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Grieg & Weber - Piano Concertos - Annerose Schmidt, Dresdner Philharmonie, Kurt Masur (1969/2013) High-Fidelity FLAC Stereo 24bit/192kHz

Composer: Carl Maria von Weber (1786-1826), Edvard Grieg (1843-1907)
Artist: Annerose Schmidt, Dresdner Philharmonie, Kurt Masur
Title: Grieg: Klavierkonzert A-Moll Op. 16 / Weber: Konzerstück F-Moll Op. 79
Genre: Classical
Label: © King Record Co., Ltd
Release Date: 1969/2013
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: e-onkyo
Duration: 44:54
Recorded: 1969 at Studio Lukaskirche, Dresden, GDR
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Edvard Grieg - Violin Sonatas, Opp. 18, 13 & 45 - Daniela Cammarano, Alessandro Deljavan (2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Сomposer: Edvard Grieg (1843 - 1907)
Artist: Daniela Cammarano, Alessandro Deljavan
Title: Grieg - Violin Sonatas, Opp. 18, 13 & 45
Genre: Classical
Label: © Æolum Vibrare Eloquenter Audio / OnClassical
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: Qobuz
Duration: 01:16:41
Recorded: 14th X 2014, Kulturni Center Lojze Bratuž, Gorica

The 3 Violin Sonatas by Edvard Grieg are a mixture of German and Austrian traditions with the Nordic folk. The experience at the Leipzig Conservatory, where the strong influence of Felix Mendelssohn Bartholdy and Robert Schumann was felt, and the trips to Italy, especially Rome, where Grieg met Franz Liszt, contributed greatly to the formation of the style of the Norwegian composer. Similarly of crucial importance were the years he spent in Copenhagen where he completed his studies under the guidance of the Danish composer Niels W. Gade.
The complete Sonatas for violin and piano are included in this album signed by the well-matched couple Cammarano-Deljavan who has already recorded the works by Johannes Brahms and Anton Rubinstein. The 7-mic recording by Alessandro Simonetto is fully dynamic and realistic.
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Ewald Demeyere - 18th-Century Flemish Harpsichord Music (2011) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Various Composers
Artist: Ewald Demeyere
Title: Ewald Demeyere - 18th-Century Flemish Harpsichord Music
Genre: Classical, Instrumental
Label: © Challenge Records | Northstar Recordings
Release Date: 21 November 2011
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:14:12
Recorded: March 28-31/2011 at the Vleeshuis Museum Antwerpen, Belgium


Highly regarded harpsichordist Ewald Demeyer performs a selection of rarely heard 18th century Flemish solo pieces by some of the lesser known composers of the period, including Josse Boutmy, Dieudonné Raick, F.I. de Boeck, Ferdinand Staes, Charles-Joseph van Helmont, and Natalis Vander Borcht.
Harpsichordist Ewald Demeyere has for many years been a member of the highly regarded early music groups La Petite Bande and Il Fondamento. He has released many CDs on the Accent label, including discs of the Eight Keyboard Sonatas by Thomas Arne, sonatas and fugues by Wilhelm Friedemann Bach, Pièces de Clavecin by Joseph-Hector Fiocco, and sonatas by Domenico Scarlatti. In 2007 he founded the Baroque orchestra Bach Concentus which has released two titles including a double set of overtures by Johann Bernhard Bach and Georg Philipp Telemann.
Eighteenth-century Flemish harpsichord music today is mostly identified with the Pièces de Clavecin of 1731 by Joseph-Hector Fiocco which undoubtedly form the high point in the genre. However there are several other musical figures from this time and region whose work is well worth investigating, and the repertoire performed on this CD has been put together as a result of an artistic research project carried out by Ewald Demeyere based on the rich collection of music at the Antwerp Conservatory library.
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Antonin Dvorak - Piano Trio Op. 65; Trio Op. 90 'Dumky' - Osiris Trio (2008) High-Fidelity DSF 5.0 Surround DSD64/2.82MHz

Сomposer: Antonín Dvořák (1841 - 1904)
Artist: Osiris Trio
Title: Dvořák - Piano Trio Op. 65; Trio Op. 90 'Dumky'
Genre: Classical
Label: © Cobra Records
Release Date: 2008
Quality: DSF 5.0 Surround DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:09:43
Recording location: Westvest kerk, Schiedam NL
Recording dates: June 2,3,4 – 2008

