Kệ nhạc cổ điển ivanhoe76 [Multi]

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Nhiều Album hay, cảm ơn bác nhiều!

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Trang nhạc của bác chủ càng ngày càng "lôi cuốn" mọi người !!!:-bd

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Previtali - Verdi La Traviata (1960) [RCA] {24-88}

Gửi đến các bạn Bản SACD rip của opera La Traviata trong bộ Living stereo.

View attachment 192663

SACD FLAC tracks | 24 bit/88.2 kHz | 2.1 GB
RCA Living Stereo | 128 Mins. |
Giuseppe Verdi
Anna Moffo; Richard Tucker; Robert Merill
Fernando Previtali (conductor)
Rome Opera Orchestra & Chorus

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Mình về kiểm tra lại thì thấy bản thu Swan Lake của Gennady Rozhdestvensky có chất lượng thu âm cực tốt (do được BMG remastered lại từ bản gốc của Melodiya) Kỹ thuật thu âm của Melodiya ngày xưa chứng tỏ cũng hoàn hảo. Cả về chất lượng trình diễn và âm thanh bản của Rozhdestvensky mình nghĩ tốt hơn bản của Gergiev với Decca nữa. Mình up lên đây cả 2 bản nghe tham khảo:

Tchaikovsky - Swan Lake - Gergiev (2006 Decca)

View attachment 192769

FLAC (cue) | 1h46'55'' | 492 MB | Decca
Orchestra of the Mariinsky Theatre; Valery Gergiev

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Tchaikovsky - Swan Lake - Rozhdestvensky (1969 BMG)

View attachment 192770

FLAC (cue) | 2h28'15'' | 732 MB | BMG Melodiya
USSR RTV Large Symphony Orchestra; Gennady Rozhdestvensky

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Gergiev - Tchaikovsky Symphony No.6 (2004) [Philips] {24-88}

View attachment 192771

44:00 minutes | SACD rip FLAC (tracks) 24bit/88,2 kHz | Full Artwork (PDF) | 807 MB
Decca/Philips # 475 6197 | Genre: Classical | 2004
Wiener Philharmoniker; Valery Gergiev

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Frang - Mozart (2015) [Warner] {24-44}

View attachment 192784

FLAC (tracks) 24 bit/44.1 kHz | 725 MB | 67 Mins.
Warner Classics | 2015 | Classical | Concerto
Wolfgang Amadeus Mozart
Vilde Frang (violin); Maxim Rysanov (violin)); Arcangelo (ensemble); Jonathan Cohen (conductor)

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Istomin - Mozart Piano concerto 21 24 (1996) [RR] {24-88}

View attachment 192785

FLAC (tracks) 24 bit/88.2 kHz | 1.1 GB | 60 Mins.
Reference Recordings | 1996 | Classical | Concerto
Wolfgang Amadeus Mozart
Eugene Istomin (piano); Seattle Symphony Orchestra; Gerard Schwarz (conductor)

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Roe - Britten Barber Piano Concertos Nocturnes (2015) [Decca] {24-96}

Một đĩa nhạc của 2 nhà soạn nhạc hàng đầu của Anh & Mỹ thế kỷ XX: Benjamin Britten & Samuel Barber. Nhạc cổ điển nhưng rất hiện đại.

View attachment 192786

FLAC (tracks) 24 bit/96 kHz | 1.1 GB | 74 Mins.
Decca | 2015 | Classical | Concerto
Benjamin Britten | Samuel Barber
Elizabeth Joy Roe (piano); London Symphony Orchestra; Emil Tabakov (conductor)

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Báo cáo bác chủ album Tchaikovsky - Swan Lake - Rozhdestvensky (1969 BMG) khi giải nén bị lỗi mất Disk 2 !!!
Theo em thì Swan Lake của Gergiev luu loát và "chín" hơn của Rozhdestvensky . Các bác nghe lại 03 đoạn quen thuộc của tác phẩm này là đoạn Act.I, No.2 - Valse. Tempo di valse ; Act.1, No.8 - Finale ; và Act.II, No.13 - Dance des cygnes. Tuy nhiên bản của Rozhdestvensky có lẽ đúng "bài bản" hơn !!!

