It was always likely that Janine Jansen would make the violin her life’s work; she began playing aged six and both her parents were musicians, as are her two brothers. What was less predictable was that she would go on not just to play the instrument, but to become one of the true greats. A playing style that combines gripping presence with infinite subtlety of tone and phrasing has the critics reaching for every superlative in the book, wherever she plays across the world: “So golden, so delicate, almost ethereal” (The Times), “dazzling dexterity” (The Australian), “a tantalizing dance of colours and textures” (New York Times), “a stunning display of sustained intensity” (The Guardian).

Born in Soest in the Netherlands, she went on to study with Coosje Wijzenbeek, Philipp Hirshhorn and Boris Belkin. Her Concertgebouw debut in 1997 made her a great star in her native Holland, but she was destined for a wider stage. She was named a BBC New Generation Artist in 2002, made her London debut in the same year, with Vladimir Ashkenazy conducting the Philharmonia Orchestra, and three years later opened the 2005 BBC Proms with a performance of the Mendelssohn Violin Concerto that really put her on the international map. Along the way she received invitations from some of the world’s greatest orchestras, including the Royal Concertgebouw Orchestra, Berliner Philharmoniker, London Symphony Orchestra, New York Philharmonic, Philadelphia and Cleveland Orchestras, the NHK Symphony Orchestra, the Orchestra dell’Accademia Nazionale di Santa Cecilia, the London Symphony Orchestra and the Chamber Orchestra of Europe. She has worked with such eminent conductors as Lorin Maazel, Valery Gergiev, Riccardo Chailly, Neeme Järvi, Paavo Järvi, Esa-Pekka Salonen, Daniel Harding, Sir Antonio Pappano, Sir Mark Elder, Edo de Waart and Sir Roger Norrington.

Janine Jansen was the Featured Artist at the 2014 BBC Proms, culminating in an appearance at the globally-renowned Last Night of the Proms. Her 2015 diary takes her widely across Europe, with performances of the Brahms, Tchaikovsky, Beethoven and Mendelssohn violin concertos featuring prominently in the schedule. In February 2016 she tours Japan before playing a London concert then taking off again around Europe.

In addition to her concerto performances and projects, Jansen is a devoted recitalist. She established and curates the annual International Chamber Music Festival in Utrecht, and since 1998 she has been a member of Spectrum Concerts Berlin, a major chamber music series in the Berlin Philharmonie. Her chamber partners include Leif Ove Andsnes, Jean-Yves Thibaudet, Itamar Golan, Kathryn Stott, Julian Rachlin, Maxim Rysanov, Torleif Thedéen and Mischa Maisky.

In September 2003 Janine Jansen received the Dutch Music Prize from the Ministry of Culture – the highest distinction an artist can receive in The Netherlands. She has won many awards, including the Edison Classic Public Award four times, three Echo awards, the Royal Philharmonic Society Instrumentalist Award, the Preis der Deutschen Schallplattenkritik, the NDR Musikpreis for outstanding artistic achievement, the VSCD Klassieke Muziekprijs for individual achievement and the Concertgebouw Prize.

Janine Jansen could probably make magic on any violin, but a great instrumentalist deserves a great instrument. She currently plays the 1727 ‘Baron Deurbroucq’ Stradivarius, on loan from the Beare’s International Violin Society.

Artykuł SCHUMANN, STRAVINSKY, STRAUSS R., SAINT-SAENS, PAGANINI <br/>Itamar Golan, Janine Jansen<br/>The Most Beautiful Violin pochodzi z serwisu Cleartone.

While the Reger concerto comes from the end of his career, the Strauss Burleske is a product of that composer’s prodigious youth. This ebullient work has long been a Hamelin ‘party-piece’, and he plays it with an unmatched brilliance which surely captures the essence of this humorous music and will have the listener on the edge of his seat.

Artykuł REGER, STRAUSS R., <br />Piano Concertos <br />Marc-Andre Hamelin <br />Berliner Rundfunk Sinfonie-Orchester <br />Ilan Volkov 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.

Große Opernprojekte funktionieren (fast) nie wie geplant. Wenn mehr als 100 Orchestermusiker, ein Chor und 30 Solisten zusammen kommen sollen, kann man sicher sein, dass Krankheiten oder andere Ereignisse Umbesetzungen, oft noch in letzter Minute, nötig machen werden. Eigentlich hätte Leonie Rysanek in dieser 1958 durchgeführten Produktion die Marschallin singen sollen, doch die musste wegen Krankheit absagen.

Und so kam Marianne Schech zum Zuge, eine Sängerin, die aufnahmeseitig immer unterrepräsentiert war. Dabei gehörte sie mit Herta Töpper und Erika Köth über Jahre zum regulären Sängerinnen-Trio des »Rosenkavalier« in der Bayerischen Staatsoper. Sie war ein typisch jugendlich-dramatischer Sopran alter Schule mit besonderer Neigung zu Wagner und Strauss und damit ein Gegenentwurf zu Elisabeth Schwarzkopf, die die Marschallin eher liedhaft anlegte. Großartig die Besetzung des Octavian mit Irmgard Seefried, die ihre Liedexpertise in ihre Rolle einbringt. Kurt Böhmes profunder Bass stellt einen überzeugenden Baron Ochs von Lerchenau dar.

