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Freiburger Barockorchester - J.S. Bach Orchestral Suites (2011) [HM] {24-44}

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FLAC (tracks) 24 bit/44.1kHz | 01:33:25 minutes | 1 GB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | © Harmonia Mundi
Recorded: janvier-février 2011, Freiburg, Paulussaal
Freiburger Barockorchester

Spoiler

Called ‘Ouvertüren’ in Germany, because they began with a large-scale overture à la française, Bach’s Suites for orchestra offer a unique synthesis of the French and the Italian styles. The Leipzig Cantor did not content himself with a mere set of amiable dances for his ‘Collegium Musicum': he revived the genre in his own manner, accenting the contrasts, refining the orchestration, and introducing a hitherto unknown contrapuntal element. Two centuries later these admirable orchestral works continue to represent an indispensable treasure of the Baroque.


To appreciate J.S. Bach’s four Orchestral Suites in authentic style on period instruments, one need only turn to the Freiburg Baroque Orchestra for a truly exquisite historical recreation. This double-disc package from Harmonia Mundi offers the scintillating tone colors, lively rhythms, and spontaneous ornamentation that historically informed performances yield, and Bach’s music is played with the enthusiasm and expertise that the best early music specialists can provide. Add to this the musicians’ extraordinary presence, the spacious and resonant recording space, and audio reproduction that is the best that can be found on standard CDs, and the knowledgeable listener will be quick to snap up this album. The suites — called Ouvertüren in Germany because each opens with a French overture — have varied characters, marked by their different keys and instrumentation, and they are equally as popular as the composer’s famed Brandenburg Concertos; listeners who are familiar with those works will find the suites similarly appealing. In terms of performance, the chamber-sized Freiburg Baroque Orchestra plays with exceptional unity and accuracy, and the group sounds like a gathering of world-class soloists, so personally and distinctively are the parts expressed. There may be recordings of the suites by other period ensembles that match this one for excellence, but it’s unlikely that any surpass it. –AllMusic Review by Blair Sanderson

Tracklist:
Johann Sebastian Bach (1685-1750)
Suite no.4 in D major / Ré majeur / D-Dur BWV 1069
for 3 oboes, bassoon, 3 trumpets, timpani, strings and b.c.
1 | I. Ouverture 11’26
2 | II. Bourrées I & II 2’50
3 | III. Gavotte 1’55
4 | IV. Menuets I & II alternativement 4’14
5 | V. Réjouissance 2’29
Suite no.2 in B minor / si mineur / h-Moll BWV 1067
for flute, 2 violins, viola and b.c.
6 | I. Ouverture 10’41
7 | II. Rondeau 1’28
8 | III. Sarabande 2’36
9 | IV. Bourrées I & II alternativement 2’04
10 | V. Polonaise & Double 3’17
11 | VI. Menuet 1’05
12 | VII. Badinerie 1’23
Suite no.1 in C major / Ut majeur / C-Dur BWV 1066
for 2 oboes, bassoon, strings and b.c.
13 | I. Ouverture 9’17
14 | II. Courante 2’18
15 | III. Gavottes I & II alternativement 3’13
16 | IV. Forlane 1’13
17 | V. Menuets I & II alternativement 3’15
18 | VI. Bourrées I & II alternativement 2’42
19 | VII. Passepieds I & II 3’27
Suite no.3 in D major / Ré majeur / D-Dur BWV 1068
for 2 oboes, bassoon, 3 trumpets, timpani, strings and b.c.
20 | I. Ouverture 9’49
21 | II. Air 4’37
22 | III. Gavottes I & II alternativement 4’00
23 | IV. Bourrée 1’10
24 | V. Gigue 2’47

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Sokolov - Chopin 24 Preludes (2013) [Naive] {24-44}

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FLAC (tracks) 24 bit/44.1kHz | 01:06:06 minutes | 410 MB | 5% recovery info
Genre: Classical | Official Digital Download | © Naive
Grigory Sokolov, piano

Spoiler

Grigory Sokolov's live 1990 recording of the Chopin Op. 28 Preludes last appeared on the Opus 111 label's 10-volume "Journey Around Chopin" anthology. It's reissued again here, with much-improved graphics this time around. I've always loved this recording for Sokolov's untrammeled, personalized pianism and a kind of freedom that seems fueled by creative inquiry rather than unfounded, willful eccentricity. The pianist revels in the music's unpredictable mood swings while illuminating its harmonic and contrapuntal inspirations like an astronomer who can't wait to share his latest planetary discoveries. Sokolov milks the A minor Prelude's still-jarring dissonances for all they're worth and sprints like mad through the hell-raising B-flat minor and D minor. The etude-like G major, F-sharp minor, and E-flat Preludes rarely have sounded so effortless and playful. Imagine a more intellectualized version of Martha Argerich's red-hot 1975 DG recording, and you'll get the gist of Sokolov's Chopin Preludes. A truly absorbing release. -Jed Distler, ClassicsToday.com

"An excellent account, recorded live, that manages to be powerful, empathetic and intense. Elegance is abundantly evident throughout and the pianism is 18-carat.” - BBC Music Magazine

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177. Sokolov - Chopin 24 Preludes (2013) [Naive] {24-44} (bạn đã chia sẻ rồi !)