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Để tối về mình xem lại nhé.

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Bezuidenhout - Mozart Piano Concertos nos. 17 & 22 (2012) [HM] {24-96}

View attachment 192833

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.28 GB | 72 Mins.
Classical | Harmonia Mundi - Source: Qobuz | 2012
Wolfgang Amadeus Mozart
Kristian Bezuidenhout
Freiburg Baroque Orchestra, Petra Müllejans

Spoiler

Reviews: A generation after Malcolm Bilson and Christopher Hogwood’s pioneering Mozart concerto recordings using fortepiano and period instruments, Kristian Bezuidenhout, Petra Müllejeans, and the Freiburg Baroque Orchestra represent the current, polished state of the art in period-instrument performance. Bezuidenhout’s playing—he plays a Paul McNulty copy of a 1780s Walter instrument—is a little freer and more entertaining than Bilson’s, closer to Robert Levin’s approach. The solo keyboard parts in these concertos, when played with as much detail and vocally informed phrasing as they are here, become the equivalent of the cast of characters in a Mozart opera.

In a useful program note, Bezuidenhout—who, incidentally, studied with Bilson—describes the “theater in the round” setup used for this recording. The keyboard was placed in a central position with the winds in a line facing the solo instrument, and the strings surrounding the winds and keyboard. It’s hard to know whether a live performance, unaided by microphones, would work nearly as well, but as a recording, this is a triumph of clarity, with ideal balance between soloist and orchestra.

As in René Jacobs’s recordings of the Mozart operas, the leanness of the ensemble means that no instrumental line is taken for granted. In a few delicate passages, such as the C Major variation in K 482’s slow movement, the strings play one-on-a part. The instrumentalists, not only the soloist, add ornamentation to their parts, with the all-important winds taking on maximum individual personality.

The Concerto No. 17 in G, with its expansive, tender slow movement gives the impression of being one of Mozart’s most personal concertos. Its outer movements are taken here at sprightly, though not unconventional tempos that suit their Papageno-like wit. The 22nd Concerto makes a more public statement, and despite the small forces employed, this performance achieves real grandeur in the opening movement, and seriousness in the second. The delightful Rondo in A, originally planned to be part of the 12th Concerto, K 414, is a significant bonus. It’s a deeper work than the lighter, often recorded Rondo in D, K 382, and is performed with the same grace and energy as the concertos. This is a stunning disc.


Tracklisting:

Piano Concerto no.17 K.453
in G major / Sol majeur / G-Dur
1 I. Allegro 11’31
2 II. Andante 9’51
3 III. Allegro 7’47
4 Rondo in A major / La majeur / A-Dur K.386 9’19
Piano Concerto no.22 K.482
in E flat major / Mi bémol majeur / Es-Dur
5 I. Allegro 13’23
6 II. Andante 8’11
7 III. Allegretto 12’35

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Lewis - Beethoven Complete Piano Concertos (2010) [HM] {24-44}

View attachment 192845

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.6 GB | 2:56:08
Genre: Classical | Harmonia Mundi | 3CDs | 2010
Ludwig van Beethoven
Paul Lewis (piano)
BBC Symphony Orchestra, Jiri Belohlávek

Spoiler

The Times
9th July 2010
****
“Lewis isn’t a “look at me” pianist. No barnstorming rage; no cute puppy antics. His simple goal is to get inside the music and propel it outwards, heart and soul, letting it speak without hindrance...Belohlávek shapes the orchestra’s contribution with almost as much care...Here is high-quality music-making, subtle but authoritative, made to last.”

The Telegraph
16th July 2010
*****
“Beethoven’s spectrum of utterance in this concerto canon, broadened further in the Fourth and Fifth, is something of which this set makes you supremely aware. This is a superb set in which Lewis asserts his own inspiring voice together with his mature insight into Beethoven’s creative mind.”

