Artykuł BIZET, ADAM, SCHUBERT, MOZART<br /> Songs of Pryaer<br />Gary Karr, Harmon Lewis pochodzi z serwisu Cleartone.

Rossini’s best-known instrumental works, the Six Sonate a Quattro, are rarely heard in their authentic form, as recorded here, performed by four soloists: two violins, cello and double bass. Many arr

Artykuł ROSSINI<br />6 sonate a quatro<br /> Salvatore Accardo pochodzi z serwisu Cleartone.

„There is, as far as I know, nothing in the violin literature quite comparable to these incredibly imaginative, relentlessly intense pictorial essays by Heinrich Franz Biber (1666-1704), that still only half-known Salzburg Kapellmeister who plunged with an almost Joycean intellect into the task of delineating the Mysteries of the Rosary in musical outline… Any way you look at it, these sonatas are an experience; one is apt to forget, over a long period of time, just how remarkable – even exhausting – they are. The Melkus performance, a bit more assertive and tending towards brisker tempos, also offers a strong temptation to the buyer. For the con-tinuo part it employs the six instruments listed above. in varying combinations, and in certain sonatas it seems to me that the handling of continuo is more successful – that is, more aggressively set forth – in the new set. Melkus is tremendously skilled and forthright, and his work is exciting. These qualities are evident too in his playing of the solo Passacaglia, a relatively simple example of the form which nonetheless manages to hold you fast. Sound is superb-spacious and clean.“
– High Fidelity

Artykuł BIBER<br /> Sonatas Of The Rosary<br /> Eduard Melkus pochodzi z serwisu Cleartone.

Pierre Fournier (cello) and Wilhelm Backhaus (piano) perform Brahms‘ Sonata No. 1 in E Minor for ‚Cello And Piano Opus 38 and Sonata No. 2 in F Major For ‚Cello And Piano Opus 99. Recorded at Victoria Hall, Geneva, May 1-3, 1955.

Fournier’s particular brand of lyricism suits these sonatas very well, and he sounds especially fine on the lower strings… and Fournier makes golden sounds. He takes the slow movement much faster than his rivals, but sings the more lyrical trio section with a sweetness that is wholly disarming. His performance of the finale of this sonata (No.1) is without question the best.
-Gramophone

Cellist Pierre Fournier (1906-1986) developed a more suave, elegant style that became his endearing trademark for more than 40 years. The 1955 record of the Brahms‘ 2 Cello Sonatas, with pianist Wilhelm Backhaus (1884-1969), captures the wonderful wide-ranging beauty of dignity, passion, joy and reserve in both works.
–Town Line Newspapaer

Artykuł BRAHMS<br />Sonata No. 1 In E Minor & Sonata No. 2 In F Major<br /> Pierre Fournier, Wilhelm Backhaus pochodzi z serwisu Cleartone.

„This performance of the (Brahms) First Symphony is formidable competition for even the best that the current catalogue can offer. Böhm’s (Brahms Symphony No.1) is a performance of wonderfully rich detail, the woodwind soli full of character, the orchestral colouring beautifully judged: where Karajan presents a blended totality of sound, Böhm is intent that we should see both the wood and the trees. Böhm’s view of the Symphony is urgent and vigorous: though he does not miss the broad strength of the introduction, the ensuing allegro has a purposeful athleticism that contrasts most strikingly with the heavy grimness of Karajan’s reading. The introduction to the finale is also an instructive comparison: Karajan sees it as an eloquent lament, Böhm as a transition of unbearable tension – one almost dreads that the great C major theme will not, after all, arrive. This is a noble performance that no Brahmsian should miss hearing, regardless of his current preferences; it is excellently recorded.“ – The Gramophone Magazine

Artykuł BRAHMS<br />Sinfonie Nr. 1 C-moll Op.68<br /> Karl Bohm, Berliner Philharmoniker pochodzi z serwisu Cleartone.

