Kệ nhạc cổ điển ivanhoe76 [Multi]

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Nóng lòng lắm rồi bác ơi! Hy vọng sẽ có lần nâng cúp thứ 5 làm quà chia tay Xavi! Mình đang dùng loa thường thôi polk audio rti4, dùng cũng lâu rồi

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Có bài nào liên quan đến chủ đề Vô địch hay chiến thắng không bác? =P~ .

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Lại một cú ăn ba vĩ đại cho đội bóng xứ Catalan!!!

Để về mình up bản Giao hưởng số 7 'Leningrad' của Shostakovich viết về chiến thắng vĩ đại của Liên Xô ngay trong thời kỳ quân Phát xít Đức bao vây thành phố, bản HiRes 24-96 với nhạc trưởng Gergiev

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Cảm ơn bác chủ. Nhờ bác chủ mà em có 4 album của Nữ hoàng nhạc Bach: Angela Hewitt !!! Thật là quá đã !!! :-bd:-*

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Hihi, cuối cùng thì cũng kiếm được người thích nhạc của Bach giống mình.

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Shaham - Nigunim Hebrew Melodies (2013) [Canary] {24-44}

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FLAC (tracks) 24 bit/44.1kHz | Time – 01:07:04 minutes | 649 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | © Canary Classics
Recorded: 92nd Street Y, New York City, NY, USA on April 13 and 25, 2011
Gil Shaham, violin
Orli Shaham, piano

Spoiler

Jewish folk music has always played an integral part in Gil and Orli Shahams’ lives. This release includes masterpieces by Ernest Bloch, Joseph Achron, and Leo Zeitlin, and as their idiomatic writing for the violin suggests, they all started their musical lives as child prodigy violinists. Also included is music from the wonderful Schindler’s List score by John Williams.
The centrepiece of this release comes from the work sharing the album’s title Nigunim, commissioned by Gil and Orli from Israeli composer Avner Dorman. Dorman’s composition shares the universal appeal of the wordless melodies on which it was named. ‘He has created a masterpiece and in my experience everybody who hears the piece falls in love with it they’re electrified by it,’ Gil explains. Indeed, when he recently toured the work, San Diego Today affirmed that ‘it was hard to miss [its] visceral excitement and structural elegance,’ the Boston Globe admiring the ‘uncommonly intriguing sounds’.


Many if not most performers of Jewish background have recorded albums of material referring to Jewish musical traditions. Violinist Gil Shaham and his pianist sister Orli Shaham deserve credit here for bending the formula in some original ways. There are a few of the general hits that show up in programs of this kind: violin-and-piano arrangements of Ernest Bloch’s Baal Shem, which displays Gil Shaham’s characteristic burnished tone at its best, and of three items from the score to Schindler’s List by John Williams. Williams was not Jewish, and these chamber readings offer a somehow fascinating window on exactly how he manipulated the features of Jewish music to suggest the themes involved. The rest of the pieces are much less common, and it is here that the real interest lies. The highlight is a work by contemporary Israeli composer Avner Dorman, which draws on Jewish traditions from a wide swath of the globe, including religious cantillation; the work’s title, and that of the album, means melodic improvisation, and the composition suggests this in multiple ways. Nigunim was composed for the two performers. The works by Joseph Achron are folkloristic in nature, while the Danse hebraïque by Josef Bonime, born in Lithuania and later a Hollywood-based player and accompanist to Mischa Elman, is a fine short essay in the Bloch vein. The Shahams here have not only paid tribute to their origins but also explored worthwhile and underexposed music. –James Manheim

Tracklist:
Josef Bonime (1891-1959)
1. Danse h bra que 2:52
Joseph Achron (1886-1943)
2. Hebrew Melody Op.33 5:33
Avner Dorman (b.1975)
3 – 6. Nigunim (Violin Sonata No.3) 19:47
Joseph Achron (1886-1943)
7 – 8. Two Hebrew Pieces Op.35 8:18
John Williams (b.1932)
9 – 11. Three Pieces from Schindler’s List 12:29
Leo Zeitlin (1884-1930) trans. Joseph Achron
12. Eli Zion 5:08
Ernest Bloch (1880-1959)
13. – 15. Baal Shem 13:00

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Mình thích nhạc Bach từ khi bài Allemande của Bach (Suite in E minor - BWV 996) do ông anh chơi guitar do Segovia chuyển soạn cho guitar. Từ đó là mình cứ đi tìm nhạc Bach để nghe. Một phần nữa là do dàn máy của mình "cùi bắp" lắm nên nghe nhạc piano thì còn chấp nhận được. Gần đây được nghe Angela Hewitt chơi piano nhạc Bach thì "thiệt là hết ý" !!! :">

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Lisitsa - Chopin Schumann Etudes (2014) [Decca] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Digital Booklet | 1.6 GB | 5% recovery info
Genre: Classical | Official Digital Download - Source: Decca
Composer: Fryderyk Chopin; Robert Schumann
Valentina Lisitsa, piano

