Reviews

Fono Forum (01/02/2007):

„Dead men playing:

Seit Telefunken 1957 die ersten monauralen 25-Zentimeter-LPs mit Überspielungen von Klavierrollen herausbrachte, rissen die Versuche nicht mehr ab, den Fundus von weltweit knapp 20.000 Papier-Tonträgern aus knapp dreißig Jahren neu zu erschließen. more…

Pizzicato (06/01/2006):

„Bei TACET ist man nie um gute Ideen verlegen, wenn es darum geht, ganze Sachen zu machen. Man hat kurzerhand den Pianisten Peter Orth verpflichtet, um die 5 Préludes zu spielen, die auf den Welte-Mignon-Rollen von Chopins Zyklen op. more…

Audiophile Audition (04/01/2006):

„This is the latest continuation of „The Welte-Mignon Mystery“ – from Germany′s Tacet label – Volume IV to be exact. We′ve reviewed in the past here several different CDs made from the amazing Welte piano rolls. more…

Artykuł CHOPIN<BR />Dead or Alive – The Welte Mignon Mystery Vol. IV<BR />Valdimir Horowitz, Ignacy Jan Paderewski, Artur Schnabel, Rudolf Serkin pochodzi z serwisu Cleartone.

Bei diesem Titel handelt es sich um eine SHM-SACD. Dieses Format ist die Weiterentwicklung der Single-Layer-SACD und verwendet einen besonders lichttransparenten Kunststoff (Super High Material). Durch ihn wird eine deutlich bessere Auslesbarkeit der Pit-Land-Strukturen auf der Oberfläche erreicht als bei Hybrid-SACDs möglich. Die SHM-SACDs von Universal werden generell von den Masterbändern der Alben ohne Veränderungen neu in DSD digitalisiert. SHM-SACDs können auf jedem SACD-Spieler wiedergegeben werden. Bitte verwenden Sie weder L’Art du Son noch alkoholbasierte Reinigungsmittel. – Achtung: Alle Titel werden von Universal Music als Sammlerstücke in Limited Edition für den japanischen Markt konzipiert.

Artykuł CHOPIN, 24 Preludes, Op. 28 / Prelude No. 25 in C sharp minor / Piano Sonata No. 2 in B flat minor<BR />Martha Argerich pochodzi z serwisu Cleartone.

Miyuji Kaneko was born in 1989 to a Japanese father and a Hungarian mother. At the age of six, he moved to Hungary alone to study under Zsuzsa Cs. Nagy at the Bartok Elementary School of Music. In 2001 at the age of eleven, he was accepted into the Franz Liszt Academy of Music, skipping grades and studying with professors Gabor Eckhardt, Gyongyi Kevehazi, and Rita Wagner. He has won first prizes in many international music competitions, including the 2008 Bartok International Piano Competition. In 2013, he recorded Tchaikovsky’s Piano Concerto No. 1 at EMI Studios in London with Kenichiro Kobayashi directing the London Philharmonic.

Enjoy the overwhelming power of musical expression in works of Miyuji’s specialty composers: Chopin, Liszt, and Debussy.

Without missing the delicate tones that are hard to pick out even in concert, here you can experience harmonies interwoven with the complex resonances and overtones brought into being by the sounds of strong hammer strikes. With the inner emotions of the performer clearly evident, you can fully savor the profound qualities of high-end audio.

Perfectionist DSD recording using the very best vacuum tube condenser microphones: Neumann M-50C and Brauner VM1.

From the 1960s until today, the M-50C has been an unrivaled presence as the principal microphone of Decca Records in Britain. It has produced a huge number of famous recordings in diverse situations ranging from small instrumental ensembles to large orchestras. The VM1 is a vacuum tube microphone currently attracting strong attention from recording engineers around the world. Its distinctive characteristics include a natural sound quality and the ability to superbly record the indirect sounds of fine halls.

Engineered to enable the selection and comparison of sound captured by each microphone. (SACD layer only)

Microphone tracks can be selected because the same performance was recorded using different microphones. Tracks one to seven were recorded on the Neumann M-50C, and tracks eight to fourteen on the Brauner VM1. You can choose which of the tracks best suit your preferences. (Single-microphone performance time: 56:06)

Dynamic piano sounds overflowing with vitality elicited in a hall designed with a rich musical atmosphere and sound space.