„In the two Milstein disks that Capitol has issued thus far, it has seen to it that the eminent violinist has been accord-ed the finest reproduction possible. The present one might very well stand as an object lesson in how properly to record a violin soloist. The selection of material is also very fine. Of special interest are the Pergolesi Sonata, the final movement of which was used by Stravinsky in his ballet Pulcinella; the Schumann and Brahms works, which com-prise the second and third movements, respectively, of a sonata these two men, together with Albert Dietrich, wrote in honor of Joachim and the unaccompanied Paganiniana, Milstein’s own very effective medley of portions of several Paganini Caprices. It goes without saying that the performances of all the music here are of the highest order.“ – High Fidelity

Artykuł SCHUMANN, BRAHMS, SUK, BLOCH<br />Recital<br /> Nathan Milstein pochodzi z serwisu Cleartone.

The Classical Catalogue is particularly rich in fine recordings of the Mendelssohn E minor Violin Concerto. But Viktoria Mullova’s account is second to none, and she is splendidly accompanied by Marriner and his Academy of St. Martin in the Fields. The performance has great warmth and freshness. That moment on which so much depends, the preparation for the arrival of the first movement’s second subject, does not disappoint. Indeed the lovely melody arrives with the utmost naturalness and at the beginning of the falling solo arpeggio. Mullova’s momentary tenuto is ravishing. She phrases the slow movement most beautifully, too, and Marriner ensures that it does not languish, moving on the middle section persuasively. The finale dances and effervesces gleefully. The recording is one of Philips’s very best, which means the balance is natural; the solo timbre does not betray an excessively close microphone, yet is consistently full and beautiful, without in any way lacking presence. The orchestra has bloom as well as weight, and all necessary brilliance.
-Gramophone

Artykuł MENDELSSOHN<br />Violin concertos<br /> Victoria Mullova, Academy of St. Marin in the Fields, Sir Neville Marriner Violin concertos pochodzi z serwisu Cleartone.

Violinist Ion Voicou performs Mendelssohn and Bruch violin concertos with the London Symphony Orchestra, conducted by Rafael Frühbeck de Burgos. Recorded at Kingsway Hall, February 17, 18 and 20, 1965.

Ion Voicou appears to have most of the solo violinist’s desirable virtues. His technique is admirably assured (no scrapes or smudges in the finale of the Bruch Concerto); his tone is sweet and clear (no misplaced soupiness in the Andante of the Mendelssohn); his phrasing throughout is ample and long-breathed… the orchestral contribution is very good indeed and so is the recording.
-Gramophone

The Mendelssohn and Bruch Concertos seem to be made for each other, and have always remained a favoured pairing. The recordings date from 1965, and are two of the finest readings I have ever come across. Nicely paced, Voicu projects a warm, luscious and pure tone. Technically accomplished, they are dispatched with elegance, polish and refinement. Portamenti are tasteful and used sparingly for expressive effect. This is notably so in the lyrical passages of the Bruch. Rafael Frühbeck de Burgos provides admirable support, as he did for Menuhin in the Mendelssohn Concerto six years later in 1971, again with the LSO.
-Music Web International

Audiophile 180g Virgin Vinyl
Pressed at Pallas GmbH in Germany
Audiophile analogue mastering by John Webber at Air Studios in London
Mastered from the Original Analogue Masters of Universal Music
Analogphonic release

Artykuł MENDELSSOHN, BRUCH,\<br />Violin Concerto In E Minor / Violin Concerto No. 1 In G Minor<br /> Ion Voicou, The London Symphony Orchestra, Rafael Fruhbeck de Burgos pochodzi z serwisu Cleartone.

Die Aufnahme unter der Leitung von James Levine mit den Wiener Philharmonikern entstand im Großen Saal des Wiener Musikvereins im November 1992.

Artykuł SARASATE, WIENIAWSKI, TARTINI<br />Carmen Fantasie<br />Anne-Sophie Mutter, James Levine, Wiener Philharmoniker pochodzi z serwisu Cleartone.

Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (honorary)

Artykuł SCHUBERT, SCHUMANN<br />Sonata for arpeggione / Fanstasienstucke<br />Martha Argerich, Mischa Maisky pochodzi z serwisu Cleartone.