Antonin Dvorák is considered to be the most significant Czech composer of the nineteenth century, although he was certainly not the only prominent composer of that period from that area of Europe. Bedrich Smetana and Zdenek Fibich also enjoyed a great reputation. Nonetheless, Dvorák’s fame soon became unparalleled, in the first place probably because his music is such a successful synthesis of Czech - or, more accurately, Bohemian - folk music and Western techniques. And no doubt also because Dvorák was such a ‘natural’ composer: his music sounds so self-evident, so natural, music such as in Western Europe only Schubert was known for. It was precisely this aspect of Dvorák’s art of which Brahms was rightly jealous.
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Gaetano Donizetti - Lucia di Lammermoor - Natalie Dessay, Piotr Beczala, Mariinsky Orchestra, Valery Gergiev (2011) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Gaetano Donizetti (1797-1848)
Artist: Natalie Dessay, Piotr Beczala, Mariinsky Orchestra, Valery Gergiev
Title: Donizetti - Lucia di Lammermoor
Genre: Classical, Opera
Label: © Mariinsky
Release Date: 2011
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records.co.uk
Duration: 131 minutes 5 seconds
Recorded: September 2010, Concert Hall of the Mariinsky Theatre, St Petersburg, Russia

For the label's fifth opera recording, Gergiev conducts Donizetti's masterpiece featuring a magnificent cast led by coloratura soprano Natalie Dessay.
Donizetti's tragic opera in three acts depicts a family feud set in the Lammermuir Hills of Scotland. The opera was premiered on 26th September 1835 at the Teatro di San Carlo, Naples, with the coloratura soprano Fanny Tacchinardi Persiani in the role of Lucia. A revised version in French followed suit in 1839.
Inspired by Sir Walter Scott's novel The Bride of Lammermoor, the central character of Lucia Ashton (Dessay) is in love with Edgardo di Ravenswood, her brother Enrico's sworn enemy. With his fortune waning, Lord Enrico plots to force Lucia to marry Lord Arturo Bucklaw, in order to guarantee his continued power. Torn between her family and true love, Lucia submits to her brother's desires but in turn loses her mind. Lucia's delicate disposition is tested and results in the famous 'mad scene' in which she kills her new bridegroom Arturo.
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Dmitry Ferschtman, Mila Baslawskaya - The Cello's Russian Voice (2009) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Mikhail Ivanovich Glinka (1804-1857), Pyotr Ilyich Tchaikovsky (1840-1893), Sergei Vasilievich Rachmaninov (1873-1943)
Artist: Dmitry Ferschtman, Mila Baslawskaya
Title: The Cello’s Russian Voice
Genre: Classical
Label: © Cobra Records
Release Date: 2009
Quality: DSF Stereo DSD64/2.82MHz
Source: nativeDSDmusic
Duration: 01:01:05
Recording location: Westvest kerk, Schiedam NL
Recording dates: January 28, 29, 31, 31 – 2008