Gramophone Magazine
September 2010
“Lewis's partnership with Jiri Belohlávek is an ideal match of musical feeling, vigour and refinement...Throughout the cycle Lewis is enviably and naturally true to his own distinctive lights, his unassuming but shining musicianship always paramount...you return refreshed and with a renewed sense of Beethoven's range and beauty...This is a cycle to live with and revisit.”

BBC Music Magazine
September 2010
****
“This new set of the Beethoven concertos is interestingly different in emphasis, in that whereas I had previously thought of Lewis as primarily a thoughtful, searching player...these accounts score more strongly on extroversion, combativeness vis-a-vis the lively accompaniments of the BBC Symphony Orchestra under Jiri Belohlávek, and even mischief.”

International Record Review
October 2010
“Lewis's handling of the solo parts is refreshing, imaginative and responsive to the shifting moods of the music in these concertos, as well as technically impeccable”

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Goetzel - Rimsky-Korsakov Scheherezade (2014) [Onyx] {24-96}

View attachment 192846

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.5 GB | 01:25:47
Classical | Official Digital Download - Source: HDtracks | 2014
Nikolai Rimsky-Korsakov, Mily Balakirev, Mikhail Ippolitov-Ivanov, Ulvi Cemal Erkin
Pelin Halkaci
Borusan Istanbul Philharmonic Orchestra, Sascha Goetzel

