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ORFF, Gundula Janowitz, Gerhard Stolze, Dietrich-Fischer Dieskau, Deutsche Oper Berlin, Eugen Jochum
Carmina Burana
ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Direct-To-Disc
PIAZZOLLA, ChamberJam Europe
Tangos del Ángel y del Diablo
Direct-to-Disc ( D2D ) - Numbered Limited Edition
RACHMANINOV, Sviatoslav Richter, Stanislaw Wislocki
Piano Concerto No.2 / 6 Preludes
ZamknijGaleria okładek
- Sviatoslav Richter - Rachmaninov: Piano Concerto No.2
- 01. Rachmaninov: Moderato (11:13)
- 02. Rachmaninov: Adagio sostenuto (11:54)
- 03. Rachmaninov: Allegro scherzando (11:43)
- 04. 6 Preludes
- - Nr. 12 C-dur op. 32
- - Nr. 13 b-moll op.32 Nr. 2
- - Nr 3 B-dur op. 23
- - Nr 5 D-dur op. 23 Nr. 4
- - Nr 6 g-moll op. 23
- - Nr 8 c-moll op. 23 Nr. 7
- na płycie kompaktowej, ponadto:
- Tchaikovsky - Piano Concerto No. 1 - Herert von Karajan
- Sviatoslav Richter - piano
- Stanislaw Wislocki - conductor
- Warsaw Philharmonic Orchestra - orchestra
- RACHMANINOV
179.00 PLN
LP-180G 33rpm:
Nr kat.: SLPM138076Label : ClearAudio Records
...szalenie eksytująca była gra pianisty - pisał recenzent brytyjski.
It was this record that first introduced me to Richter's playing and it quite bowled me over. Not only for its virtuosity, which is remarkable enough, but for the range of colour in the playing and for the imagination of the interpretation of the work. Some readers may think there is too much imagination and that some points of interpretation are excessive: certainly it is not just another performance of an over-played concerto. Some tempos are very fast indeed, notably that for the start of the finale—yet the playing is breathtaking and immaculate; and if some sections seem unusually slow, that impression is probably emphasized by surrounding fast speeds and the overall impression is totally convincing. There are a number of other smaller, personal touches of interpretation, like the broadening of a few chords here to make them emphatic, a ritenuto there that seems excessive. All in all, however, I still find it represents a valid personal view of a very great artist. The selection of Preludes, less well known than they ought to be, gave me unalloyed pleasure.
The recording is what I remember as typical DGG (as it was then), the orchestra rather lacking in brightly-lit colour. The piano, however, comes off very well, especially in the brilliance of its upper register. Whatever your views about the interpretation, you are likely to respond to this often wildly exciting playing. T.H.
źródło: https://www.gramophone.net/Issue/Page/February%201982/
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