(automatische Übersetzung aus dem Chinesischen)

Artykuł TSAI CHIN<br/>Tsai Chin Old Songs pochodzi z serwisu Cleartone.

…one of the most thoughtful pianists of her generation.

Andrew McGregor 2006

Reflections on the Robert Schumann-Clara Schumann-Johannes Brahmstriangle from one of the most thoughtful pianists of her generation ought to be interesting, and sure enough, right from the opening chords of the Schumann Piano Concerto I knew I had to hear Hélène Grimaud’s latest project to the end.

If you’ve heard this lovely work once too often in a merely average performance, then drink deeply at Grimaud’s spring, for you’ll leave refreshed…not an overblown romantic gesture, and no cloying sentimentality; instead a strong, straightforward reading where every note seems just so, yet without feeling calculated. Grimaud is quizzical and warmly affectionate; nothing is taken for granted, and in Salonen and the Dresden Staatskapelle she has ideal partners, following wherever she leads, but never too slavishly.

The Concerto’s sense of characterful energy is echoed in the three Clara Schumann songs that follow, with mezzo Anne Sofie von Otter…definitely not mere pale imitations of Robert Schumann’s genius as a songwriter. Grimaud and cellist Truls Mork fall into conversational nostalgia in a sweet-toned performance of Brahms’s E minor Cello Sonata, and it’s left to Grimaud alone to end her recital with memorable accounts of Brahms’s Op. 79 Rhapsodies.

I’m not sure I knew any more about the relationships between the three composers at the end of it all, but my appreciation of each of them has most definitely been enhanced.

**************

Tim Ashley
The Guardian, Friday 13 January 2006
Schumann: Piano Concerto

Subtitled Reflection, Hélène Grimaud’s latest album, carefully programmed as always, is a meditation on the nature of love as embodied in the triadic relationship between Schumann, his wife Clara, and Brahms, whose love for both of them was the dominant influence on his life and work. The disc finds the French pianist at her visionary best.

It opens with a passionate yet unsentimental performance of Schumann’s Piano Concerto conducted by Esa-Pekka Salonen that ranks among the finest ever recorded. Anne Sofie von Otter is the soloist in a turbulent group of Clara’s songs, while Truls Mork joins Grimaud for a powerful version of Brahms’s First Cello Sonata. The album closes with Grimaud playing Brahms’s Op 79 Rhapsodies, another overwhelming performance that captures the composer’s shattering isolation as well as his deep affection for his best friend’s wife. A truly great achievement, this is unmissable.

***********

The following review of this LP appears on www.vinylkatalog.de:

„Born in 1969, American pianist Hélène Grimaud was brought up in France before moving to the USA. It was in America that she came to be regarded by many as the Martha Argerich of her generation: an exceptionally talented, original and influential artist.

This is an unusual album, a ‘concept album’ that groups together related works of three composers. The common theme is the triangle of love and respect between Robert and Clara Schumann and their glowing worship of Johannes Brahms.

The outstanding masterpiece of the album is Robert Schumann’s Piano Concerto: so passionate an interpretation that one can sense Schumann’s inspiration. Grimaud’s expressive performance of the main theme is truly special, and the interplay between her and the Staatskapelle Dresden under Finnish conductor Esa-Pekka Salonen has all the power and tension of a world premiere – it is like listening to the work performed for the very first time. The solo cadenza should bring tears to the eyes of every piano lover.

The following three songs from Schumann’s wife Clara show that she was not only a great pianist, but a composer on a par with her husband.

The opening sonata of the „family friend“ Brahms features Grimaud with Norwegian cellist Truls Mørk (the first Scandinavian winner of the Tchaikovsky Competition). The two musicians inspire each other to achieve a rarely heard balance between precision and emotion.

The album closes with Brahms: the two highly dramatic Rhapsodies op. 79 in which Grimaud, now solo, once again demonstrates her again virtuosity and ingenuity!

I cannot deny that Clearaudio founder Peter Suchy has, with this vinyl release, satisfied a very personal desire. I assume that I will not be alone in this! (2006/2013)“
(quoted from: www.vinylkatalog.de)

Artykuł SCHUMANN, Clara SCHUMANN, BRAHMS<BR />Reflection<BR />Helene Grimaud<BR />Anne Sofie von Otter<BR /> Esa-Pekka Salonen pochodzi z serwisu Cleartone.