Spoiler

Reviews: As Bernhard-Henri Lévy puts it, ‘Europe has developed more as an idea than as an area.’ Influence on European culture extends much further east than many of us realise. Music and art transcend borders, regardless of cultural background or political history. Our musical journey sets out from St Petersburg and travels down to the Black Sea, over the Caucasus and eastern Turkey all the way to Istanbul. By partly using original instruments from those regions we have created a musical language which I think is closer to the original sound that the composers had in mind when writing their music for Western-style orchestras.
Nikolai Rimsky-Korsakov’s Scheherazade has fascinated listeners ever since its premiere in 1888 – one of the most exotic, colourful and enchanting compositions of its time. The recording presented us with the challenge of finding new ways to the Oriental narrative Rimsky-Korsakov envisaged, and to bridge the gap between ancient East and contemporary West. For the first time ever we introduce original Oriental instruments on a Scheherazade recording. Between the first and second movements the oud plays a traditional melody, setting the atmosphere and recalling the magic and drama of the Tales of 1001 Nights, the story of Scheherazade’s plan to keep Sultan Shahryar from his murderous intentions by telling him a spellbinding story night after night, the Sultan keeping her alive in eager anticipation of the end of the tale.
The work is based on the symphonic model with some of the first movement’s major themes serving as musical cells for the other movements’s melodies. The composer insisted that there was no absolute programme to the music: his inspiration from the Arabian Nights, however, is unmistakable. In our recording, the violin solo recitatives, which represents Princess Scheherazade, is accompanied by the qanun instead of the harp. Throughout the work a variety of traditional Turkish and Arabian percussion instruments are delicately incorporated to support Rimsky-Korsakov’s Arabic rhythm writing: the darbuka, def, bendir and kudüm as well as oriental triangles and cymbals underpin his ‘kaleidoscope of fairy-tale images’. Between the third and fourth movements the qanun plays another traditional melody bridging ancient musical traditions and modern western tonal music.
Mily Alexeyevich Balakirev’s composition Islamey (1869; subtitled ‘Oriental Fantasy’) op.18 is one of the most virtuosic compositions for piano solo. The inspiration for this spectacular and exotic piece came, as with Ippolitov-Ivanov, after a trip to the Caucasus region. It is divided into three sections consisting of two strongly contrasting themes. While the first is highly energetic and rhythmic, the second is melodic and colourful, introduced by the cellos in a gently moving 6/8 pattern reminiscent of the third movement of Scheherazade. In a letter to his friend Eduard Reiss (1892) Balakirev described the impressions on which the work is based:
‘… the majestic beauty of luxuriant nature there and the beauty of the inhabitants that harmonizes with it – all these things together made a deep impression on me … Since I was interested in the vocal music there, I made the acquaintance of a Circassian prince, who frequently came to me and played folk tunes on his instrument, that was something like a violin. One of them, called Islamey, a dance tune, pleased me extraordinarily, and with a view to the work I had in mind for Tamara I began to arrange it for the piano. The second theme was communicated to me in Moscow by an Armenian actor, who came from the Crimea and is, as he assured me, well known among the Crimean Tatars.’
Islamey had a considerable influence on composers of the late 19th century. Maurice Ravel stated that his goal in writing Gaspard de la nuit was to compose a piece that was ‘more difficult than Balakirev’s Islamey’. Alexander Borodin included quotations in his opera Prince Igor and Rimsky-Korsakov did the same in Scheherazade. It has twice been arranged for orchestra, by Alfredo Casella and by Sergei Lyapunov. We chose Lyapunov’s, who was the most important member of Balakirev’s circle. Balakirev took Lyapunov under his wing and remained his major creative influence.
Mikhail Ippolitov-Ivanov was a student of Rimsky-Korsakov at the St Petersburg conservatory. His first major appointment was as music director and conductor in Tbilisi, where he became acquainted with Georgian folk music. His Caucasian Sketches acknowledge the rich cultural diversity and uniqueness of the inhabitants of the mountain region, which extend into the arts and musical language – European one moment, exotic and oriental the next. Ippolitov-Ivanov combines regional folk tunes with brilliant orchestration. The first Suite consists of four separate unconnected sketches. We decided to record two very contrasting ones:
In a Village: The original orchestration asks for the cor anglais to play an exotic tune in imitation of the native region’s Zurna. We couldn’t find a Zurna to match the tuning of a modern symphony orchestra, so we compromised with a Ney flute to represent a close original sound. There are different sizes of Ney flutes for higher and lower registers; we chose a bigger flute to match the special tonal colour of the cor anglais.
Procession of the Sardar: The final movement of the Suite and certainly the most popular. We use many traditional percussion instruments including piccolo timpani throughout the whole piece. The title ‘Sardar’ occurs in several Eastern languages such as Persian and Hindi, and means a military commander, leader or dignitary.
Ulvi Cemal Erkin (1906–1972) was a member of the ‘Turkish Five’ group of composers, who used Turkish folk music in a Western symphonic style, encouraged by Atatürk in the development of the newly founded republic which aimed to modernize and westernize industry, agriculture and art. Erkin studied in Paris with Nadia Boulanger, and his Köçekçe: Dance Rhapsody for Orchestra (1943) is probably his most popular work. It contains allusions to a traditional men’s dance and reflects the harmonies, melodies and rhythms of Turkish music within a western framework.

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Isserlis - Prokofiev Shostakovich Cello Concertos (2015) [Hyperion] {48-24}

View attachment 192875

FLAC (tracks) 24 bit/48 kHz | Digital Booklet | 657 MB | 01:05:18
Classical | Official Digital Download - Hyperion | 2015
Sergey Prokofiev, Dmitri Shostakovich
Steven Isserlis (cello)
Frankfurt Radio Symphony Orchestra, Paavo Järvi (conductor)

Spoiler

Sunday Times
29th March 2015
“In his fascinating booklet note, Isserlis makes a persuasive case for preferring Prokofiev’s 1938 Concerto in E minor to its radical revision...If the earlier version is no masterpiece...this performance vindicates that preference.”

Gramophone Magazine
April 2015
“In the first movement Isserlis conjures some surprising, visceral sounds from his instrument, ratcheting up the tension with a febrile, nervy vibrato up high...The soloist contributes his own lively and individualistic booklet-notes, enhancing the value of a fascinating, I'd say unmissable project.”

BBC Music Magazine
Awards Issue 2015
“Here at last is a recording to persuade sceptics that Prokofiev's Cello Concerto is not just an interesting but rather drab failure...both Isserlis and Jarvi leave their competition standing when it comes to expressive eloquence.”