Und auch die übrige hochkarätige Besetzung ließ diese Einspielung zu einem Markstein in der Diskographie des »Rosenkavalier« werden. Die Aufnahme entstand in Dresden; es ist die einzige Studioeinspielung dieses Werkes mit Karl Böhm.

Artykuł STRAUSS R. <br />Der Rosenkavalier <br />Rita Streich, Dietrich-Fischer Dieskau, Irmgard Seefried <br />Staatskapelle Dresden <br />Karl Bohm pochodzi z serwisu Cleartone.

Artykuł STRAUSS R. <br /> Ein Heldenleben <br />Erich Leinsdorf, Boston Symphony 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 STRAUSS R. <br />Ein Heldenleben – Symphonic Poem ‚A Hero’s Life‘ <br />Wiener Philharmoniker <br />Karl Bohm pochodzi z serwisu Cleartone.

Artykuł TCHAIKOVSKY, STRAUSS R. <br />Romeo and Juliet / Till Eulenspiegel <br />Charles Munch, Boston Symphony 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 STRAUSS R. Till Eulenspiegel / Salomws Tanz / Don Juan Berliner Philharmoniker, Herbert von Karajan pochodzi z serwisu Cleartone.

5.0 out of 5 stars
By Trevor Gillespie on August 22, 2000

If you’ve ever wondered what recording was actually used in 2001 A Space Odysee, look no further. Herbert von Karajan made a recording of this piece when this piece wasn’t popular. It was a risk, but now tends to be one of the defining pieces of music by Richard Strauss. Although there is considerable hiss on this recording in the softer passages, the music is beautiful and never overshadowed by the hiss. The remastering by the folks at Decca have made sure that all the pianissimos are still wonderful. Karajan was a master of the quieter moments in a score, and teamed with the Vienna Philharmonic doing Strauss, you have a great combination. For example, listen to all of track 2 and you’ll know what I mean. Of course, that isn’t to say that the louder more powerful parts aren’t noteworthy. Karajan was a master of those too. Perhaps that’s why he was the 20th Century’s greatest conductor (that’s an opinion, not a fact). It’s all captured well in this recording. Decca has long had a tradition of fine recordings. This remastering is superb.

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 STRAUSS R., <br />Also sprach Zarathustra / Till Eulenspiegels lustige Streiche / Salome’s Dance, for orchestra / Don Juan <br /> Vienna Philharmonic Orchestra <br /> Herbert von Karajan 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.

Der Rosenkavalier

Die Feldmarschallin Fürstin Werdenberg: Anna Tomowa-Sintow (Soprano)
Der Baron Ochs auf Lerchenau: Kurt Moll (Bass)
Octavian, genannt Quinquin, ein junger Herr aus grossem Haus: Agnes Baltsa (Mezzo-Soprano)
Herr von Faninal, ein reicher Neugeadelter: Gottfried Hornik (Baritone)
Sophie, seine Tochter: Janet Perry (Soprano)
Jungfer Marianne Leitmetzerin, die Duenna: Wilma Lipp (Soprano)
Valzacchi, ein Intrigant: Heinz Zednik (Tenor)
Annina, seine Begleiterin: Helga Müller-Molinari (Mezzo-Soprano)
Ein Polizeikommissar: Victor von Halem (Bass)
Der Haushofmeister bei der Feldmarschallin: Kurt Equiluz (Tenor)
Der Haushofmeister bei Faninal: Franz Kasemann (Tenor)
Ein Notar: Carlos Feller (Bass)
Ein Wirt: Karl Terkal (Tenor)
Ein Sänger: Vinson Cole (Tenor)
Sung in German
Konzertvereinigung Wiener Staatsopernchor
Chorus Master: Helmut Froschauer

Artykuł STRAUSS R. <br />Der Rosenkavalier <br />Anna Tomowa-Sintow <br />Agnes Baltsa <br />Kurt Moll <br />Wiener Philharmoniker <br />Herbert von Karajan pochodzi z serwisu Cleartone.

Cast
Idomeneo Dario Schmunck
Idamantes Sofiya Solovey
Ilia Cinzia Forte
Ismene Francesca Scaini
High Priest Federico Sacchi
Arbaces/Una Voce Michele Aurelio Bruno

Conductor
Corrado Rovaris

Orchestra
Italian International Orchestra

Chorus
Slovak Chamber Choir

Chorus master
Pavol Procházka

Artykuł MOZART, STRAUSS R., Sofia Soloviy, Dario Schmunck, Orchestra Internationale d’Italia, Corrado Rovaris<br/>Idomeneo pochodzi z serwisu Cleartone.