Jean-Philippe Rameau revendique pour la musique et l’orchestre un statut nouveau, premier, incontestable. Et même s’il a composé des opéras, presque uniquement des opéras, -et quels ouvrages lyriques !-, grâce à lui, le musicien égale voire supplante le poète dans l’expression des passions humaines. Des couleurs inédites, des mélodies et des alliages de timbres jamais entendus, des trouvailles inimaginables, surtout des résonances impérieuses qui revisitent danses et divertissements, surtout les formats imposés depuis Lully pour la grande machine tragique : tempêtes, sommeils, airs infernaux… On lui a souvent reproché l’inconsistance des livrets dont il choisissait pourtant l’auteur ; il est certain que son théâtre est plus musical que vocal. Il est indiscutable que son génie s’est principalement dévoilé dans la fosse. En théoricien, il s’est imposé sur l’arène française. Et après lui, il n’y aura guère qu’un Berlioz capable de l’égaler. Coloriste, harmoniste, contrapuntiste, mélodiste, alchimiste des rythmes, il a excellé sur tous les registres de l’invention orchestrale. Alors pourquoi n’a-t-il pas composé logiquement des symphonies ? Mais il l’a fait ; encore fallait-il en déceler les divers éléments au sein de ses opéras justement, puis en recomposer une symphonie. Un travail de sélection et de recréation dont le directeur des Musiciens du Louvre nous invite à entendre les fruits dans le présent album.

Minkowski a abordé le théâtre de Rameau avec le succès et l’intelligence que l’on sait : de Platée (Erato), Hippolyte et Aricie, à Dardanus (Archiv), – entre autres – il s’est taillé une solide réputation sur le propos ramiste, imposant cette sonorité ronde et fruitée, incisive et mordante dont il tient la science et la sensibilité de son expérience de bassoniste vécue dans la fosse avant de la diriger. Habile directeur, il s’ingénie à ressusciter le génie coloriste et pictural d’un Rameau autant orfèvre du détail que peintre des grands ensembles. Qu’il s’agisse de la lisibilité de chaque nuance de timbres (hautbois et bassons, flûtes et cors), de la nervosité explosive des rythmes, qu’il s’agisse tout autant de la clarté mélodique, de l’architecture des plans instrumentaux, voici l’orchestre de Rameau dans sa splendeur retrouvée.
Cette « symphonie imaginaire » convaint par la cohérence artistique de son propos. C’est qu’à l’époque de Rameau justement les premiers symphonistes émergent au Concert Spirituel. Il est donc légitime d’inventer cette symphonie à laquelle l’imagination et l’ambition du musicien, compositeur lyrique et théoricien, donnent matière et légitimité. De fait, ses opéras regorgent de pages purement instrumentales qui font de son théâtre, l’un des plus orchestraux qui soient… avant Wagner et Berlioz. En cinquante six minutes, se succèdent les pages les plus inspirées du musicien, du Chaos fracassant de Zaïs, au paysage funèbre de Castor et Pollux, sans omettre l’épisode presque abstrait des Boréades (Prélude, plage 10) et cette nouvelle orchestration de la Poule, à l’origine pièce pour clavecin que Rameau reprit et adapta pour ses Concerts en Sextuor. L’expert des rythmes de danses n’est pas omis et l’on ne saurait discuter ici du choix opportun de l’entrée de Polymnie des Boréades ni de la Chaconne finale extraite de l’entrée des Sauvages des Indes Galantes. Sans les voix, l’orchestre semble gagner en profondeur et en justesse poétique ; et le génie de Rameau paraît même plus éloquent et moins dilué. Les suites de danses d’après les opéras de Rameau ont diversement inspiré les chefs ramistes. Nous tenons dans cet opus, la proposition la plus aboutie avec celle que Nicholas Mc Gegan a dirigé d’après Platée (DHM).