Spoiler

AllMusic Review by James Manheim: Ukraine-to-North Carolina transplant Valentina Lisitsa has gained tremendous popularity by using YouTube (75 million views and counting) to market her music. No one should say that Lisitsa is merely an Internet phenomenon; more like her, taking the music directly to potential listeners through contemporary media, are sorely needed. The Internet has propelled her to a spot on the roster of the major Decca label, and she has played mostly mainstream Romantic repertory with a diversion, on her last release prior to this one, into the piano music of Michael Nyman. Here she takes on some real standards, the 24 Chopin Etudes, Op. 10 and Op. 25, and the technically even more perilous Symphonic Etudes, Op. 13, of Schumann, rendered with five extra variations in the middle excised by Schumann from the work and published posthumously (the work is essentially a set of variations that spills over its boundaries, something like the Diabelli Variations, Op. 120, of Beethoven). The Schumann fits Lisitsa's strengths; she has formidable technique in passagework and is exceptionally skilled at bringing out the kind of inner counterpoint that the Symphonic Etudes are all about. The same strengths apply in the Chopin, where her left hand doesn't flag in the workout it receives. According to the booklet notes, the Chopin etude performances of Alfred Cortot served Lisitsa as a reference point. Her performances don't really sound like Cortot's beyond a somewhat idiosyncratic quality; Cortot's readings apparently caused Rachmaninov to laugh so hard that his false teeth fell out, and it's hard to imagine that happening here. There's nothing terribly poetic about Lisitsa's performance, but there's no denying that she's on top of the music and that the physicality she has brought to it on the Internet is present. An interesting chapter in a unique contemporary pianistic career.

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Brüggen - Mozart The Last Three Symphonies (2014) [Glossa] {24-44}

Mặc dầu sáng tác hơn 40 bản giao hưởng từ khi còn rất trẻ, những bản giao hưởng cuối của Mozart thực sự được coi là những kiệt tác. Tiếp nối truyền thống các bản giao hưởng do Haydn sáng tạo, Mozart đã đưa giao hưởng lên một tầm mới của thời kỳ nhạc cổ điển, và sau này được Beethoven phát triển thêm để mở ra thời kỳ lãng mạn. Những bản giao hưởng của Mozart của có những giai điệu tuyệt vời, ví dụ như giai điệu mở màn Symphony #40, một trong những điệu nhạc cổ điển phổ biến nhất. Đây là bản thu Symphonies 39-41 qua dàn nhạc với "period instruments" của nhạc trưởng lừng danh Frans Brüggen.

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FLAC (tracks) 24 bit/44.1 kHz | Time – 01:31:14 minutes | 921MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | © Glossa | Naxos of America
Recorded: live in Rotterdam (de Doelen), Netherlands, on 4 March 2010
Orchestra of the Eighteenth Century
Frans Brüggen, conductor

Spoiler

More than three decades have elapsed since Frans Brüggen set down his earlier visions of the three final symphonies by Wolfgang Amadeus Mozart with his Orchestra of the Eighteenth Century. Now, he has chosen to release his new views of these contrasting yet complementary works as part of his Grand Tour series on Glossa. The Dutch maestro has been regularly engaging with the music of the Salzburg genius throughout the time of his musical journey with the Orchestra of the Eighteenth Century and the symphonies of Mozart have frequently appeared in their concert schedules.

If the precise, original performing locations for these symphonies remain elusive, the three works – “Jupiter”, K551, the E flat major, K543, and that “evergreen study in the key of G minor”, K550, known by people all around the world as the “Mozart 40” – all clamour for constant and fresh interpretations; these are precisely what Frans Brügge delivers. Recordings on Glossa from Brüggen in recent times – always made whilst on tour – have included Mozart’s concertos for horn, clarinet and violin, as well as the Requiem.

With Stefano Russomanno providing a well considered booklet essay, this new release of the three final Mozart symphonies, available on two CDs and recorded live in Rotterdam, provides eloquent testimony to Frans Brüggen’s ability to summon up the expressiveness and spontaneity demanded by Mozart’s masterpieces from 1788.

Tracklist:
Wolfgang Amadeus Mozart (1756-1791)

Vol. 1

Symphony No. 39 in E flat major, KV 543
01 Adagio – Allegro 11:13
02 Andante con moto 8:24
03 Menuetto & Trio 3:42
04 Allegro 8:05

Symphony No. 40 in G minor, KV 550
05 Molto allegro 6:51
06 Andante 6:47
07 Menuetto & Trio 3:48
08 Allegro assai 4:55

Vol. 2

Symphony No. 41 in C major, KV 551, “Jupiter”
01 Allegro vivace 11:42
02 Andante cantabile 10:27
03 Menuetto & Trio 4:18
04 Molto allegro 11:39

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Lewis - Beethoven Diabelli Variations (2011) [HM] {24-44}

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FLAC (tracks) 24 bit/44.1 kHz | 465MB | 5% recovery info
Genre: Classical | Official Digital Download | © Harmonia Mundi
Ludwig van Beethoven
Paul Lewis, piano

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Honeck - Strauss Tone Poems (2012) [Reference] {24-176}.rar

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FLAC (tracks) 24 bit/176.2 kHz | 0 Hours 59 Mins. | 2.3 GB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | © Refrence
Richard Strauss
Pittsburgh Symphony Orchestra
Manfred Honeck, conductor

Spoiler

Recordings like this restore one’s faith in the possibility of true musical greatness. Manfred Honeck conducts this music as do few others today. He’s not afraid to have a good time, nor is he a strict literalist. In his notes he speaks almost apologetically of a couple of liberties he takes–in the judgment scene of Till Eulenspiegel (with the dynamics of the solo clarinet), and at the moment of death just before the coda of transfiguration, where he lets the tam-tam reverberate for a few extra bars – surely what Strauss intended in both cases, even if it’s not exactly what he wrote.