 

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Goerne - Schubert Schwanengesang (2012) [HM] {24-44}

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FLAC (tracks) 24 bit/44.1 kHz | 01:50:36 minutes | 902 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz.com | @ Harmonia Mundi
Recorded: février 2010 et janvier 2011, Teldex Studio Berlin
Matthias Goerne, baritone (#1-15)
Christoph Eschenbach, piano

Spoiler

Matthias Goerne continues a Schubert survey that has already established him as one of the most fantastically gifted exponents of the song repertoire; Goerne does not ‘interpret’ Schubert, he lives each lied from the inside and invites the listener to share this poetic and musical intimacy without ever falling into the trap of overstatement. This sixth volume in the series also features an unforgettable performance of Schubert’s last piano sonata by one of the baritone’s favourite partners, Christoph Eschenbach. Offered on a free bonus CD, this ‘second swansong’ reveals hitherto unexplored resonances under his expert fingers.

The sixth volume in Matthias Goerne’s survey of Franz Schubert’s lieder includes the posthumous collection Schwanengesang, which contains some of the loveliest and most disturbing songs Schubert ever composed. One problem in performing this ambiguous work of Schubert’s last year lies in its alternation of sweet, lyrical songs with those of a much darker and even frightening character, and it’s left to the singer and the pianist to balance the moods and to make the contrasts of expression as subtle as possible. Goerne and his accompanist Christoph Eschenbach meet the challenge by carefully shading the songs with a tempering of expressions that admits sorrow in the midst of joy and hope in the depths of despair. On a bonus CD, Eschenbach performs Schubert’s expansive Sonata in B flat major, another late work that displays evanescent shifts of feelings, and he plays with a natural outpouring of emotion that fluidly connects the music’s high and low points. Harmonia Mundi offers warm and rich sound, which captures the resonance of Goerne’s baritone and the fullness and smoothness of Eschenbach’s sound, though the bass is a bit heavy in the recording of the sonata. –AllMusic Review by Blair Sanderson

“The distinctive mellow roundness of Goerne’s timbre, at once deep and soft-grained, and his care for a true, ‘bound’ legato are pleasures in themselves. He and the ever-fastidious Eschenbach invariably allow you to savour the sheer beauty of Schubert’s melodic lines.” –Gramophone

“Goerne is showing an increasing tendency to capitalise on what he does best, exploiting his superb breath control in singing of hushed and seamless legato … he is also able and willing to dare extremes of pacing and dynamics …” –BBC Music Magazine

“Goerne has his own ideas about the music and puts them forth with confidence and persuasion. That, in the end, is what sells this recording … a fine disc.” –Audiophile Audition

Tracklist:
Franz Schubert (1797-1828)
Schwanengesang D.957
nach Gedichten von Ludwig Rellstab (1-8)
Heinrich Heine (9-14) – Johann Gabriel Seidl (15)
1 | 1. Liebesbotschaft 3’22
2 | 2. Kriegers Ahnung 4’40
3 | 3. Frühlingssehnsucht 3’26
4 | 4. Ständchen 4’20
5 | 5. Aufenthalt 3’02
6 | Herbst D.945 4’08
7 | 6. In der Ferne 6’33
8 | 7. Abschied 4’27
9 | 8. Der Atlas 2’06
10 | 9. Ihr Bild 3’47
11 | 10. Das Fischermädchen 2’33
12 | 11. Die Stadt 3’07
13 | 12. Am Meer 5’01
14 | 13. Der Doppelgänger 6’25
15 | 14. Die Taubenpost 4’23
Piano Sonata D.960
in B flat major / Si bémol majeur / B-Dur
16 | I. Molto moderato 21’13
17 | II. Andante sostenuto 13’24
18 | III. Scherzo. Allegro vivace con delicatezza 4’52
19 | IV. Allegro, ma non troppo 9’47

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Mosell - [R]evolution (2015) [Decca] {24-96}

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FLAC (tracks) 24 bit/96kHz | Time – 00:58:02 minutes | 861 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | @ Decca
Recorded: February, June 2014
Vanessa Benelli Mosell, piano

Spoiler

[R]evolution celebrates the Decca debut for Italian pianist Vanessa Benelli Mosell and is a tribute to the music of the twentieth century.
When was the last time you heard any Stockhausen? Since his death, at the end of 2007, the German avant-gardist’s star has fallen in a reverse curve to that of his French comrade, Pierre Boulez. Hardly any Stockhausen is being recorded these days, and there are few concerts where the music can be heard. So an album by a young pianist who worked with the composer in his final years is a welcome opportunity to revisit a brave old world that has virtually vanished.

