Artykuł BRAHMS<br />The Complete Symphonies<br /> Herbert von Karajan, Berliner Philharmoniker pochodzi z serwisu Cleartone.

Artykuł VIVALDI, MUSSORGSKY, SAINT-SAENS, MENDELSSOHN<br /> Auryn Quartet, Stuttgart Winds, Markus Schirmer<br />The Best of TACET 2013 pochodzi z serwisu Cleartone.

Artykuł BRAHMS<br />Die Symphonien<br />Berliner Philharmoniker, Herbert von Karajan pochodzi z serwisu Cleartone.

Thanks to a very clear and well-balanced recording, every subtlety of scoring, especially some of the lower strings’ counterpoint, comes through as the conductor intended. One is made aware of the daring novelty of much of the orchestration, of how advanced it must have sounded in the early years of this century. Here we get the structure, the sound and the emotion. The Adagietto isn’t dragged out, and the scrupulous attention to Mahler’s dynamics allows the delightfully silken sound of the Vienna strings to be heard to captivating advantage, with the harp well recorded too. Bernstein is strongest in Mahler when the work itself is one of the more optimistic symphonies with less temptation for him to add a few degrees more of Angst.

https://www.gramophone.co.uk/editorial/mahlers-symphony-no-5

Artykuł MAHLER <BR />Symphonie No. 5<BR /> Wiener Philharmoniker, Leonard Bernstein pochodzi z serwisu Cleartone.

„Telemann’s invention is fresh and his idiom varied and I often felt while listening to these pieces that they offered more of interest to the performer than his violin concertos… For the most part Grumiaux plays the Fantasies with the sympathy and insight which we expect. Purists will be bothered from time to time by the presence of a vibrato which would have no place in a strictly ‘baroque’ performance; just occasionally, too, I was aware of an awkwardness of phrasing and of insecure intonation but these did not prevent me from enjoying a recital of some less familiar music by a composer who is a great favourite of mine. A most interesting release.“ – Gramophone

Artykuł TELEMANN<br /> Fantasie per violino solo / 12 Fantasien <br />Arthur Grumiaux pochodzi z serwisu Cleartone.

Artykuł TCHAIKOVSKY, Royal Concertgebouw Orchestra, Anatole Fistoulari <br />Scenes from Swan Lake pochodzi z serwisu Cleartone.

A debut album by renowned conductor Kertesz for DECCA.

This is a monumental recording of Kertesz’s debut on the prestigious DECCA label. The only 32-year-old young Kertesz added dramatic tempo changes while utilizing the deep sound of the long-established Vienna Philharmonic Orchestra. In 2008, Esoteric released it as part of the Super Audio CD Hybrid Series (ESSD-90015), and in 2009, it was also released on analog vinyl (ESLP-10002). This time, after 14 years, this is a newly remastered album by the Esoteric Mastering system and reissued on analog vinyl for the second time.</b>

Esoteric Analog Records

Classical masterpiece analog collection
The reissue of classical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for collaborating with MIXER’S LAB in Tokyo employing the Neumann VMS80 cutting lath, a famous machine manufactured in West Germany in the golden era of the analog audio, and only two units are survived in Japan. These new analog records feature ESOTERIC’s proprietary re mastering process to achieve the highest level of sound quality.

New Mastering Environment
The DSD mastering has been processed at the newly introduced the „ESOTERIC MASTERING CENTER“, where deploys the latest X-series models from the flagship Grandioso as the core, including the Grandioso D1X, Grandioso C1X, and Grandioso G1X, in addition to the Grandioso S1, a pair of G-02X, MEXCEL cables, the MERGING PYRAMIX by ESOTERIC Original Tuned as DAW (Digital Audio Workstation)/Audio Interface cordinated by Mr. Tetsuya Kato, and re-mastered by Mr. Masaya Tohno under the supervision by Mr. Motoaki Ohmachi.

Artykuł DVORAK, Vienna Philharmonic, Istvan Kertesz<br />Symphony No.9 in E minor, Op.95 From the New World pochodzi z serwisu Cleartone.