What Honeck doesn’t mention is the added bass drum part in Don Juan, or the extra thud for the same instrument in Till Eulenspiegel. All of this is done quite sensibly, to be honest, but the point is that these and other distinctive touches never sound mannered or gratuitous. Rather, they offer evidence of Honeck’s remarkable engagement with the music, his belief in it, and his willingness to do whatever he deems necessary to realize Strauss’ programmatic vision as vividly as possible. For all of their larger-than-life qualities, Honeck remains sensitive to every dynamic nuance, intricacy of balance, and rhythmic quirk. Every one of these versions ranks with the best available.

The Pittsburgh Symphony plays the living daylights out of this music. Really, is there another group out there today that can play with this kind of bravura? For example, listen to the way that Honeck slows down for the big horn tune in Don Juan (sound clip), and my goodness, how these players make a meal of it! The live sonics are, typically for Reference Recordings, of demonstration quality whether in stereo or 5.1 surround sound, and the audience is almost perfectly silent. This disc is the first in a new partnership between Reference Recordings, Pittsburgh, and Honeck–a rebirth for the label, and a huge victory for serious classical music lovers everywhere. – David Hurwitz, ClassicsToday.com

Don Juan, Op. 20
Tod und Verklärung, Op. 24
Till Eulenspiegels lustige Streiche, Op. 28

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Afanassiev - Schubert Moments Musicaux (2012) [ECM] {24-44}

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FLAC (tracks) 24 bit/44.1 kHz | Time – 01:10:56 minutes | 569 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: highresaudio.com | © ECM Records GmbH
Recorded: September 2010, Auditorio Radiotelevisione svizzera, Lugano
Valery Afanassiev, piano

Spoiler

Pianist Valery Afanassiev – renowned for his strikingly individual and deeply introspective interpretations of the music of Franz Schubert – has paired two often extrovert works by the composer: the set of six Moments Musicaux and the Sonata D. 850. Recorded in September 2010 at the Auditorio Radiotelevisione Svizzera, Lugano, this is ECM’s second Schubert recording by the Moscow-born pianist, having previously released a live recording of Afanassiev performing Schubert’s final Sonata D. 960 at the 1986 Lockenhaus Festival that has become a connoisseur’s favourite. Composed from 1823 to 1827, the year before the composer’s premature death, the Moments Musicaux brim with song and dance, as well as Schubert’s characteristic mood swings from major to minor, from light to dark. The Sonata D. 850, written in 1825, is one of Schubert’s most ebullient piano sonatas – with yodelling-like melodies, simulated horn calls and strongly syncopated rhythms – but like so many works by this composer, there are passages with an air of nostalgia and emotional ambiguity.

Composed from 1823 to 1827, the year before the composer’s death at age 31, the Moments musicaux brim with song and dance, as well as Schubert’s characteristic mood swings from major to minor, from light to dark, often within a single piece. With its glittering surface, the brief No. 3 in F minor was one of Schubert’s more popular piano pieces for decades; but the ballroom-worthy tune has an odd tension underneath, as if the party were bound to end early. No. 1 in C Major has melodies reminiscent of the composer’s Winterreise, while the two in A-flat Major, Nos. 2 and 6, tap rich veins of melancholy, particularly in Afanassiev’s interpretations. No. 4 in C-sharp minor is another number that swirls like a woman dancing with tears in her eyes. No. 5 in F minor is the set’s lone thoroughly fast-paced number, although even its uptempo leaps have a brittle quality.

The Sonata D850, written in 1825, is one of Schubert’s most ebullient piano sonatas – with ländler-like melodies, simulated horn calls and strongly syncopated rhythms; he composed the piece over three weeks in the spa town of Gastein, so the environment undoubtedly contributed to the sonata’s high spirits. Yet, as with so many works by this composer, there are also passages in D850 pregnant with nostalgia and emotional ambiguity, especially in the Con moto second movement, which Afanassiev explores with meditative concentration.


Russian pianist Valery Afanassiev recorded an album of Schubert’s late piano sonatas that inspired wildly divergent reactions with its tremendously unorthodox readings. This release on ECM shares much with the earlier album, and it may too be one of those things you either love or hate. As with the earlier release, CD buyers will get Afanassiev’s own quirky but far from dull notes, which range over topics from Goethe’s Faust to Bruckner’s Symphony No. 9 to Japanese philosophy. Afanassiev once again favors slow tempos. They’re not quite as extreme as on the sonata album, but his approach is similar: he presents, so to speak, exploded views of each phrase of Schubert’s music. His lines are fantastically detailed without being particularly expressive, and this is probably what fascinates some listeners while driving others crazy. It may be that his Schubert playing works better in some pieces than in others. The six Moments Musicaux, D. 780, will really make you sit up and take notice. What Afanassiev catches here is that these works (not a set, but substantial little pieces far from the bonbons that the publisher-supplied title would suggest) were written for an intimate, sophisticated audience that would have gotten his Faust references and would have been interested in a performance that explores the structure of the music in the way he does. The Piano Sonata in D major, D. 850, is not nearly as successful; the limpid central movements simply plod. The very fine sound and the overall abstract quality of ECM’s presentation both work as X factors in favor of what many will still find a slightly bizarre recording, but one that can’t be easily dismissed. –James Manheim, AllMusic