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Osborne - Stravinsky Complete music for piano (2013) [Hyperion] {24-88}

View attachment 192876

FLAC (tracks) 24 bit/88.2 kHz | Digital Booklet | 916 MB | 01:00:15
Genre: Classical | Official Digital Download | Hyperion
Igor Stravinsky
Steven Osborne (piano)
BBC Scottish Symphony Orchestra, Ilan Volkov (conductor)

Spoiler

Sunday Times
19th May 2013
“Osborne plays all with diamantine brilliance.”

The Telegraph
29th May 2013
“Osborne manifests both his rhythmic élan and his refined sense of tonal shading, underpinning the performances with virile energy...finding a spirited sparring-partner in the BBC Scottish Symphony under Ilan Volkov.”

The Guardian
30th May 2013
“though they do not manage to make either [concerto] more likable, Osborne and Volkov judge them perfectly – keeping the Concerto, as well as the slightly later Capriccio, on a tight rein, and threading a lucid path through the thickets and intricacies of the Movements.”

Financial Times
8th June 2013
“The outstanding work here is the Concerto for piano and wind instruments (1923-24), played by Osborne in a way that finds wit in the rhythmic quirks while lending substance to the music’s 18th-century references, so that it never sounds dry.”

BBC Music Magazine
July 2013
“With Steven Osborne as soloist, the concertante works are in exceptionally good hands...After the Capriccio's grandiose opening, Osborne's tight control of the piano's insistent, driving textures provides a firm foundation for the opening movement's unexpected humanity and charm.”

Gramophone Magazine
August 2013
“Osborne and Volkov tick a major Stravinsky box”

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Stern - Brittens Orchestra (2013) [Reference] {24-88}

View attachment 192919

FLAC (tracks) 24 bit/88.2 kHz | Digital Booklet | 912 MB | 60:00:32
Genre: Classical | Official Digital Download - Source: HDtracks | Reference Recordings
Benjamin Britten
Michael Stern (conductor)
Kansas City Symphony Orchestra

Spoiler

One of the chief characteristics of Benjamin Britten's music is his masterful and highly distinctive orchestration, and the works on this album are among his most prized for that hallmark of his originality: the Young Person's Guide to the Orchestra, the Sinfonia da requiem, and the Four Sea Interludes and Passacaglia from the opera Peter Grimes. In tribute to Britten's brilliant handling of the orchestra, Michael Stern and the Kansas City Symphony have recorded these works in 24-bit, high-definition sound, which provides remarkable details and ideal stereo separation of the instruments, but also puts the music in a rather dry and compressed-sounding ambience. A result of this kind of hyper-refined digital technology is that every note is heard quite clearly, but the space surrounding it feels airless, unless it is played at a fairly high volume; even then, only the bass drum and a few other percussion instruments show any signs of natural reverberation. Furthermore, there is a sustained though extremely soft background noise that is reminiscent of analog tape hiss, though it is not prominent or distracting. While the playing here is admirable for its pristine execution and energy, and Stern deserves kudos for drawing intensely musical performances out of what otherwise might have been a sterile showcase, the absence of lively acoustics makes this album a little hard to get used to, and perhaps only technophiles will rejoice in the sanitized reproduction.

Reviews: In a brilliant display of orchestra power and poetry from the country's heartland, Michael Stern leads the Kansas City Symphony in an all-Benjamin Britten programme that speaks eloquently and, as much as possible in such spectacular recordings, to the music's heart in a strong and simple way. In The Young Person's Guide, the timpani are in particularly noble tune, the strings are sumptuous and the trilling flutes are guaranteed to delight children just as are the exotic oboes, the goof-off clarinets and the moustache-twirling bassoons. Throughout Stern successfully treads that uncertain line between the Guide being just a lollipop and a serious piece for critics to ponder.