————————

Christopher Howell

The Fourth, made three years later, registers a completely different level of orchestral response. Full justice is done to an interpretation that has remained controversial. The tempi are all slower than in the 1951 Vox recording and one can only admire the steadiness with which the first movement unfolds. From the opening horn call, bold rather than mysterious or romantic, everything proceeds with logic and clarity. Yet it comes to seem almost breathless, perhaps because Klemperer refuses to mould transitions, or usher in new themes with even the smallest comma. Added to this is an orchestral sound that is analytical and tangy, not rounded and blended in the manner of Karajan or even Haitink.
 
I began to click to Klemperer?s view in the second movement. It?s true that Klemperer neither inhabits the mountain heights nor the deep Austrian woods. It?s as though the trees in this Brucknerian forest are shorn of foliage, we are visiting a romantic world that is dead, maybe the aftermath of a nuclear holocaust. Seen in this harsh light, the interpretation becomes completely convincing. The brazen fanfares from the brass in the third movement, for example, seem not a jolly hunting party but a world of ruined, long-deserted mediaeval towers and castles.
 
The finale raises a question of tempi, or rather of tempo relationships. The issue, as I understand it ? and I am ready to be corrected by readers with a better knowledge of Bruckner editions ? is that the Nowak edition, published in 1953, contains some indications for playing certain passages in half-tempo. The earlier Haas edition omits these indications on the basis that Bruckner did not write them. Whereas Nowak believed that, since Bruckner had sanctioned them on his friends? advice, they should be included. Even if you?re not technical enough to know exactly what I mean by ?half tempo?, the result is perfectly clear. If you listen to a thorough-going Haas man like Karajan, you will note that he starts the movement quite broadly. When the secondary material arrives ? the passage rather like a funeral cort?ge, opening out into some folksong-like melodies ? Karajan plays it fairly lightly and liltingly, slackening the tempo only minimally. Kempe, if a little more excitable here and there, is similar. So, logically, will be any conductor using the Haas edition, with the proviso that not all recordings name correctly the edition used. Back in 1951, and in his live Amsterdam recording of 1947, Klemperer was perforce a Haas man since Nowak had not yet appeared. His tempo was faster than Karajan?s and he slackened as little as possible for the secondary material, which, in 1951 in particular, was practically frogmarched along.

Artykuł BRUCKNER<br />Symphony No. 4<br />The Philharmonia Orchestra, Otto Klemperer pochodzi z serwisu Cleartone.

„The arrangements are clearly intended to spotlight the expressive capabilities of the cellist. Rostropovich responds with characteristic warmth and beauty of tone, and Herbert Tachezi is relegated to a discreet supporting role.“ – BBC Music Magazine

„Until we get to Rheinberger and Saint-Saëns these are works derived from the pre-romantic eras. They are however given the intimate romantic treatment… and gloriously indulgent too with the cello warming the cockles of the hardest heart. There’s a break from such radiance in the slim-line cantabile delicacy of the suite by Louis de Caix d’Hervelois where Tachezi exchanges the organ for the harpsichord. The contented warmth returns in three gentle movements from Rheinberger’s op. 150 – a work originally for violin and organ. The collector’s item is the lovely breathy Pastorale“ – Musicweb International

Artykuł Mstislav Rostropovich & Herber Tachezi<br />Cello & Organ pochodzi z serwisu Cleartone.

 The Bach A minor and E minor Concertos were recorded at London’s famous Kingsway Hall venue on the 7 & 8 October 1958, and the Double Concerto (with the legendary French violinist Christian Ferras) recorded on 8 July 1959

 Produced and engineered by Peter Andry and Robert Gooch

 Pressed on 180g vinyl to audiophile standards

 Featuring the original album artwork

 “The stereo balance is wonderfully successful, with Menuhin on the right in the solo concertos, so that he is the more clearly contrasted with the first violins, while in the double concerto the two players can be clearly differentiated all the time; in this sort of music stereo pays splendid dividends” RF, GRAMOPHONE, June 1960

Artykuł BACH<br />Violin Concertos<br />Yehudi Menuhin, The Robert Masters Chamber Orchestra pochodzi z serwisu Cleartone.