ESOTERIC equipment used for re-mastering
The criterion of re-mastering is to faithfully capture the quality of the original master tapes. ESOTERIC’s flag ship D/A converters, model D-01VU, Rubidium master clock generator model G-0Rb and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master tapes.

Experience by yourself…
Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the „soul“ hidden within the notes, but never before found in previously released recordings in any format.

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Artykuł BRAHMS<br />Symphony No. 1 in C Minor, Op. 68<br />Orchestre de la Société des Concerts du Conservatoire, Charles Munch pochodzi z serwisu Cleartone.

Gustav Leonhardt performs Bach’s Goldberg Variations on harpsichord. This album was recorded in April 1965.

Classical masterpiece 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 using hybrid Super Audio CD technology to improve sound quality. This series marks the first hybrid Super Audio CD release of historical recording selections that have been mainstays of the catalog since their initial release. These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve the highest level of sound quality.
Experience by yourself…
Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the „soul“ hidden within the notes, but never before found in previously released recordings in any format.

Re-mastering:
Producer: Motoaki Ohmachi (ESOTERIC COMPANY)
Mastering Engineer: Masaya Touno (ESOTERIC COMPANY)
Technical Manager: Tetsuya Kato (ESOTERIC COMPANY)

ESOTERIC equipment used for re-mastering
The criterion of re-mastering is to faithfully capture the quality of the original master. ESOTERIC’s flag ship D/A converters, model Grandioso D1X, Master clock generator model Grandioso G1X and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.

Artykuł BRAHMS<br />Symphony No. 2 / Academic Festival Overture / Tragic Overture<br />The London Symphony Orchestra, Pierre Monteux pochodzi z serwisu Cleartone.

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 using hybrid Super Audio CD (SACD) technology to improve sound quality. This series marks the first hybrid SACD release of historical recording selections that have been mainstays of the catalog since their initial release.
These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve
the highest level of sound quality.

Experience by yourself…

Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the “soul” hidden within the notes, but never before found in previously released recordings in any format.

ESOTERIC equipment used for re-mastering The criterion of re-mastering is to faithfully capture the quality of the original master. ESOTERIC’s flag ship D/A converters, model D-01VU, Rubidium master clock generator model Grandioso G1 and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session.
This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master.

Artykuł BRAHMS<br />Piano Concertos 1 & 2<br />Maurizio Pollini, Wiener Symphoniker, Karl Bohm pochodzi z serwisu Cleartone.

<b>ESOTERIC equipment used for re-mastering </b>
These new audio versions feature ESOTERIC’s proprietary re-mastering process to achieve the highest level of sound quality.

<b>Experience by yourself… </b>
Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the “soul” hidden within the notes, but never before found in previously released recordings in any format.

Nakład każdego tytułu to 1000 egzemplarzy w skali światowej. Płyty nie są wznawiane. </font>Stanowią niezwykle poszukiwany i pożądany cel kolekcjonerów z całego świata. <br><br></br>

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Artykuł MOZART, BRAHMS<br />Clarinet Quintets<br /> Vienna Konzerthaus Quartet, Leopold Wlach pochodzi z serwisu Cleartone.

„Die „Fantasiestücke Op. 88“ von Robert Schumann für Violine, Violoncello und Piano werden vom Star-Trio sehr lebhaft, aber in den entscheidenden Stellen auch äußerst fein und sensibel interpretiert. Das „Duett“, in dem die Violine und das Cello, eingebettet in eine zurückhaltende Klavierbegleitung, miteinander dialogisieren, ist einer der Höhepunkte auf dieser Platte. Überhaupt bewegt sich die ganze CD auf höchstem Niveau, was ja auch durch eine Ansammlung von Stars nicht unbedingt Voraussetzung ist. Diese vier erstklassigen Solisten haben es aber geschafft, überaus konzentriert, pointiert, auch mit Witz, aber mit ebenso großer Ernsthaftigkeit zu musizieren. Ohne Effekthascherei sind ihnen einprägsame Interpretationen gelungen.“
(Rudolf Kamm, Amazon)

Die Neuauflage von Meisterwerken der klassischen Musik durch Esoteric hat weltweit viel Aufmerksamkeit erregt. Das kompromisslose Engagement für die Wiederherstellung und Bearbeitung der ursprünglichen Bänder sowie die Verwendung der Hybrid-Super-Audio-CD-Technologie zur Verbesserung der Klangqualität machen die Veröffentlichungen von Esoteric zum Pflichtprogramm und audiophilen Genuss für alle Liebhaber der Klassik!

Hybrid-SACD in limitierter Auflage! Japanische Pressung.

Aufnahme: Teldex Studio, Berlin, Februar 2002

Piano: Martha Argerich
Violine: Gidon Kremer
Viola: Yuri Bashmet (1-4)
Violoncello: Mischa Maisky

Artykuł BRAHMS, SCHUMANN<br />Klavierquartett op.25 / Fanstasienstucke op.88<br /> Martha Argerich, Gidon Kremer, Yuri Bashmet, Mischa Maisky 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 Gramophone Magazine

Artykuł BRAHMS<br />The Cello Sonatas<br />Mstislav Rostropovich, Rudolf Serkin pochodzi z serwisu Cleartone.

Her clean and highly differentiated timbre, her lyrical expression, technical perfection, and of course her very own thrilling esprit is marvellous to hear.

No matter whether the absolute Brahms fan tucks this LP under his pillow at night, or the collector stows it away in his cupboard, or even better lets it spin around on the turntable, this LP remains invaluable for its documentary and artistic value.

Erica Morini?s 60-year career included concert performances with leading orchestras such as the Leipzig Gewandhaus and Berlin Philharmonic but regrettably she made few recordings. It?s a rare pleasure, therefore, to hear this supreme violinist at her finest in this stereo recording of Brahms?s Violin Concerto in D major, which the 61-year-old Morini made with the Philharmonic Orchestra, conducted by Artur Rodzinski.

It was recorded in 1956 at Walthamstow Assembly Hall in London for the Westminster label and clearly demonstrates the performer?s clean and highly differentiated timbre, lyrical expression, technical perfection, and the thrilling passion that was her trademark. This outstanding LP is one the collector will treasure for its documentary value and which the music-lover will appreciate for its insight into the work of an artist of real musical integrity.

Artykuł BRAHMS<br />Violin Concerto in D Major, Op. 77 <br />Erica Morini, Artur Rodzinski, Philharmonic Symphony Orchestra of London pochodzi z serwisu Cleartone.