Given the surplus of recordings of piano works by Franz Schubert, it is hard to imagine a time when pianists did not often play his works. But indeed such a time did exist when few pianists touched—even knew of—some of his greatest music. Luckily, over the course of the 20th century, largely due in part to pianists such as Artur Schnabel, the composer’s reputation as a musical architect of large-scale works grew. And as the number of pianists interested in this music has grown, so have the many modes of interpretation of these works. The two pianists here show two different sides of the composer—even of themselves—in how they choose to approach this music.
Paul Lewis, the rising British star, a former pupil of the illustrious Alfred Brendel—a noted Schubert interpreter himself—has recently been riding the wave to stardom. Hot off the heels of recording the complete Beethoven piano sonatas, he has now turned his attention to Schubert. And perhaps he still has a bit of Beethoven in him: This Schubert is aggressive and it is powerful. Listen to the section right before the fugue in the Wandererfantasie ; with those added bass notes it sounds as though the world is ending. The fugal subject is not so much played as hammered out, though all with a roundness of sound which is stunning given the heaviness of the individual notes. But Lewis is not always so: The passagework at the composition’s end sparkles in delicacy, in clarity, and brilliance all at the same time. His approach to the A-Minor Sonata, D 845, is similar in effect. Here his articulation falls a bit flat in certain respects—his staccato in the opening movement could be a bit crisper than it is—but Lewis certainly sees the big picture in this work. He worries more for the effect of the entire movement than about the fussy details. That is not to say that he is not mesmerizing at certain moments (just listen to the way he tonally shades many of the more lyrical sections in the variations) but that the driving quality—that Beethovenian impulse—is at the heart of his playing here too.
If anything, the sonata lacks a little intimacy and transparency, but Lewis saves some of that for the smaller works. The Moments Musicaux , those later masterpieces written in the last five years of the composer’s short life, are scaled back. From the jubilancy of the opening work through the quirkiness of the third and aggressiveness of the fifth, Lewis seems quite at home in these pieces. The highlights for me are Lewis’s mysterious, almost improvisatory sounding way with the fourth of the set: The change to the major in the middle section is just perfect—the lilt given and the simple almost folk-like character of the section is superbly achieved. The pianist’s mezza voce in the sixth work, combined with his use of smaller phrasing, brings a true sense of longing to mind: One’s heart breaks at moments like these. The Impromptu s are equally well played, though lacking in certain character for me at least in one example in particular: The second in A?—one of Schubert’s true little gems—is sentimentally played at the opening: It is too slow, it is missing that characteristic lilt that Lewis so profoundly captured in the aforementioned Moment Musicaux . Were these four works to be considered together, as many do, as a sonata in everything but name, this movement would be the minuet or scherzo; in other words, a dance movement. Where then is the sense of the dance? But for over two hours of music, that is perhaps a small quibble.
Valery Afanassiev is a different pianist altogether. His sound to me is quite modernist in approach. Where Lewis could at times be sentimental, though in general I would call him a dynamic Schubert player, Afanassiev seems to see Schubert in an intellectual way: a contemporary pianist who plays Schubert as a neoclassicist might, devoid of the excesses of the 19th century. This may sound cold to some, but that is not the impression that I’m trying to give of his playing: He is not an unfeeling player, rather a restrained one in terms of overall effect. He too plays one of the major works, the D-Major Sonata, D 850, a favorite of Schnabel’s (who left a splendid recording of it as well!). The opening movement is jubilant and boisterous, though it is less driving than Lewis’s approach to the two big works on his recital. It is not to say that Afanassiev is not exciting: He is! But, he is also more interested in dwelling on the smaller moments: The movement, though march-like in character throughout, almost dances in his hands. The second movement is performed simply, but gracefully, with careful attention to articulation and phrasing; there is also a sense of the improvisatory (listen from about 5:00 to 5:30: The chords seem anything but inevitable, the silence pregnant with possibilities of what may follow). In Afanassiev’s hands, Schubert sounds revolutionary. The Scherzo, played a bit slower than I like, sounds like a battle between a rustic dance and an elegant one; the Trio brings a true sense of stasis, of simplicity back into the piece. The Allegro moderato also leans more towards the moderato side than to the allegro : Afanassiev plays it in 8:58. Schnabel does it in 7:45. What matters more, however, is his approach. Again he brings out the gentle and fluid character of the work: In his hands the work feels like a late 18th-century composition. The Moments Musicaux is here more modest in scope as compared with Lewis’s approach, yet none the less rewarding. Rather than a jubilant opening for the first, I would call this a bit more restrained joy, perhaps a bit more introspective than Lewis’s, a bit more like a prelude of things to come. The third one lacks the momentum of Lewis’s and falls a bit flat for me, though his approach in the fourth is equally beguiling: The work sounds more akin to a Bach invention than improvisatory figuration. Again the last, the most profound of them all, makes for a fascinating conclusion. Here the work is less suggestive of longing or melancholy. To me it sounds more hopeful than disillusioning.
These are two equally compelling and valid choices for Schubert, and both work surprisingly well. But that should be the case given the temperament of these far different artists: How one truly feels the music is how one should play it. The noticeable difference for me came in the sound. Where ECM was forward facing and clear, Harmonia Mundi proved to be particularly cavernous and resonant in sound. While, clearly, Lewis’s conception of this music is more in keeping with the 19th century, one might even call it symphonic, I believe that the ambience of the recorded sound does him harm here. Some of the details simply get lost. But that should not dissuade one from acquiring either—or both!—of these recordings. They attest to just how fascinating a character Schubert is, and just how great is his music. These are two you do not want to be without. –Scott Noriega, FANFARE

