the highly successful 'Eleven-String Baroque'. With the balanced sound of Söllscher's eleven-string guitar combined with the Baroque repertoire, the album spoke to not only his fans but also a wider audience craving relaxing music and congenial guitar sounds. In this same spirit, Söllscher's upcoming Renaissance album can be marketed to a wide audience including both his fans and new listeners in search of dreamy, soothing Renaissance melodies. The stylish cover artwork emphasizes both the freshness and universality of Söllscher's art. The album contains Renaissance lute masterpieces by various composers from Italy, Spain, Germany, France and England, the most popular of which were written by John Dowland. Söllscher delivers a dozen of tracks by Dowland, a composer who embodies the 'golden age' of English lute music.

Julian Bream - Julian Bream plays Dowland & Bach (2008)

Posted By: tirexiss
Julian Bream - Julian Bream plays Dowland & Bach (2008)

Julian Bream - Julian Bream plays Dowland & Bach (2008)
EAC | FLAC (tracks+.cue, log) | Covers Included | 02:20:59 | 590 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 4777550

The playing of many professional classical guitarists leaves me cold. Where they flawlessly execute a score, Bream has spaciously conceived the music using something it seems is in short supply- a disciplined imagination. Each note, instead of sounding like part of an automatic process, sounds conceived and executed deliberately. Bream attended conservatory, where he was told not to bring his "gypsy instrument".

Gil Shaham, Jian Wang, Claudio Abbado - Brahms: Violin Concerto, Double Concerto (2002)

Posted By: tirexiss
Gil Shaham, Jian Wang, Claudio Abbado - Brahms: Violin Concerto, Double Concerto (2002)

Gil Shaham, Jian Wang, Claudio Abbado - Brahms: Violin Concerto, Double Concerto (2002)
EAC | APE (image+.cue, log) | Covers Included | 71:19 | 338 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 469 529-2

This generous coupling of Brahms’s two concertos for stringed instruments has become relatively common in the age of CD thanks to compilations like the Philips disc of Szeryng and Starker‚ analogue recordings dating from the early 1970s. Modern digital recordings expressly designed for issue in coupling are much rarer‚ the Teldec issue of Kremer and Clemens Hagen being the most notable one.

Wolfgang Schneiderhan, Wilhelm Kempff - Beethoven: The Sonatas for Piano and Violin (2000)

Posted By: tirexiss
Wolfgang Schneiderhan, Wilhelm Kempff - Beethoven: The Sonatas for Piano and Violin (2000)

Wolfgang Schneiderhan, Wilhelm Kempff - Beethoven: The Sonatas for Piano and Violin (2000)
EAC | APE (image+.cue, log) | Covers Included | 03:56:30 | 710 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 463 605-2

In the 1950s these recordings would have given a very up-to-date impression, I imagine; the playing is extremely clean there's never a hint of sentimental violin slides or over-use of the sustaining pedal. But nearly half a century later, perhaps we're more conscious of the old-world virtues Schneiderhan's beautiful legato bowing and gentle vibrato, Kempff's full, unforced tone, and a flexible approach from both artists, with finely graded ritardandos and subtle variations of tempo.

Chamber Orchestra of Europe, Yannick Nézet-Séguin - Mozart: Le nozze di Figaro (2016)

Posted By: tirexiss
Chamber Orchestra of Europe, Yannick Nézet-Séguin - Mozart: Le nozze di Figaro (2016)

Chamber Orchestra of Europe, Yannick Nézet-Séguin - Mozart: Le nozze di Figaro (2016)
EAC | FLAC (image+.cue, log) | Covers + Digital Booklet | 02:53:34 | 864 MB
Genre: Classical, Opera | Label: Deutsche Grammophon | Catalog: 0289 479 5945 8

This is the fourth instalment in Deutsche Grammophon’s new Mozart cycle. In the end this will encompass the seven great operas, from Idomeneo forwards. I haven’t heard the previous three, but from the reviews I have seen the reception has been rather mixed. Concerning this latest issue I am also in two minds. The problem, as I see it, is that Nézet-Séguin hasn’t quite decided what he is up to. He has the excellent Chamber Orchestra of Europe at his disposal.

Gil Shaham - Romances (1996)

Posted By: tirexiss
Gil Shaham - Romances (1996)

Gil Shaham - Romances (1996)
EAC | APE (image+.cue, log) | Covers Included | 57:32 | 272 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 449 923-2

Gil Shaham es uno de los más renombradas luminarias del violín de nuestro siglo y en este cd, avalado por Deutsche Garammophon, nos entrega una selección de romanzas y hermosas partituras para el violín acompañada por la excelente Orphues Chamber Orchestra (que trabajan sin director) y acompañan de manera maravillosa a este gran solista.