In our youth, music and poetry were the lifeblood of our Soviet upbringing. They provided colour and meaning to the drab existence of many Russians. Together with the breathtaking Russian countryside, they became almost like a religion in the atheist Soviet Union.“If a musician is a true artist, his experience of the music of poetry is just as acute as that of the poetry of music”. These words of the great Russian pianist and teacher Heinrich Neuhaus became our motto. As classically- trained musicians, we were not only fascinated by Russian classical music but also by Russian classical poetry. Nowhere are these two high art forms so interwoven as in the Russian Art Song.
The poems by Pushkin, Tiutchev, A. Tolstoy and others inspired the great 19th century composers to create the beautiful songs which are firmly embedded in the collective psyche of every Russian.
After years of living abroad, we started to miss this music – the music which made us who we are. We began to listen to it with increased intensity, with “different ears”, as it now sounded so distant yet so familiar. We found ourselves falling in love again with the “romances” – the music of the “Russian Soul” which comes through most naturally in this genre, with all its heartache and emotional turmoil.
After (listening to them for) some time, we felt compelled to perform this music. As instrumentalists, we are forever envious of singers. They can bring the symbiosis of music and poetry to the fore through the most subtle and powerful of all instruments - the human voice. We thought an arrangement of Romances for cello and piano might be successful because the cello, of all instruments, comes closest to the human voice.
Besides, we realised that poetry needs a translation, unless the listener understands the language in which the lyrics are written, while music is the original, universal language. The music of these romances is inspired by poetry, but in the end the words dissolve into the melody and the music speaks for itself.
This is how the idea of this project came about. First (was) came!!! the arrangement of Tchaikovsky’s setting of the A. Tolstoy’s poem “Then in the early Spring”, which for (the two of) us symbolised the time when we first met as teenagers. --Dmitry Ferschtman and Mila Baslawskaja
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Bela Bartok - Violin Concerto No. 2 - Itzhak Perlman, London Symphony Orchestra, Andre Previn (2015) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Béla Bartók (1881-1945)
Artist: Itzhak Perlman, London Symphony Orchestra, André Previn
Title: Bartók - Violin Concerto No. 2
Genre: Classical
Label: © Parlophone Records/Warner Classics
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:37:50
Recorded: Kingsway Hall, London, 10 October 1973

Unlike some of his older colleagues, such as Isaac Stern or Yehudi Menuhin, Itzhak Perlman has recorded very little music by Béla Bartók — the Violin Sonatas Nos.1 and 2, the Sonata for solo violin, the two Rhapsodies, the First Violin Concerto and the six Romanian Folk Dances are all notable by their absence from his discography, making this recording of the Second Violin Concerto all the more precious. Several of his eminent predecessors had already recorded this masterpiece, chief among them Yehudi Menuhin (in 1946 and 1953), Ivry Gitlis (1954) and Isaac Stern (1958). The young Perlman’s vision of the work, as conducted by André Previn, proved to be a landmark to match those that had gone before.
For some time, this was believed to be Bartók’s only violin concerto, until another, much earlier work was discovered in 1960, at which point this became known as No.2. Commissioned in 1937 by the composer’s “dear friend” Zoltán Székely (1903–2001), who that same year was to become leader of the celebrated Hungarian Quartet, it went through what was for Bartók an unusually long (sixteen-month) gestation period. He also made various revisions to the original version, notably to the finale, at the request of his soloist, who wanted the work “to end like a concerto and not like a symphony”. Although the composer had originally envisaged a single-movement work in the form of a theme and variations, he eventually acceded to Székely’s request for a conventional three-movement concerto, although he did retain the theme-and-variations idea in the central Andante tranquillo. The premiere — of which a radio broadcast recording survives — was not given until 23 March 1939, in Amsterdam, by its dedicatee and the Concertgebouw Orchestra conducted by Willem Mengelberg. Bartók himself, fiercely opposed to the Nazi regime and having already decided to leave Europe, was unable to attend the premiere, and only finally heard his work performed in New York in October 1943, on which occasion the soloist was the Russian émigré Tossy Spivakovsky (1906–98).
Throughout his long recording career, Perlman has never revisited this concerto, and has only set down one other work by Bartók — the complete set of 44 Duos, in partnership with his friend Pinchas Zukerman (see volume 20). --Jean-Michel Molkhou
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Bach, Paganini, Massenet - I Filarmonici di Roma, Uto Ughi (2004) High-Fidelity DSF Stereo DSD64/2.82MHz

Сomposer: Johann Sebastian Bach (1685-1750), Niccolò Paganini (1782-1840), Jules Massenet (1842-1912), Johann Christian Bach (1735-1782)
Artist: I Filarmonici di Roma, Uto Ughi
Title: Bach, Paganini, Massenet
Genre: Classical
Label: © Fonè Records/Audiophile Productions
Release Date: 2004
Quality: DSF Stereo DSD64/2.82MHz
Source: hd-klassik.com
Duration: 59:36
Recorded: Auditorium Parco della Musica Sala Santa Cecilia

Uto Ughi showed a remarkable talent from his earliest childhood; in this first public concert at the age of seven he played the Chaconne from Bach's Partita No. 2 and several Paganini Capriccios. He then went on studying with Georges Enescu, who had been Yehudu Menuhin's teacher.
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