Love or loathe it, Valery Afanassiev’s remarkable recording from the 1986 Lockenhaus Festival of Schubert’s Sonata D 960 to be found on ECM New Series 1682 is one of those piano events which is hard to forget once experienced in full. Afanassiev recorded Schubert again for the Denon label in the 1990s, but these studio recordings never came close to capturing the live fervour of that ECM D 960. This duality of expectation made me enthusiastic to hear this Moments musicaux and Sonata D 850, but not without a little trepidation as to what I might find.
As the ECM blurb points out, these two Schubert opuses are relatively extrovert works, though as Radu Lupu shows, the Moments musicaux are also filled with poetry and eloquence of expression. Afanassiev lays the episodic nature of the C major opener rather bare, allowing the music to speak for itself but not giving the piece the same sense of natural flow which Lupu manages to introduce, while at the same time portraying individual character in each element. With rich piano tone and a fine touch, Afanassiev’s approach is one you can grow to appreciate, but might seem a little less than warm and welcoming to start with. The magnificent A-flat major movement is initially given fine expression and shape in this recording, though there are some accents which jump out rather than being prepared as you might expect. The broken-chord accompaniment from 1:34 is presented rather strangely, with the bass note separated and a distinct lack of pedaling. If you are used to Lupu this will seem rather willfully ascetic, though the singing line of the melody takes on a different kind of life in this context, and the drama of this material’s development later on reveals something of Afanassiev’s logic here.
The dance of the F minor movement is less typically bouncy than in many performances and about half the tempo of Lupu. Once accustomed to the slow tempo one can hear where Afanassiev is giving us an interesting view of this piece, but it will be another ‘love or loathe’ moment for many. The C-sharp minor movement is carefully etched and with plenty of inner detail, and it is only with the F minor Allegro Vivace that the promise of extrovert music making is delivered. The poignancy of the final A-flat major Allegretto is subsumed in a lack of breath between the phrases, and while the music has a fine atmosphere the whole thing could do with being less compressed.
This is a Moments musicaux which can fascinate, but will I suspect be a frustration to many. I think it’s probably best to ditch preconceptions about how one thinks this music should ‘go’, and seek the inner life which Afanassiev gives the music here. The playing is undoubtedly fine, and I appreciate the new angles we are given on Schubert, but this recording stubbornly refuses to become a favourite and seems to set out with this as one of its principal aims.
The Sonata in D Major D 850 is described by Afanassiev in his booklet notes as “an assortment of games played by Schubert and those pianists who condescend to become children again without incurring the wrath of their friends and colleagues.” Valery Afanassiev’s scattergun references and associations with these pieces in the booklet might be helpful in interpreting his interpretations, but are something of a subjective gallimaufry even when presenting potentially relevant quotes and pointing towards historical context. Of the performance, the first movement is rather measured, with more excitement generated by Michel Dalberto, though his is arguably a touch too far in the direction of precipitousness. This slowness is more apparent in the con moto second movement, which is very downbeat. There is more life but not much more drama in the Scherzo, and the playful element in the final Rondo comes across well, though this is one of Schubert’s movements I would challenge anyone to play and not make it sound playful.
I am reluctant to give Afanassiev’s Sonata D 850 short shrift, but the conclusion has to be the same as with the Moments musicaux. This is an approach which I am glad to say brings new points of view interest to works which run the risk of standardised performance based on received views of practice current or past. One thing of which you cannot accuse Valery Afanassiev is following trends or taking easy options. The problem is that, rather than taking up a position of significance in their own right these performances rather inspire me to return to ones which I know have given me satisfaction in the past, or which have inspired more recently. Paul Lewis falls into this latter camp, and it just so happens that his Moments musicaux on Harmonia Mundi HMC 902136.37 have already tickled my fancy as well.
Beautifully recorded and certainly stimulating in terms of interpretative controversy, I regret to say I doubt Valery Afanassiev’s second Schubert recording for ECM will achieve the same ‘connoisseur’s choice’ as his first. –Dominy Clements, MusicWeb International

