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<br />Etudes op.10 & op.25<br />Maurizio Pollini pochodzi z serwisu Cleartone.

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 klassischen Musik!

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Artykuł BEETHOVEN, CHOPIN<br />Piano sonatas 14 & 26 / Ballade No. 1, Scherzo No. 1, Scherzo No. 2<br /> Evgeny Zarafiants pochodzi z serwisu Cleartone.

It seems that Blechacz has done well to find Kim, too, because there’s an audible meeting of musical minds across their exploration of French lyricism and Polish melancholy, heard right from the start of the opening Fauré Violin Sonata No 1. First, Blechacz’s picked-out melody sings out brightly with passionate amour from within lucid-textured cascading figures. Then in comes Kim, counterfoiling her equal romance with a clean, supple sound. Engineering-wise, as well, there’s a nicely egalitarian balance between the two of them. What does remain constant, is the sheer energy and drive, aided by Kim’s sound itself: direct and ardent, with mahogany-hued lower registers contrasting with sweetly ringing, singing upper ones. This all combines to especial effect with the Debussy, in an unusually driven, emotional-ly strong reading of this autumnal work. One of Kim’s most effective gifts here is her spotlighting of Debussy’s linguistic debt to the Orient; listen in the first movement to how grace-note inflections and sur la touche playing is so very husky and languorous that the parallels with Asian voice flute are unmissable. (Gramophone)

Artykuł FAURE, DEBUSSY, SZYMANOWSKI, CHOPIN<br />Recital<br /> Rafal Blechacz, Bomsori Kim pochodzi z serwisu Cleartone.

Starker is a superb musician and a master of his instrument. He has previously recorded some of the music on this disc, but these new performances sound better and are better. Mercury has wisely avoided the old echo-chamber manner of recording which made the early Starker discs sound as if they were played on one hundred cellos at once in the Moscow subway.

There is probably no cellist currently active who can draw the range of floating and resonant sounds even up into the top register as Starker can. Nor, for that matter, are there many who can do all this with such musical integrity. He challenges memories of the fabled Feuermann, and his performance of the Chopin Polonaise brillante comes as close to the old Feuermann performance as any now available. Gyorgy Sebok is an admirable partner. (Hi-Fi Review)

Artykuł MENDELSSOHN, MARTINU, CHOPIN<br />Recital<br />Janos Starker, Gyorgy Sebok pochodzi z serwisu Cleartone.

Artykuł CHOPIN<br />Klavierkonzert Nr. 1 in e-moll, op. 11<br />Maurizio Pollini, Paul Kletzki, Philharmonia Orchestra pochodzi z serwisu Cleartone.

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.

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.

Ausverkauft – letzte Exemplare.
Das Produkt ist nicht rabattfähig

Artykuł CHOPIN <br />Polonaises <br />Maurizio Pollini 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.