In the more substantial Sinfonia da Requeim and the Interludes from Peter Grimes, Stern mostly chooses to be rich and solid and build the sound up from the amazing low strings and brass. Perhaps there's a loss of tension at the end of the "Lacrymosa" but it's more than redeemed by a ferocious kettle drum and some consoling playing from the strings. The big, emotional tune in the last movement is glorious without being sentimental. The Grimes Interludes, with the Passacaglia placed before the Storm to stretch the music out into a more satisfying dramatic scheme, are magnificently played, with viola-player Christine Grossman rapturous in the Passacaglia

As always with this great audiophile label, the skill and commitment of Reference's recording team need to be accorded special recognition. In either stereo or HDCD, the sound is better than being in the hall: rich in detail, gold in colour and equal to any volume. Richard Freed's comprehensive liner-notes and a full-colour photograph of the spectacular Community of Christ Auditorium in Independence, Missouri, in which the recording was made, rounds out a release that could be on short lists for Grammy nominations for 2010.

Tracklisting:
1. The Young Person's Guide to the Orchestra 12:33:00
2. Sinfonia da requiem 14:00:00
3. Peter Grimes: Four Sea Interludes & Passacaglia: Dawn 02:45:00
4. Peter Grimes: Four Sea Interludes & Passacaglia: Sunday Morning 02:42:00
5. Peter Grimes: Four Sea Interludes & Passacaglia: Moonlight 03:00:00
6. Peter Grimes: Four Sea Interludes & Passacaglia: Passacaglia 05:01:00
7. Peter Grimes: Four Sea Interludes & Passacaglia: Storm

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Dablemont - Beethoven Piano Sonatas Op. 27 28 (2014) [Resonus] {24-96}

View attachment 192920

FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.05 GB | 01:02:16
Genre: Classical | Official Digital Download - Source: eClassical | Resonus
Ludwig van Beethoven
Pierre-Arnaud Dablemont (piano)

Spoiler

Pianist Pierre-Arnaud Dablemont releases his first disc on Resonus Classics with an album containing three pivotal sonatas by Ludwig van Beethoven - the two Op. 27 sonatas labelled "Quasi una fantasia" in E flat major and C sharp minor (including the "Moonlight" sonata) and the Op. 28 sonata in D major ("Pastoral"). In these three sonatas we see Beethoven stretching and experimenting with both form and texture, and the Paris-born pianist Pierre-Arnaud Dablemont - known for his innovative and insightful interpretations - brings a unique and fresh view to these vital works of the classical piano repertoire.

Reviews: Pierre-Arnaud Dablemont’s new CD of Beethoven Sonatas on Resonus Classics brings a fresh approach and a superb recording to these often recorded works. The Parisian born and Brussels based French pianist has a fluent technique and produces a lovely tone, but it’s his musicality that wins here.

For the first in his Beethoven series, Dablemont has chosen three sonatas from Beethoven’s middle period, and what gems they are. Sonatas 13, 14 (Moonlight) and 15 (Pastoral) offer both the power and sensitivity that flows through all of Beethoven’s works.

Dablemont’s interpretations feature faster tempos than my favourite performances in these works, those by Freddy Kempf, Gilels and Schnabel, but they work. And, Dablemont has both the technique and musicality to bring them off. Playing his version of the famous slow movement from the Moonlight directly after Freddy Kempf’s proved a shock. Kempf is so slow (but is wonderful) and Dablemont’s positively races in comparison. Yet, Dablemont is closer to Beethoven’s marking of alla breve than Kempf. Your choice.

And, that’s the ‘problem’ with so many amazing Beethoven Sonatas on record. Choice. A serious collector will have many full sets and lots of individual recordings. I’ve recently enjoyed Angela Hewitt’s Hyperion series, the Peter Takacs set and Canadian great, Robert Silverman’s fantastic set on Orpheum Masters. Add young Dablemont’s CD to my favourites list. AK

Piano Sonata No. 13 in E flat major “Quasi una fantasia” Op. 27, No. 1?
Piano Sonata No. 14 in C sharp minor “Quasi una fantasia” (Moonlight) Op. 27, No. 2
Piano Sonata No. 15 in D major “Pastoral” Op. 28?