Tracklist:
Franz Schubert (1797–1828)
Six moments musicaux D 780 (op. 94)
1. C Major: Moderato 05:54
2. A-Flat Major: Andantino 07:17
3. F Minor: Allegro moderato 02:17
4. C-Sharp Minor: Moderato 05:19
5. F Minor: Allegro vivace 02:05
6. A-Flat Major: Allegretto 07:07
Sonata in D Major D 850 (op. 53)
7. Allegro vivace 09:37
8. Con Moto 12:38
9. Scherzo: Allegro vivace 09:29
10. Rondo: Allegro moderato 09:07

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Rousset - Duphly Pieces de Clavecin (2011) [Aparte] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Time - 127:42 minutes | 2,8 GB | 5% recovery info
Official Digital Download - Source: Qobuz.com | Digital booklet | Aparte
Christophe Rousset, harpsichord

Spoiler

Christophe Rousset's performances as a harpsichordist had soon attracted the attention of the international press as well as record companies. Lighting this orchestra in fire with his enthusiasm as a conductor and researcher, he was soon among the front runners of Baroque, acclaimed in the world. Through this recording Christophe Rousset has attempted to restore the virility of Jacques Duphy's compositions as well as the severity of some features, the sincerity of the composer’s gesture, all this greatly inspired by the beautiful sound of the Kroll harpsichord, kindly made available to us by its owner and restorer Marc Ducornet.

Tracklist:

01 - La Forqueray (Troisieme livre de pieces de clavecin, 1756)
02 - Chaconne en fa (Troisieme livre de pieces de clavecin, 1756)
03 - Medee (Troisieme livre de pieces de clavecin, 1756)
04 - Allemande en do mineur (Premier livre de pieces de clavecin, 1744)
05 - Courante la Boucon (Premier livre de pieces de clavecin, 1744)
06 - Rondeau en do (Premier livre de pieces de clavecin, 1744)
07 - La Millettina (Premier livre de pieces de clavecin, 1744)
08 - Rondeau la Pothouin (Quatrieme livre de pieces de clavecin, 1768)
09 - La Victoire (Quatrieme livre de pieces de clavecin, 1768)
10 - Rondeau en re mineur (Premier livre de pieces de clavecin, 1744)
11 - La Damanzy (Second livre de pieces de clavecin, 1748)
12 - La Cazamajor (Premier livre de pieces de clavecin, 1744)
13 - La Felix (Second livre de pieces de clavecin, 1748)
14 - La de Vatre (Second livre de pieces de clavecin, 1748)
15 - Allemande en re mineur (Premier livre de pieces de clavecin, 1744)
16 - Courante en re mineur (Premier livre de pieces de clavecin, 1744)
17 - Les Graces (Troisieme livre de pieces de clavecin, 1756)
18 - La Vanlo (Premier livre de pieces de clavecin, 1744)
19 - Rondeau (Premier livre de pieces de clavecin, 1744)
20 - La Tribolet (Premier livre de pieces de clavecin, 1744)
21 - La du Buq (Quatrieme livre de pieces de clavecin, 1768)
22 - La D`Hericourt (Second livre de pieces de clavecin, 1748)
23 - La de Guyon (Troisieme livre de pieces de clavecin, 1756)
24 - La de Drummond (Quatrieme livre de pieces de clavecin, 1768)
25 - La Lanza (Second livre de pieces de clavecin, 1748)
26 - Les Colombes (Second livre de pieces de clavecin, 1748)
27 - La de Chamlay (Troisieme livre de pieces de clavecin, 1756)

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Steinberg Uchida - Mozart Violin Sonatas (2005) [Decca] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Time - 01:10:29 | 1.4 GB | 5% recovery info
Official Digital Download - Source: Decca
Mark Steinberg, violin
Mitsuko Uchida, piano

Spoiler

In the past fifteen years, Mitsuko Uchida has become one of the leading Mozart pianists in the world. Her series of recordings of the complete Mozart Piano Sonatas has received great acclaim as have her recordings of all the piano concertos. Personally, I consider Uchida the best Mozart performing artist of her generation; her ability to convey the charm, playful nature, smooth lines, and beauty of Mozart's music is exceptional. In addition, her piano sonata recordings inject an excitement to Mozart's outer movements not found in any alternative recordings.

Uchida's most recent venture into Mozart's sound world consists of a disc of four sonatas for violin and keyboard where she is partnered by the excellent violinist Mark Steinberg. The partnership is outstanding as the dialogue between violin and piano clearly resonates and each performer seems to possess an innate sense of the other's purpose. This is teamwork of the highest order with conversational properties second to none.

Perhaps the most distinctive aspect of the performances is the excitement generated in the Allegro movements. I own many other discs of these works including those from Zimmermann/Lonquich on EMI, Szeryng/Haebler on Philips, and Grumiaux/Klein on Philips as well as period instrument accounts from Banchini/Vesselinova on Harmonia Mundi, Schroder/Orkis on Virgin Classics, and Luca/Bilson on Nonesuch. None of them comes close to projecting the drive and thrilling experience of listening to Steinberg and Uchida. With quicksilver tempos and bold accenting, these two artists offer proof that Mozart is much more than transcendent melody lines and perfect structure.