BBC SO, London Sinfonietta, Oliver Knussen - Magnus Lindberg: Aura; Engine (2000)

Posted By: Designol
BBC SO, London Sinfonietta, Oliver Knussen - Magnus Lindberg: Aura; Engine (2000)

Magnus Lindberg: Aura (In Memoriam Witold Lutosławski); Engine (2000)
BBC Symphony Orchestra; London Sinfonietta; Oliver Knussen, conductor

EAC | FLAC | Tracks (Cue&Log) ~ 261 Mb | Mp3 (CBR320) ~ 125 Mb | Scans included
Classical, Contemporary | Label: Deutsche Grammophon | # 463 184-2 | 00:51:21

Magnus Lindberg burst onto the contemporary music scene in the 1980s with his early work Kraft (as in "power", and not the American food conglomerate and inventor of Velveeta cheese by-product substance), an avant-garde spectacular that took the "sound mass" procedures of Berio or Xenakis and wedded them to an explosive rhythmic energy. He's broadened his style since then, taking in tonal elements and even the occasional tune, but the rhythmic vitality remains, and his coloristic gifts, his ear for ever new and remarkable instrumental sound combinations, have only increased. Aura is a four-movement symphony as indescribable as it is a joy to hear. Dedicated to the memory of Lutoslawski, the piece shows its composer similarly possessed of a vibrant, communicative personal musical language. Although it plays continuously for about 37 minutes, newcomers to Lindberg's sound creations should start with the finale, a sort of dance that begins with simple tunefulness before finding itself in a sort of riotous minimalist hell. It's hugely fun, as is the entire work.

Itzhak Perlman, Pinchas Zukerman - Mozart: Sinfonia Concertante, Concertone (1983)

Posted By: tirexiss
Itzhak Perlman, Pinchas Zukerman - Mozart: Sinfonia Concertante, Concertone (1983)

Itzhak Perlman, Pinchas Zukerman - Mozart: Sinfonia Concertante, Concertone (1983)
EAC | APE (image+.cue, log) | Covers Included | 61:34 | 296 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: D 125032

Perlman and Zuckerman are great violinists. Their rendition of the Mozart Sinfonia Concertante for Violin and Orchestra is magnificent. The Allegro Maestoso first movement is delightful and lively. The rest of the slower movements are graceful and charming. If you are a fan of Mozart, you will love this cd. Not like the Violin Concertos because the Concertante is more of a lighter and less "complex " work, but still a masterpiece. It is garuanteed to be of your liking.

Rudolf Serkin, Claudio Abbado - Mozart: Piano Concertos Nos. 20 & 12 (1982)

Posted By: tirexiss
Rudolf Serkin, Claudio Abbado - Mozart: Piano Concertos Nos. 20 & 12 (1982)

Rudolf Serkin, Claudio Abbado - Mozart: Piano Concertos Nos. 20 & 12 (1982)
EAC | FLAC (tracks+.cue, log) | Covers Included | 58:14 | 257 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 400 068-2

This new recording of…the great D minor, K466, made last November with the LSO under Abbado, is immensely welcome. The old magic is still there: the ability to make every semiquaver in a run count: the way he can invest even quite 'innocent' music…with real meaning and character; the pathos and lyricism he brings to the slow movements; and the tension and drama he reveals in the outer movements of K466.

Yuri Bashmet, Orchestra of the Mariinsky Theatre, Valery Gergiev - Kancheli: Styx, Gubaidulina: Viola Concerto (2002)

Posted By: tirexiss
Yuri Bashmet, Orchestra of the Mariinsky Theatre, Valery Gergiev - Kancheli: Styx, Gubaidulina: Viola Concerto (2002)

Yuri Bashmet, Orchestra of the Mariinsky Theatre, Valery Gergiev - Kancheli: Styx, Gubaidulina: Viola Concerto (2002)
EAC | APE (image+.cue, log) | Covers Included | 01:09:50 | 243 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 471494

This pair of single-movement viola concertos written for Yuri Bashmet justify his renown. In both, he is able to draw an impressive variety of expressions from his instrument with seeming ease. On the other hand, it's obvious there was a lot of thought and care put into his interpretations. The concertos need thoughtful interpretations by the soloist and the conductor, not because the pieces are necessarily complex in rhythm or harmony, but they are complex in tone and color.

Anne-Sophie Mutter - Recital 2000: Prokofiev, Crumb, Webern, Respighi (2000)

Posted By: tirexiss
Anne-Sophie Mutter - Recital 2000: Prokofiev, Crumb, Webern, Respighi (2000)

Anne-Sophie Mutter - Recital 2000: Prokofiev, Crumb, Webern, Respighi (2000)
EAC | APE (image+.cue, log) | Covers Included | 62:55 | 233 MB
Genre: Classical | Label: Deutsche Grammophon | Catalog: 469503

This is a live recording, made at a pair of concerts in May, and ‘live’ is undoubtedly the word for it. All the performances have an improvisatory quality, interpretative decisions seemingly made before your very ears. At the beginning of the Prokofiev it is as though Mutter and Orkis, realising that the audience in the Beethovensaal are already uncommonly silent and attentive, had decided after a quick glance at each other to begin the Sonata almost confidingly, with quiet tenderness and muted colour.