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Gergiev - Rachmaninov Stravinsky (2012) [LSO] {24-48}

View attachment 192921

FLAC (tracks) 24 bit/48kHz | Time – 58:33 minutes | 528 MB | Genre: Classical | 00:58:37
Official Digital Download – Source: Bowers & Wilkins | © LSO Live
Recorded: May 2009 at Barbican, London, United Kingdom
London Symphony Orchestra
Valery Gergiev (conductor)

Spoiler

The Symphonic Dances, an orchestral suite in three sections, was the last work Rachmaninov completed and proved one of his most popular compositions. Although rarely sentimental, it draws on many of the composer’s reminiscences of Russia, from where he emigrated in 1917. It is characteristically lyrical with vivacious rhythmic sections, reminiscent of Stravinsky’s Rite of Spring and the composer’s own Rhapsody on a theme of Paganini.
Gergiev couples the Symphonic Dances with another work in three movements by a Russian émigré to the USA. Stravinsky’s Symphony in three movements was written between 1942-45 and was the first work Stravinsky completed after his arrival in the USA. Although he claimed it was a ‘War Symphony’, his true inspiration was typically vague.

‘How beautifully blended and responsive [the LSO] are under Gergiev’s direction … there is much to enjoy here, not least an orchestra that is at the very top of its game under its charismatic conductor’ (International Record Review)
‘Valery Gergiev is one of the most exciting conductors recording today. His previous Rachmaninoff Second Symphony for LSO Live was a knockout, and both of these symphonic works will likely take first place [of multichannel options]’ (Audiophile Audition,)

Tracklist:
Sergei Rachmaninov (1873-1943)
Symphonic Dances, Op.45
1 Non allegro 12:56
2 Andante con moto (Tempo di valse) 9:35
3 Lento assai – Allegro vivace – Lento assai. Come prima – Allegro vivace 13:49
Igor Stravinsky (1882-1971)
Symphony in Three Movements
4 Crotchet = 160 10:07
5 Andante – Più mosso – Tempo I 5:45
6 Con moto – Più presto – Meno mosso (Con moto) 6:21

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Freiburger Barockorchester - Bach Brandenburg Concertos (2014) [HM] {24-96}

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FLAC (tracks) 24 bit/96 kHz | 2 CDs | Digital Booklet | 1.71 GB | 01:30 :08
Genre: Classical / Baroque | Official Digital Download - Source: Qobuz | Harmonia Mundi
Composer: Johann Sebastian Bach
Orchestra/Ensemble: Freiburg Baroque Orchestra

Spoiler

The Brandenburg Concertos need no introduction – doubtless because they owe their fame to a systematic exploration of a genre recently inherited from the Italians, with a still youthful Bach devising as many different scorings as there are concertos. When he received the manuscript of the six works, Christian Ludwig, Margrave of Brandenburg, must have been terrified by their demands, and his musicians even more so! Three centuries later, the cycle is as open as ever to new ‘historically informed’ interpretations, as this set demonstrates. The CD cover represents the importance of numbers in these works eg Concerto No 3 which is scored for three instruments, in 3 time, 3 sections etc. The trumpeter is particularly impressive. Freiburg are recording and touring Bach throughout 2014.

Reviews: “I warmed immediately to the Freiburgers’ engagement with the music’s breadth and scale, refusing to squash it in a breathless blaze of “period” mannerisms...you feel the zing of jubilant repartee as multi-layered lines are traded and interwoven within this conductor-less ensemble. That’s authenticity.”
“an uncanny sense of corporate cohesion...yields luxuriant textures, polished ensemble and meticulously plotted conceptions, born of single-mindedness and an embedded familiarity with their colleagues and the material.”

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Pine - Hagle - Violin Lullabies (2013) [Cedile] {24-96}

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FLAC (tracks) 24 bit/96 kHz | 1 CD | Digital Booklet | 1.3 GB | 01:19:14
Classical | Official Digital Download | Cedile
Rachel Barton Pine (violin); Matthew Hagle (piano)

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