In order to make the most of the musical power of expression of the performer, the piano and the piano tuner are extremely important factors, but the acoustics of the hall are also critical to the appeal of the piece. It is preferable for low frequency sound reverberations to fade quickly while high frequency sound reverberates for longer. Additionally, soft stage floors underneath the piano tend to produce a deep booming sound that causes the acoustic image to become indistinct. The Northern Alps Culture Center (Toyama Prefecture) was selected as the recording hall because such issues were addressed when it was constructed.

Definitive sound quality sought from the DSD recording stage to the clock generator, lines, and power cables used in mastering.

Very thick power cables were connected directly to the switchboard, and the highest quality ESOTERIC materials were used for the power cables and line cables used on the AD converter, the rubidium clock generator, and the hard disk drive. To reduce noise interference, devices were removed from racks and matched with compatible insulators. Our uncompromising approach was also extended to working times, with recordings taken on holidays and mastering done late at night to ensure a more stable power supply.

Artykuł CHOPIN, LISZT, DEBUSSY, BACH <br />Piano Pieces 2 <br />Miyuji Kaneko pochodzi z serwisu Cleartone.

Stephen Hough’s extraordinarily sensitive playing is informed by his limitless technique and engaging musical imagination. This is the Chopin of a true Romantic.

Artykuł CHOPIN <br />Late Masterpieces <br />Stephen Hough pochodzi z serwisu Cleartone.

Between 1830 and 1846 Chopin wrote eighteen Nocturnes that were published more or less in the order in which they were written. By spanning almost his entire creative life, they give us a marvellous opportunity to see not only how his early works were already totally inspired and original, but also how his style and emotional maturity developed through the years.

The four Impromptus date from 1835 to 1842. The title suggests improvisation; they might very well have been conceived as such initially, but we know that Chopin went through agonies when it came to writing a musical idea down. He would often spend six weeks on a page, only to return to what he had written in the first place. You wouldn’t know it listening to these pieces. They are full of vitality and freshness, and carry us along with great fluidity.

Hewitt’s performances are every bit as fresh as one would expect from the pianist hailed as ‘one of the reliably mesmerising musicians of the day’, with ‘the ability to convey a spiritual seriousness that nonetheless does not exclude an utter charm’ (The Sunday Times).

Reviews

‘In a catalogue boasting many distinguished Chopin Nocturne cycles, Angela Hewitt’s commands attention’ (BBC Music Magazine)

‘One of the most elegant pianists around, the Canadian virtuoso Angela Hewitt interrupts her epic Bach and Couperin cycles for Hyperion to explore some of Chopin’s most refined music, the complete Nocturnes and Impromptus. Hewitt’s innate sophistication and delicacy of touch are perfectly suited to these exquisite pieces, 25 of them over two discs, by a master of the genre at the height of his fragile powers. Spanning almost his entire creative life, the Nocturnes amount to a remarkable graph of Chopin’s emotional maturity, touchingly reflected in the affectionate care Hewitt brings to what sounds like a labour of love’ (The Observer)

‘Hewitt is not given to grand effects, whether an extreme rubato or rude dynamic change. Still, she can play grandly as well, as we hear on her powerful performance of the great Fantaisie-Impromptu in C sharp minor. This new recording of the nocturnes is what Marlon Brando would have called, if he had cared, a contender. It’s richly recorded and beautifully played: it has art’s final seal’ (Fanfare, USA)
‘Angela Hewitt is a sound buy … the delicacy of touch and manicured precision of the phrasing is a delight’ (The Scotsman)

Artykuł CHOPIN <br />Nocturnes & Impromptus <br />Angela Hewitt pochodzi z serwisu Cleartone.

Miyuji Kaneko, Piano

Miyuji Kaneko was born in 1989 to a Japanese father and a Hungarian mother. At the age of six, he moved to Hungary alone to study under Zsuzsa Cs. Nagy at the Bartok Elementary School of Music. In 2001 at the age of eleven, he was accepted into the Franz Liszt Academy of Music, skipping grades and studying with professors Gabor Eckhardt, Gyongyi Kevehazi, and Rita Wagner. He has won first prizes in many international music competitions, including the 2008 Bartok International Piano Competition. In 2013, he recorded Tchaikovsky’s Piano Concerto No. 1 at EMI Studios in London with Kenichiro Kobayashi directing the London Philharmonic.

Enjoy the overwhelming power of musical expression in works of Miyuji’s specialty composers: Chopin, Liszt, and Debussy.

Without missing the delicate tones that are hard to pick out even in concert, here you can experience harmonies interwoven with the complex resonances and overtones brought into being by the sounds of strong hammer strikes. With the inner emotions of the performer clearly evident, you can fully savor the profound qualities of high-end audio.