Matthias Goerne - Schubert Revisited: Lieder Arranged for Baritone and Orchestra (2023)

Posted By: ciklon5
Matthias Goerne - Schubert Revisited: Lieder Arranged for Baritone and Orchestra (2023)

Matthias Goerne - Schubert Revisited: Lieder Arranged for Baritone and Orchestra (2023)
FLAC (tracks), Lossless | 1:15:00 | 287 Mb
Genre: Classical / Label: Deutsche Grammophon (DG)

Matthias Goerne, one of the most high-profile Schubertians of his generation, has recorded a selection of Schubert’s songs not in their original versions with piano but in orchestral arrangements by Alexander Schmalcz, Goerne’s accompanist of many years’ standing. Goerne says about Alexander Schmalcz’s arrangements: “His creativity in adapting these songs for the orchestra is enormous, while his stylistic sensibilities and his subtle approach in deploying the right instruments at the right moment are truly astonishing.” “Schubert’s ability to empathize makes him one of the most important composers in the whole of human history. (…) He created “a perfect balance between intellectuality and the greatest naturalness. With Schubert, even the most complicated melodies and forms sound entirely natural.” (Goerne) And yet what we hear on this album is “pure Schubert”, Alexander Schmalcz insists. “I have added nothing. Sometimes I fill out the voices by doubling the octave, for example. Or I write sustained chords in the orchestra in order to simulate the sound-surfaces that are the result of the use of the sustaining pedal on the piano. But my goal is to be as original as possible.”

Boston Symphony Orchestra, Seiji Ozawa - Peter Ilyich Tchaikovsky: Swan Lake, Op. 20 (1979) 2CDs, Reissue 1996

Posted By: Designol
Boston Symphony Orchestra, Seiji Ozawa - Peter Ilyich Tchaikovsky: Swan Lake, Op. 20 (1979) 2CDs, Reissue 1996

Peter Ilyich Tchaikovsky: Swan Lake, Ballet In Four Acts, Op. 20 (1979) 2CDs, Reissue 1996
Boston Symphony Orchestra, conducted by Seiji Ozawa

EAC | FLAC | Image (Cue&Log) ~ 658 Mb | Mp3 (CBR320) ~ 343 Mb | Scans ~ 52 Mb
Genre: Classical | Label: Deutsche Grammophon | # 453 055-2 | Time: 02:30:04

Swan Lake was the first of Tchaikovsky's three great ballets– works which added a new level of depth and sophistication to what had been a purely superficial art form. Today the music is so well-known and popular that it's impossible to comprehend the difficulties the composer experienced at early performances. Audiences found the music "too symphonic," and the dancers were put off by the prominence given to the orchestra which, they felt, distracted ballet fans from the action on stage. Of course, all of these supposed "defects" are precisely what we admire about the music today, and this elegant but exciting performance reveals the music in all of its glory.

Maria Joao Pires, Orchestra Mozart, Claudio Abbado - W.A. Mozart: Piano Concertos Nos. 20 & 27 (2012)

Posted By: Designol
Maria Joao Pires, Orchestra Mozart, Claudio Abbado - W.A. Mozart: Piano Concertos Nos. 20 & 27 (2012)

Wolfgang Amadeus Mozart: Piano Concertos Nos. 20 & 27 (2012)
Maria João Pires, piano; Orchestra Mozart; Claudio Abbado, conductor

EAC | FLAC | Image (Cue&Log) ~ 252 Mb | Mp3 (CBR320) ~ 174 Mb | Scans included
Genre: Classical | Label: Deutsche Grammophon | # 479 0075 GH | Time: 01:00:14

It's a recording that just a few years ago would have been mainstream: a "name" pianist (albeit one much less well known in the U.S. than elsehwere), who has been playing Mozart's piano concertos since childhood, joins forces with a name conductor with whom she has frequently collaborated, leading a modern-instrument orchestra of some 70 players, with the results released on a major international-conglomerate label. Now it's distinctly unusual. But lo, there's value in the old ways. Portuguese-Brazilian pianist Maria-João Pires is a lifelong Mozart specialist, but she still has new things to say in two of Mozart's most popular piano concertos. You can chalk it up to her Buddhist outlook if you like: her readings of the Piano Concerto No. 27 in B flat major, K. 595, and Piano Concerto No. 20 in D minor, K. 466, might be described as detached without being lifeless. Her approach is most startling in the Piano Concerto No. 20, where her no-drama shaping of the material runs sharply counter to type. Sample the piano's entrance in the first movement, where it offers a twisting, tense elaboration of the main theme that is far removed from its source material. Generally pianists use this to raise the tension level, but Pires lets the unusually shaped, chromatic line speak for itself with fine effect.