I certainly don't want to give the impression that excitement constitutes the only supreme reward from the Steinberg/Uchida collaboration, and their performance of the Sonata in E minor, K. 304 is ample evidence that the duo also has a sure grasp on Mozart's angst, despair, and sweet refrains. The two-movement E minor Sonata was composed soon after Mozart's mother passed away, and it is the bleakest work he wrote for violin and piano. The 1st Movement Allegro is angry music that Uchida and Steinberg play with great determination. As good as they are in this movement, it is their 2nd Movement Tempo di menuetto where they astound me with the intense sadness of the first section and glowing optimism and security of the central trio section in the key of E Major. I can feel Mozart's grief and love to the point where I could almost sob, and that is a rare event for this reviewer.

A few words about Mark Steinberg's performance style on the disc. Although he does not play a period violin, his interpretations clearly are a result of paying attention to historically informed performance practices. His tone is lean without any of the thick vibrato so common from modern violins but entirely inappropriate for Mozart's music. I do prefer the pungent tones of the period violin, but listening to Steinberg almost makes me forget the preference.

Any reservations? Just one, and it's my common complaint about piano sound that I refer to as having the "flooded airport hangar effect": too much wet air and reverberation. Uchida is not a United Airlines employee, but the Philips engineers make her push against water and air. Now I was able to make adjustments with my audio controls and trusty equalizer to minimize this effect, but it took quite a few minutes to reach an agreeable balance. Those of you with only bare-bones audio equipment should consider the strong possibility that your system might not be capable of dampening the "wet effect". I should also report that these performances are available in the SACD format where the piano sound might take on different characteristics from those in the CD format.

Don's Conclusions: One of the most rewarding and enjoyable Mozart discs in recent years. Uchida and Steinberg make a wonderful duo conveying superlative dialogue, thrilling Allegros, and the full measure of Mozart's dark side. Although problematic piano sound does detract from the production, the excellence of the music and performances cannot be sullied. For modern instrument accounts of Mozart's Sonatas for Violin and Piano, Steinberg and Uchida go to the head of the class.

Copyright © 2005/2006, Don Satz

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Järvi - Shostakovich Cantatas (2015) [Erato] {24-48}

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FLAC (tracks) 24 bit/48 kHz | Time – 1:19:51 minutes | 902 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: HDTracks | © Warner Classics/Erato
Recorded live in the Estonia Concert Hall, Tallinn 18-20 April 2012
Aleksei Tanovitski – bass
Kostiantin Andrejev – tenor
Narva Boys Choir
Estonian Concert Choir
Estonian National Symphony Orchestra
Paavo Järvi – conductor

Spoiler

Estonian-born conductor Paavo Järvi and the Estonian National Symphony Orchestra turn to rarely performed choral works by Dmitri Shostakovich: Song of the Forests Op. 81, The Sun Shines on our Motherland Op. 90, and The Execution of Stepan Razin Op. 119. The new release confirms Järvi’s reputation as a conductor with a deep understanding for the music of Shostakovich, as well as a particular affinity for choral music, which has a strong tradition in his homeland. These cantatas have a particular significance in Estonia – a former Soviet Socialist Republic under Stalinist rule. By the time Shostakovich composed The Execution of Stepan Razin for bass, concert chorus and orchestra in 1964, Stalin had died and the composer felt able to take a few risks under the regime of Nikita Khrushchev. The cantata is set to a grisly poem about a 17th-century Cossack revolutionary. Järvi calls the work an “absolute masterpiece” and a “critical view of the Soviet regime”.


Tracklist:
Dmitry Shostakovich (1906-1975)
1 The Execution of Stepan Razin, Op. 119 29:25
2 The Sun Shines over our Motherland, Op. 90 14:17
The Song of the Forests, Op. 81
3 I. The war ended in victory (Bass, Chorus) 05:00
4 II. We will clothe our homeland with forests (Boys Chorus) 02:53
5 III. Memories of the past (Bass, Chorus) 07:00
6 IV. The pioneers plant the forests (Boys Chorus) 02:01
7 V. The people of Stalingrad go forth (Chorus) 03:24
8 VI. A walk into the future (Tenor, Chorus) 06:32
9 VII. Glory (Tenor, Bass, Boys Chorus, Chorus) 09:19

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Lisitsa plays Philip Glass (2015) [Decca] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Time - 02:44:04 | 3.1 GB | 5% recovery info
Classical | Official Digital Download - Source: Decca | 2015
Philip Glass, composer
Valentina Lisitsa, piano

Spoiler

BBC Music Magazine
June 2015
****
“Lisitsa brings grace and warmth to a collection of works by Glass, which includes solo piano arrangements from cinematic scores to The Truman Show and The Hours.”

Gramophone Magazine
June 2015
“Glass has rarely been played with as much care shown to the subtle nuances of his minimalist style and aesthetic...one cannot deny the inherent musicality that lies at the heart of Lisitsa's playing. If nothing else, she proves here that Glass's music can sound stunning when given a more self-consciously Romantic treatment.”