And it’s not hard to see why. Stockhausen’s 8 Klavierstücke (piano pieces), written between 1952 and 1961 as the composer was making his mark, are the kind of stuff that gave the avant-garde a bad name for random plinky-plonks and unprovoked violence. Vanessa Benelli Mosell makes the eight morsels sound reasonably structured and almost musical at times, but the grim austerity of Stockhausen’s sound world simply cannot be dispelled and the ear is grateful for every silence it can grab.


The album’s other works are more appealing, and winningly played. Karl Beffa’s 2008 suite is designed for either piano or harpsichord; having heard it played on one, I now crave the other. And Stravinsky’s Three Movements from Petrushka are hammered out with a reckless Russian brutalism, so much more feral than Stockhausen’s car-crash. Mosell, 28, has put together a really clever programme. But all she reveals by juxtaposition is Stockhausen’s mechanical lack of a human touch. –sinfinimusic.com

Tracklist:
Karlheinz Stockhausen (1928 – 2007)
1. Klavierstück I 03:04
2. Klavierstück II 01:52
3. Klavierstück III 00:38
4. Klavierstück IV 02:08
5. Klavierstück V 05:32
6. Klavierstück VII 06:56
7. Klavierstück VIII 02:16
8. Klavierstück IX 10:59
Karol Beffa (1973 – )
Suite pour Piano ou clavecin
9. 1. La volubile 01:52
10. 2. La ténébreuse 03:16
11. 3. La déjantée 04:01
Igor Fyodorovich Stravinsky (1882 – 1971)
Trois mouvements de Petrouchka
12. 1. Danse russe 02:29
13. 2. Chez Petrouchka 04:32
14. 3. La Semaine Grasse 08:33

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Gaillard - Schumann-Liszt (2012) [Qobuz] {24-88}

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FLAC (tracks) 24 bit/88kHz | 00:50:13 minutes | 649 MB | 5% recovery info
Genre: Classical | Official Digital Download | Aparte
Ophélie Gaillard, cello
National Radio Orchestra of Romania.
Delphine Bardin, piano
Tiberiu Soare, conductor

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Villaume - Tchaikovsky Iolanta (2015) [DG] {24-48}

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FLAC (tracks) 24 bit/48kHz | Time – 01:32:53 minutes | 1 GB | 5% recovery info
Genre: Classical, Opera | Source: highresaudio.com | © Deutsche Grammophon
Recorded: November 2012 at Philharmonie Essen, Germany
Anna Netrebko, Soprano
Theresa Plut, Soprano
Nuska Rojko, Alto
Monika Bohinec, Contralto
Sergey Skorokhodov, Tenor
Jun Ho You, Tenor
Alexey Markov, Baritone
Lucas Meachem, Baritone
Vitalij Kowaljow, Bass
Luka Debevec Mayer, Bass
Slovenian Philharmonic Orchestra
Emmanuel Villaume, Conductor
Slovenian Chamber Choir

Spoiler

Following Anna Netrebko’s astounding success in Salzburg’s Il Trovatore production we are pleased to announce a very exciting opera release for the start of 2015, recorded during her U-Live tour in 2012.
Anna Netrebko performs Iolanta, the title role of one of Tchaikovsky’s most passionate, evocative scores and one of opera’s most enigmatic figures making the character her own and dedicating herself to championing this under-appreciated work.
In this live recording, maestro Emmanuel Villaume, with whom Netrebko collaborated on the successful “Souvenirs” album, leads a stellar cast comprising a number of Russia’s biggest opera stars (Markov, Skorokhodov, Kowaljow).
The hand-picked company of supporting artists makes this a significant addition to Netrebko’s discography and an artistically valuable addition to the DG catalogue.
Netrebko is scheduled for eight staged performances of Iolanta at the Metropolitan Opera in New York in January-February 2015, as well as a four-city U-Live produced European tour of concert performances and a Royal Albert Hall date later in the season.

