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.

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>

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Artykuł STRAVINSKY, TCHAIKOVSKY<>br />Symphony Nop. 4 / The Firebird<br />Orchestre de Paris, Seiji Ozawa pochodzi z serwisu Cleartone.

This thrilling, epoch-making masterpiece remains fascinating to this very day thanks to its bloodcurdling rhythms, its secretive, intertwined melodies, and the boiling, seething, and lashing of the titanic instrumental forces. And Sir Georg Solti and his phenomenal orchestra certainly ensure that all this is brought over to the listener. The notes of the lyrical passages simply fly out of the loudspeakers with the lightness and airyness to which one is accustomed with DECCA recordings from this era. But one can still be astounded by this audiophile work of art: such a gentle, voluminous, lashing and pounding sound-storm is only normally heard live in the concert hall. And precisely because this recording sounds so marvellous, it tops the vinyl charts in the American specialist magazine The Absolute Sound.

Artykuł STRAVINSKY<br />Le Sacre Du Printemps<br />Chicago Symphony Orchestra, Sir Georg Solti pochodzi z serwisu Cleartone.

Artykuł STRAVINSKY<br />Petrushka / Firebird<br />Berlin Philharmonic, Leopold Stokowski pochodzi z serwisu Cleartone.

Le Sacre du printemps
Part 1: L’Adoration de la terre

Introduction
Les Augures printaniers – Danses des adolescentes
Jeu du rapt
Rondes printanières
Jeu des cités rivales
Cortège du sage
Le sage
Danse de la terre

Part 2: Le Sacrifice

Introduction
Cercles mystérieux des adolescents
Glorification de l’élue
Évocation des ancêtres
Action rituelle des ancêtres
Danse sacrale

Alexander Scriabin (1872-1915)

Le Poème de l’extase Op. 54
Prométhée – le Poème du feu Op. 60

Artykuł ESOTERIC SACD<BR />STRAVINSKY, SCRIABIN, Kirov Opera and Orchestra, Valery Gergiev<br />The Rite Of Spring / The Poem Of Ecstasy / Prometheus pochodzi z serwisu Cleartone.

ESOTERIC equipment used for re-mastering
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.

Pétrouchka:
Leslie Howard, Piano

Pulcinella:
Teresa Berganza, Mezzo-Soprano
Ryland Davies, Tenor
John Shirley-Quirk, Bass

London Symphony Orchestra
Conducted by Claudio Abbado

Ausverkauft – letzte Exemplare.

Das Produkt ist nicht rabattfähig

Artykuł STRAVINSKY <br />Petrouchka / Pulcinella <br />The London Symphony Orchestra <br />Claudio Abbado pochodzi z serwisu Cleartone.

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.

Artykuł STRAVINSKY, MUSSORGSKY <br />Suite from The Firebird / Suite from Le coq d’or <br />Boston Symphony <br />Erich Leinsdorf pochodzi z serwisu Cleartone.

ESOTERIC equipment used for re-mastering

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.

Artykuł STRAVINSKY<br />Sacre Du Printemps / Firebird<br />Pierre Boulez, Chicago Symphony Orchestra pochodzi z serwisu Cleartone.

• Muti was very much an EMI artist in the 1980s and EMI found a new recording venue in the Old Metropolitan Opera House in Philadelphia, the generous acoustic of which “enables this great orchestra to be heard to best advantage” as the GRAMOPHONE wrote in 1979.

• Produced and engineered by Christopher Bishop and Michael Gray respectively.

• Cut at Abbey Road Studios from the original stereo analogue master tapes with the Neumann VMS80 lathe fed an analogue pre-cut signal from a specially adapted Studer A80 tape deck with additional playback head.

 Pressed on 180g vinyl to audiophile standards

 Featuring the original album artwork

 In the original 1979 review of the Mussorgsky Robert Layton in the GRAMOPHONE wrote:
“…“…what orchestral playing they offer us. The lower strings in ‘Samuel Goldenberg and Schmuyle’ have an extraordinary richness, body and presence, and “Baba Yaga”, which opens the second side, has an unsurpassed virtuosity and attack as well as being of demonstration standard as a recording. The glorious body of tone, the richly glowing colours, the sheer homogeneity of the strings and perfection of the ensemble is a constant source of pleasure.”
 Of the Stravinsky Layton wrote:
“…Muti’s reading is second to none and the orchestral playing is altogether breathtaking. The recording is amazingly lifelike and truthful.”
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Artykuł MUSSORGSKY, STRAVINSKY<br />Pictures From An Exhibition<br />The Firebird<br />Riccardo Muti, The Philadelphia Orhestra pochodzi z serwisu Cleartone.

„The double-stopping of the big theme in the Wieniawski and the audible bouncing of the bow in the lightning-quick passages of the Saint-Saëns show Milstein at his best. The Stravinsky is presumably based on the composer’s own arrangement for violin and piano (made with Dushkin), the violin taking not only the melody originally given to the bassoon but all the other phrases that could conceivably be regarded as melody. Here the orchestral part appears to be more than a restoration of the 1919 scoring with fuller woodwind added, conceivably owing something to the original 1911 scoring. In any case no one is likely to worry overmuch about the ancestry of what here becomes a delightful occasional piece, warmly performed…“ – The Gramophone magazine

Artykuł MOZART, BEETHOVEN, WIENIAWSKI, STRAVINSKY<br />Masterpieces<br />Nathan Milstein, Walter Susskind pochodzi z serwisu Cleartone.