Jean-Philippe Rameau (1683-1764) : une symphonie imaginaire. Suite orchestrale extraite des opéras et ouvrages scéniques : Zaïs, Castor et Pollux, Les Fêtes d’Hébé, Dardanus, Le temple de la gloire, Les Boréades, La Naissance d’Osiris, Platée, Concert N°6 en sextuor “ la Poule „, Hippolyte et Aricie, Naïs et Les Indes Galantes. Les Musiciens du Louvre, direction : Marc Minkowski.
————–
Jean-Philippe Rameau is recognized as the greatest orchestral composer in France prior to Berlioz, even though everything he ever wrote was for stage performancs with vocalists. Other composers of the time were beginning to develop the French symphony but Rameau never wrote for the orchestra alone. So Marc Minkowski and his original instruments band decided to create an all-Rameau symphonic work of their own — an imaginary symphony.

They begin with a very dramatic overture which tells of the origin of the world. Next is a disturbing funeral scene from Rameau’s Castor et Pollux. The made-up work continues with various dances, interludes and divertissements from many different Rameau works, plus a harpsichord piece that the composer had already orchestrated himself. The dance rhythms of some of these pieces are just as infectious as some of today’s dance music. In those pieces which had a vocal part, it was simply removed. Minkowski wanted to pay tribute to one of the greatest masters of the orchestra — an innovator whose achievements stand out in bolder relief due to the ingenious assembly of his music in this fake symphony. (…) Well, this is Rameau Without Singing!

— John Sunier

Artykuł RAMEAU<BR />une symphonie imaginaire<BR />Les Musiciens du Louvre<BR /> Mark Minkowski pochodzi z serwisu Cleartone.

Artykuł SCHUBERT<br />Nacht und Traume<br />Monika Teepe, Klaus Jackle pochodzi z serwisu Cleartone.

• Mstislav Rostropovich & Benjamin Britten
• 01. Arpeggione Sonata – Allegro moderato (13:34)
• 02. Arpeggione Sonata – Adagio (4:36)
• 03. Arpeggione Sonata – Allegretto (10:36)
• 04. Sonata for cello and piano – Prologue (5:06)
• 05. Sonata for cello and piano – Serenade (3:29)
• 06. Sonata for cello and piano – Finale (3:52)

VERY RARE Ausgabe – Limited  – Audiophile Pressing aus Japan

Artykuł SCHUBERT, BRIDGE, <br />Mstislav Rostropovich, Benjamin Britten <br />Arpeggione Sonata Sonata for cello and piano pochodzi z serwisu Cleartone.

Elvis Presley Jailhouse Rock Dual Speed. „Jailhouse Rock“ war der Soundtrack zum dritten Elvis Presley Film aus dem Jahr 1957. Im Film spielt Elvis den hitzköpfigen Südstaatler Vince Everett, der unabsichtlich einen Mann tötet und ins Gefängnis muss. Dort findet er die Musik als neuen Weg ins Leben und es wurden gleich fünf Songs speziell für diesen Film geschrieben. Als die Single „Jailhouse Rock“ im Herbst 1957 in den Verkauf kam, blieb sie sieben Wochen Nummer Eins in den USA. Die Veröffentlichung in England im Jahr 1958 bedeutet den ersten Einstieg auf Platz 1 der Charts in der britischen Musikgeschichte.

Die fünf Songs…

Die fünf Songs auf diesem Album wurden ursprünglich nur als sieben Zoll EP mit 45rpm veröffentlicht und verkauften sich in dieser Variante mehr als zwei Millionen Mal. In Reminiszenz hieran erscheint das Audio Fidelity Re-Issue als 12 Zoll EP mit einer Seite mit 33rpm und einer Seite mit 45rpm. Die Neubearbeitung wurde durch Kevin Gray vorgenommen und man muss zweimal hinhören, um zu erkennen, dass es sich um Mono-Material handelt, denn Elvis steht auf einer breiten Bühne und bei „Young and Beautiful“ scheint er geradezu vor der Band zu stehen.

Das Audio Fidelity Re-Issue erscheint in einem mit Klarlack überzogenen Cover als 180g Pressung und dürfte ein Muss für jeden Elvis Fan sein, denn so gut hat man „Jailhouse Rock“ noch nicht gehört.