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Mravinsky - Tchaikovsky Symphonies Nos. 4-6 (2013)[Pristine] {24-48}

"Nhạc trưởng huyền thoại của Liên Xô, Evgeny Mravinsky đã dẫn dắt dàn nhạc Leningrad Philharmonic trong suốt 50 năm. Bởi vì cuộc đời của Evgeny Mravinsky phần lớn đứng đằng sau “tấm màn thép" của Stalin, nên ông không được biết đến nhiều ở châu Âu và châu Mỹ so với các nhạc trưởng vĩ đại khác của thế kỷ 20.
--
Người ta kể lại rằng nhạc trưởng tài ba Herbert Von Karajan sau một lần thu tác phẩm giao hưởng số 5 của Tchaikovsky đã tỏ ra rất hài lòng với bản ghi âm này. Ông bảo người quản lý dàn nhạc tìm cho mình bản thu tác phẩm này của Mravinsky.
--
Thế rồi, Karajan nghe đi nghe lại 3 lần bản thu của Mravinsky trong suốt một đêm, sáng hôm sau Karajan gọi tới phòng thu và yêu cầu họ xóa đi bản thu của chính mình. Và từ đó Karajan không bao giờ động đến bản giao hưởng số 5 một lần nào nữa... - nhaccodien.info

Nhưng mà thực ra là truyền thuyết để tôn vinh Mravinsky, chứ Karajan có nhiều bản thu âm giao hưởng của Tchaikovsky

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FLAC (tracks) 24 bit/48 kHz | Time – 01:11:23 | 1.5 GB | 5% recovery info
Genre: Classical | Official Digital Download – Source: HDTracks | © Pristine Audio
Leningrad Philharmonic Orchestra
Yevgeny Mravinsky, conductor

Spoiler

BBC Music Magazine
May 2006
*****
“Mravinsky's legendary stereo London recordings now remastered, at half the price they used to be. Great performances makes this essential for every library.”

Classic FM Magazine
September 2011
“Mravinsky's classic recordings with the formidable Leningrad Philharmonic slice thrillingly through expertly remastered 1960s sound.”

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Faust - Bach Sonatas Partitas BWV 1001-1003 (2012) [HM] {24-96}

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FLAC (tracks) 24 bit/96 kHz | Time - 01:00:12 | 1.2 GB | 5% recovery info
Classical | Official Digital Download - Source: HM | 2012
J.S. Bach, composer
Isabelle Faust, violin

Spoiler

AllMusic Review by Blair Sanderson:
Following up on the 2010 release of Volume I of J.S. Bach's sonatas and partitas for solo violin, which covered BWV 1004-1006, Isabelle Faust presents BWV 1001-1003 on the second volume, her 2012 release on Harmonia Mundi. For the first installment, she garnered critical acclaim and popular praise for her unstinting scholarship and unparalleled virtuosity, and the same applies to the long-awaited completion of the project. As in her previous performances, Faust uses the manuscript as her source and is careful to get all details right, while finding the proper balance between Bach's expression and her own. Faust plays a Stradivarius violin from 1704, nicknamed "Sleeping Beauty," and her tone is pure and radiant, despite some unavoidable but minimal scratchiness on double-stops, and she has a slight vibrato that she uses sparingly, almost as embellishment, in keeping with Baroque practice. The sonatas and partitas are virtuoso works where everything is exposed and a violinist's abilities are put to the ultimate test, not only in managing technical difficulties, but also in imagining the sounds, ornaments, textures, timbres, and nuances that Bach implies in his writng. Faust is one of the few artists to withstand the toughest scrutiny, and her set is highly recommended for her extraordinary fidelity to the music and true artistry.

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Faust - Bach Sonatas Partitas BWV 1004-1006 (2010) [HM] {24-96}

View attachment 194545

FLAC (tracks) 24 bit/96 kHz | Time - 01:08:48 | 1.2 GB | 5% recovery info
Classical | Official Digital Download - Source: HM | 2012
J.S. Bach, composer
Isabelle Faust, violin

Spoiler

AllMusic Review by James Leonard
"Clapton is God!" was the well-known graffiti scrawled across 20th century London, praising the Englishman's fiery guitar playing. Based on Isabelle Faust's blazing accounts of Bach's sonatas and partitas on this 2010 Harmonia Mundi disc, one might expect to see the graffiti "Faust is God!" scrawled across 21st century Paris. Rather than play all six of these canonical works of the solo violin literature, Faust has chosen the D minor and E major partitas and placed the C major Sonata between them. All three are tremendously difficult both technically and expressively, but starting with the D minor Partita with its celebrated Chaconne was particularly audacious. Faust rises to the challenge with an utterly devastating account of the work. Playing with only a dab of vibrato but a boatload of virtuosity, she overcomes every technical hurdle in this surpassingly difficult work. She saves the best for last, and her Chaconne is stunningly powerful, as well as amazingly nuanced and profoundly moving. Her other two performances are equally impressive, especially the opening Adagio and Fugue from the C major Sonata, which builds from a whisper to a shattering contrapuntal climax. There have been other great recordings of these works, but Faust's surely belongs among the best. Harmonia Mundi's sound is close but not overly intimate.

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Bach’s three sonatas and three partitas for unaccompanied violin (3 sonata và 3 partita cho violin không đệm của Bach). Isabelle Faust, Violin (sửa bài viết lại bạn ivanhoe76 !). 2CD tuyệt vời - Cám ơn bạn nhiều !