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.

2 & 6: Dietrich Fischer-Dieskau (Baritone)
4: Victoria de los Angeles (Soprano)
Choeurs Elisabeth Brasseur
Orchestre de la Société des Concerts du Conservatoire
Conducted by André Cluytens
Henriette Puig-Roget (Organ)

Artykuł FAURE <br />Requiem <br />Dietrich-Fischer Dieskau, Victoria de los Angeles <br />Andre Cluytens <br />Orchestre de la Société des Concerts du Conservatoire pochodzi z serwisu Cleartone.

‚One of the most purely pleasurable releases of the year so far. The playing is intelligent, persuasive, loving, and the music reaches far beyond the standard boundaries of fin de siècle French salon style. Four outstanding discs‘ (The Independent)

‚Sumptuously recorded. A true and dedicated Francophile [Kathryn Stott] is clearly among the more stylish and intriguing of all young pianists‘ (Gramophone)

‚She deserves an honoured place beside the most distinguished Fauré exponents … A major achievement in every way‘ (Classic CD)

‚A tremendous achievement‘ (BBC Music Magazine)

‚A major contribution to the recorded literature of French piano music, strongly recommended‘ (Fanfare, USA)

‚A revelation‘ (Penguin Guide to Compact Discs)

‘I never expect to hear this music better done’ (Classic FM Magazine)

‚Cette superbe version insurpassé peut-être quant à la transparence et la musicalité‘ (Diapason, France)

Artykuł FAURE <br />Complete Music for Piano <br />Kathryn Stott pochodzi z serwisu Cleartone.

‚Superb‘ (Fanfare, USA)

This CD brings together previously issued recordings from separate discs of two of the best-loved settings of the Requiem. The Requiem Mass is the solemn liturgy of the Roman Catholic Church sung to honour the departed and to ask for rest for their immortal souls (the Latin word ‚requiem‘ is best translated as ‚rest‘). There have been many settings over the centuries. Fauré’s is unquestionably one of the best loved and is indeed the composer’s most popular work. Some of its melodies have even been used in TV commercials (for Volkswagen). Duruflé’s Requiem was clearly written in homage to Fauré’s serene masterpiece and exists in three versions. It is the composer’s final revision of the work that is recorded here.
The Fauré recording is described as ‚ethereally beautiful‘ in the Penguin Guide, and BBC Record Review said of the Duruflé that it has ‚a heavenly, visionary effect which is amazingly satisfying‘.

The two discs from which these recordings are taken remain available separately. Each contains more music by each composer (Fauré: CDA66292; Duruflé: CDA66191).

Artykuł DURUFLE, FAURE <br />Requiems Corydon Singers <br />English Chamber Orchestra <br />Matthew Best pochodzi z serwisu Cleartone.

‚Among the new discs celebrating the 150th anniversary of Fauré’s birth this is outstanding‘ (The Guardian)

‚Profound and fascinating works of alluring beauty performed with care and affection‘ (Classic CD)

‚Chamber music disc of the month … stunningly played … beautifully recorded … A worthy successor to the group’s set of the two Piano Quartets‘ (Classic FM Magazine)

‚An outstanding issue‘ (The Guardian)

‚Exquisite‘ (San Francisco Examiner)

‚Quelle merveille!‘ (Diapason, France)

‚The playing of Domus in these two masterpieces is as light, delicate and full of insight as one would expect. They make one fall for this music all over again. This is the best-ever version of these two pieces‘ (Penguin Guide to Compact Discs)

Artykuł FAURE <br />Piano Quintets <br />Domus <br />Anthony Marwood pochodzi z serwisu Cleartone.

– The complex origins of the mélodie can be traced to two song types, the 18th-century French romance and the lieder of Schubert.
– The French composers emphasize the text rather than the melody, and the declamatory style is dominating their vocal writing.The French special sense for beauty manifests itself in the piano part, both in the rich textures employed and in the special harmonies.
– The four Henri Duparc’s songs offer the richest writing for the piano as well as the longest and profoundest emotional experiences on this CD.
– Gabriel Fauré’s style favours the balance of melodic forces and the research for melodic shadings, even though his admiration for Wagner appears in the use of irregular phrases and the use of a melodic line which becomes more free.
– Jacques Ibert’s Quatre Chansons de Don Quichotte, composed in 1931, were included in the soundtrack of the movie ”Don Quixote” directed by Wilhelm Pabst, starring the Russian bass Feodor Chaliapin.
– Ravel’s songs are pure and simple and yet full of profound emotional content. These three songs were Ravel’s last works.

– The dark timbre and the colourful diversity of Colombara’s voice, as well as his extraordinary vocal culture, make him one of the most sought-after basses of our time.
– Critics in Italy and abroad have underlined his stylistic versatility and interpretative suppleness, thanks to which Colombara can project the powerful authority of Verdi’s rulers and father figures just as compellingly as he can breathe life into the filigree cantilenas of Italian bel canto parts.
– ”Carlo Colombara was noble and dignified as Norma’s dad, the head priest Oroveso”
The Wall Street Journal, Heidi Waleson
– ”The other find of the evening was Carlo Colombara, a bass making his New York debut as Mocenigo. Mr. Colombara’s sound is deep and rounded, and he projected Mocenigo’s malign character powerfully but without forcing it.”
New York Times, Allan Kozinn

Artykuł FAURE, GOUNOD, IBERT, RAVEL, Carlo Colombara<br/>Recontres – Melodies francaises pochodzi z serwisu Cleartone.