Perfectionist DSD recording using the very best vacuum tube condenser microphones: Neumann M-50C and Brauner VM1.

From the 1960s until today, the M-50C has been an unrivaled presence as the principal microphone of Decca Records in Britain. It has produced a huge number of famous recordings in diverse situations ranging from small instrumental ensembles to large orchestras. The VM1 is a vacuum tube microphone currently attracting strong attention from recording engineers around the world. Its distinctive characteristics include a natural sound quality and the ability to superbly record the indirect sounds of fine halls.

Engineered to enable the selection and comparison of sound captured by each microphone. (SACD layer only)

Microphone tracks can be selected because the same performance was recorded using different microphones. Tracks one to seven were recorded on the Neumann M-50C, and tracks eight to fourteen on the Brauner VM1. You can choose which of the tracks best suit your preferences. (Single-microphone performance time: 56:06)

Dynamic piano sounds overflowing with vitality elicited in a hall designed with a rich musical atmosphere and sound space.

In order to make the most of the musical power of expression of the performer, the piano and the piano tuner are extremely important factors, but the acoustics of the hall are also critical to the appeal of the piece. It is preferable for low frequency sound reverberations to fade quickly while high frequency sound reverberates for longer. Additionally, soft stage floors underneath the piano tend to produce a deep booming sound that causes the acoustic image to become indistinct. The Northern Alps Culture Center (Toyama Prefecture) was selected as the recording hall because such issues were addressed when it was constructed.

Definitive sound quality sought from the DSD recording stage to the clock generator, lines, and power cables used in mastering.

Very thick power cables were connected directly to the switchboard, and the highest quality ESOTERIC materials were used for the power cables and line cables used on the AD converter, the rubidium clock generator, and the hard disk drive. To reduce noise interference, devices were removed from racks and matched with compatible insulators. Our uncompromising approach was also extended to working times, with recordings taken on holidays and mastering done late at night to ensure a more stable power supply.

Artykuł CHOPIN, LISZT, DEBUSSY <BR />Piano Pieces <br /> Miyuji Kaneko pochodzi z serwisu Cleartone.

Our singer, Urszula Kryger, has already enjoyed spectacular success in the short time since she stormed the juries of various international singing competitions in the early 90s.

‚A rare opportunity to sample Chopin the song composer, here performed with real feeling by Polish mezzo Urszula Kryger. The dark core of melancholy in Kryger’s voice is fine-tunes to the Slavic melodic contours of a song like The Sad Stream. And her instinctive grasp of both musical and verbal inflection makes for a beautifully understated performance of Melodya, Chopin’s last, heartfelt song of exile‘ (Gramophone)

Artykuł CHOPIN <br />Polish Songs / Four Mazurkas <br />Urszula Kryger pochodzi z serwisu Cleartone.

Just as effortlessly she brings the sharp contrasts between lyrical airiness and extreme tension to perfection in Liszt’s E flat major concerto. With shivers running down the spine, one eagerly awaits Argerich playing the forceful passages, where her complete control is particularly evident in the phenomenal chordal passages.

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

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 CHOPIN, LISZT <br />Concerto for Piano and Orchestra No. 1 / Piano Concerto No. 1 in E flat major, S. 124 <br />Martha Argerich <br >Claudio Abbado <br />The London Symphony Orchestra pochodzi z serwisu Cleartone.

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.

Recording:
Executive Producer: Rainer Brock (Opp. 35, 22, 31)
Recording Producer: Rainer Brock
Tonmeister (Balance Engineer): Heinz Wildhagen

Recorded: 8-11 July 1974, München, Residenz,
Herkulessaal (Opp. 35, 22, 31),
15-17 January 1967, München, Bayerische Akademie der
Wissenschaften, Plenarsaal (Op. 58)

Re-mastering:
Producer: Motoaki Ohmachi (ESOTERIC COMPANY)
Mastering Engineer: Kazuie Sugimoto (JVC Mastering
Center Daikanyama Studio)

Artykuł CHOPIN <br />Piano Sonatas Nos. 2 & 3 / Andante spianato. Tranquillo – Polonaise <br />Martha Argerich pochodzi z serwisu Cleartone.

In the works here featured (like in those of Volume 1, CDS 360) Paganini’s strong inventiveness blends in with that of composers such as Schumann, Chopin and Liszt, who left their personal imprint on famous themes, like for example that of La Campanella.

Artykuł SCHUMANN, CRAMER, HERZ, CHOPIN, LISZT, Marco Pasini<br/>Tribute To Paganini Vol. 2 pochodzi z serwisu Cleartone.