Titel:
Seite A – 33 1/3rpm:
1. Jailhouse Rock
2. Young and Beautiful
3. I Want to Be Free
4. Don’t Leave Me Now
5. (You’re So Square) Baby I Don’t Care
Seite B – 45rpm:
1. Jailhouse Rock
2. Young and Beautiful
3. I Want to Be Free
4. Don’t Leave Me Now
5. (You’re So Square) Baby I Don’t Care

Elvis Presley Jailhouse Rock EP on Dual Speed 12″ Vinyl from Audio Fidelity

5-Songs Presented on 33 1/3 RPM on the A-Side & 45 RPM on the B-Side!

Appearing for the Very First Time on This Format!

„Jailhouse Rock is Elvis Presley’s third appearance before the movie cameras. An Avon Production released through M-G-M, this film goes far beyond anything Elvis has done to date. Cast in the role of a well-meaning but fiery-tempered young Southerner, Elvis (Vince Everett in the film) finds himself sent to prison after he accidentally kills a man.

The changes wrought by his prison life and his relentless ambition to gain wealth and fame after his release are other aspects of this emotionally charged film. Needless to say, when Vince Everett looks for a means to gain wealth he naturally turns to singing, which gives Mr. Presley an excellent chance to utilize his voice while staying in character.

In this album, taken from the original sound track of the movie, Elvis sings all five of the songs which were written especially for the film. There is the throbbing title song, „Jailhouse Rock,“ which opens the album, followed by „Young and Beautiful,“ „I Want to Be Free,“ „Don’t Leave Me Now,“ and „Baby I Don’t Care, all in the inimitable style of this exceptional young singer and actor, Elvis Presley.“ – album liner notes

This Audio Fidelity release will be a dual speed, 12″ at 150g, 33 1/3 RPM on the A-side and 45 RPM on the B-side. Originally released in the fall of 1957 as a 7″ single, backed with „Treat Me Nice“ and was #1 on the U.S. chart for seven weeks. This is the first time the Jailhouse Rock EP is available on 12″ vinyl in this format. It’s Elvis Presley sounding better than ever and is sure to generate great interest from music collectors and Elvis fans alike!

Artykuł <b>Elvis Presley</b> <br />Jailhouse Rock Dual Speed pochodzi z serwisu Cleartone.

Seit 1806 sind zwar viele Violinkonzerte entstanden, die einen wirkungsvolleren und virtuoseren Solopart besitzen, doch es gibt kaum ein Werk ähnlichen kompositorischen Gehalts, das wegen der offenen, exponierten Lage seines Soloparts so schonungslos auch die geringste Unebenheit der Darstellung aufdeckt: Beethovens Violinkonzert bedeutet immer noch eine der großen artistischen Herausforderungen für jeden Geiger. Eines der besten Beispiele ist die Aufnahme: BEETHOVEN Violin Concerto Anne-Sophie Mutter von Clearaudio.

Audiophile Pressing:

Clearaudio Vorverstärker NANO PHONO V2

Andere Titeln mit Anne-Sophie Mutter.

Artykuł BEETHOVEN <br />Violin Concerto <br />Anne-Sophie Mutter <br />Herbert von Karajan, Berliner Philharmoniker pochodzi z serwisu Cleartone.

Charles Dutoit and the London Philharmonic Orchestra give a splendid, warm performance without overwhelming violinist Salvatore Accardo’s playing. Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of these works of Niccolo Paganini. The Italian violin virtuoso and conductor, Salvatore Accardo, is highly regarded for his interpretations of Paganini. He studied violin in the southern Italian city of Naples in the 1950s and gave his first professional recital at the age of 13, performing Paganini’s Capricci. He won the Geneva Competition in 1956 and in 1958 became the first prize winner of the Paganini Competition in Genoa. Audiophile Pressing: PAGANINI Diabolus in Musica Salvatore Accardo Charles Dutoit

Charles Dutoit

The Swiss conductor, Charles Édouard Dutoit, is known for his interpretations of French and Russian 20th century music. Dutoit studied in Switzerland where he was born and graduated from the Geneva Conservatory where he won first prize in conducting. In his youth, he frequently attended Ansermet’s rehearsals and had a personal acquaintance with him. He has been guest conductor for the Orchestre de la Suisse Romande and the Lausanne Chamber Orchestra as well as conducting for Radio Zurich, the Bern Symphony Orchestra, the National Symphony Orchestra of Mexico, Sweden’s Gothenburg Symphony and the Minnesota Orchestra.

PAGANINI Diabolus in Musica Salvatore Accardo Charles Dutoit

• 01. La Risata del Diavolo (tema) (0:35)
• 02. La Campanella – Rondo dal Concerto per Violino e Orchestra No.2 (8:59)
• 03. Capriccio per Violino Solo No.5 – Agitato (2:19)
• 04. Adagio flebile con sentimento (6:54)
• 05. Rondo galante.Andantino gaio-dal Concerto per Violino e Orchestra n.4 (11:09)
• 06. Introduzione e variazioni su God Save the King Op.9 (6:45)
• 07. Capriccio per violino solo No.24 – Tema.Quasi Presto-Variazioni-Finale (4:28)
• 08. Polacca. Andantino vivace – dal Concerto per Violino e Orchestra No.3 (11:38)
• 09. Capriccio per violino solo No.1 – Andante (1:50)
• 10. Rondo.Allegro spirituoso-dal Concerto per Violino e Orchestra n.1,op.6 (9:46)
• 11. Capriccio per violino solo No.13 – Allegro (2:02)12. Sonata Moto Perpetuo – Allegro vivace (3:11)

Artykuł PAGANINI <br />Diabolus in Musica <br />Salvatore Accardo Charles Dutoit pochodzi z serwisu Cleartone.

Er hat das Zeug zur Legende – in Ihm befindet sich eine ganze Sammlung an meisterhafter Violinkunst, dargebracht mit einer gleichermaßen furchterregenden wie unbegreiflichen Schönheit so das BBC Music Magazin . Im November 2007 erschien sein Album Virtuoso, welches auf Platz 1 der Amazon – Klassikcharts sowie der i-tunes Klassikcharts schoss. Jetzt präsentieren wir ein audiophile Vinyl: Clearaudio VIRTUOSO David Garrett

Clearaudio VIRTUOSO David Garrett – Audiophile Pressing von Clearaudio:

SIDE A:

SIDE B:

• 1. Paganini Rhapsody
• 2. Serenade
• 3. The Flight of the Bumble Bee
• 4. Toccata
• 5. Somewhere
• 6. Eliza’s Song

David Garrett, born in Aachen, Germany to an American prima ballerina and German lawyer, is a classical violinist and recording artist.

When David was four years old, his father bought a violin for his older brother. David took interest and soon learned to play. At the age of five, he won first prize in his first competition. By the age of seven, he was playing once a week in public and studied violin at the Lubeck Conservatoire. 

Garrett studied one semester at the Royal College of Music in London at the age of 17. In 1999, at the age of 19, he moved to New York to attend the Juilliard School, winning the 2003 Composition Competition of Juilliard School with a fugue. While at Juilliard, Garrett studied under world-renowned violinist Itzhak Perlman.

For those who noticed Garrett is as good looking as he is talented, you might be interested to know while studying at Juilliard, he supplemented his income by working as a model.

David Garrett has done much to encourage and entice young people to the genre of classical music. His 2010 release, Rock Symphonies, includes an innovative mashup of U2’s „Vertigo“ with Vivaldi’s Four Seasons while his rendition of Michael Jackson’s „Smooth Criminal“ appears on the 2008 album Encore.

This 2007 release, Virtuoso, includes Garrett’s renditions of „La Califfa“ by Morricone, „Nothing Else Matters“ by Metallica and „The Flight of the Bumble Bee“ by Rimsky-Korsakov.

Audiophile Violin:

Artykuł Clearaudio <br />VIRTUOSO David Garrett pochodzi z serwisu Cleartone.

Worüber können zwei Gitarristen reden? Über die gleichen Dinge wie Liebhaber, Fremde, Freunde oder Feinde. Alle Schatten und Stimmungen. Ungewöhnliches Klima und toller Klang. Audiophile Pressing: Farnbach & Spieß GROVIN

• 06. Bumm Bumm (5:02)
• 07. Marsascala Promenade (4:23)
• 08. Schneelied (6:03)
• 09. Groovin (3:20)
• 10. Billy the Kid (3:09)
• 11. Tres Mil Razones (4:42)
• 12. Nightowl (5:55)
• 13. Tres Mil Razones (vocal) (4:43)

DIRTY HARYS Flowers (For The President)

Artykuł Farnbach & Spieß GROVIN pochodzi z serwisu Cleartone.