An opera that can be most moving — not least when, as here, it is given such wonderful advocacy . . . Netrebko has never been better than here, where her head and heart are so self-evidently engaged. Her opening ariosa establishes the glorious complexion of her voice — a creamy, dark coloration extending unblemished throughout the range. It is her inwardness, of shared confidences, that are as affecting as the eventual full-throated rapture of the piece. She clearly adores it and feels deep communion with it — the sound, the poetry, of her native language, the ache of Tchaikovsky’s music. Emmanuel Villaume and the Slovenian Philharmonic Orchestra both embrace and illuminate it with distinction . . . The refinement of Villaume’s conducting is a constant source of delight: it nuances and tempers even the most wholehearted flights of fancy . . . Vaudemont is sung with lusty relish by Sergey Skorokhodov, one of those fabulous heroic Russian tenors with a sensationally full-flooded top which you just know is what Tchaikovsky had in his mind’s ear when he wrote roles like this . . [Netrebko & Skorokhodov]: these two voices locked in their musical embrace is quite something — as is the over-spilling orchestral release in their wake. We are truly in this moment in the presence of Tchaikovsky’s greatness. –Edward Seckerson, Gramophone

. . . [“Iolanta”] has an atmosphere all its own, and though not a great deal happens the heroine is treasurable and there is much gorgeous writing . . . [this recording] starts well, the rather constipated wind intro melting into Schubertian strings that fix the score’s sweet yearning. Netrebko starts beautifully too, low down with the softest grain to the voice, and this intimate mode works well . . . The other singers are pretty good . . . Sergey Skorokhodov’s beautifully smooth, masculine tenor Vaudémont full of romantic ardour . . . –Robin Thicknesse, Opera Now

. . . [Netrebko] has never been better than here, where her head and heart are so self-evidently engaged. Her opening ariosa establishes the glorious complexion of her voice — a creamy, dark coloration extending unblemished throughout the range. It is her inwardness, of shared confidences, that are as affecting as the eventual full-throated rapture of the piece. She clearly adores it and feels deep communion with it — the sound, the poetry, of her native language, the ache of Tchaikovsky’s music. Emmanuel Villaume and the Slovenian Philharmonic Orchestra both embrace and illuminate it with distinction . . . The refinement of Villaume’s conducting is a constant source of delight: it nuances and tempers even the most wholehearted flights of fancy. The scene in which Iolanta and the Burgundian knight Count Vaudémont fall in love and most especially the moment Vaudémont at last realises that Iolanta is blind is marked by a penetrating passage for strings invoking his shock and silence. Netrebko’s response to this is extraordinarily touching . . . Vaudémont is sung with lusty relish by Sergey Skorokhodov, one of those fabulous heroic Russian tenors with a sensationally full-flooded top which you just know is what Tchaikovsky had in his mind’s ear when he wrote roles like this . . . “What is light?” asks Iolanta. “Creation’s first-born” replies Vaudémont. The thrill of these two voices locked in their musical embrace is quite something — as is the overspilling orchestral release in their wake. We are truly in this moment in the presence of Tchaikovsky’s greatness. Every voice has been carefully selected to ensure that there are no weak links here. Vitalij Kowaljow as King René has his moment in a thematically significant ariosa while the preening and rather shallow Robert . . . is sung with selfish ardour by Alexey Markov. There’s also a splendid contribution from Lucas Meachem as the Moorish physician Ibn-Hakia . . . as ever with Tchaikovsky the surface uplift betokens a deeper eloquence which all but the totally jaded will embrace. –Edward Seckerson, Gramophone online

Tracklist:
Peter Ilyich Tchaikovsky (1840 – 1893)
Iolanta Op.69
1. Introduction 02:12
No. 1 Scene and Arioso of Iolanta
2. Moy ptenčik, Iolanta, tï ustala? 06:39
3. Otčego ėto prežde ne znala 02:35
No. 2 Scene and Chorus
4. Polno, ne nado, rodnaya … Vot tebe lyutiki 02:02
No. 3 Scene and Chorus
5. Brigitta, ėto tï? 01:52
6. Spi, pust’ angelï krïlami navevayut snï 03:12
No. 4 Scene and Arioso of the King
7. Prizïvnïy rog 09:14
8. Gospod’ moy, esli grešen ya 03:18
No. 5 Scene and Monologue of Ibn-Hakia
9. Tvoyo lico besstrastno 03:10
10. Dva mira – plotskiy i dukhovnïy 04:29
No. 6 Scene and Aria of Robert
11. Ne toropis’, zdes’ tak temno … Kto možet sravnit’sya 05:15
No. 6a Romance of Vaudémont
12. Net! Čarï lask krasï myatežnoy 03:39
No. 7 Scene and Duet of Iolanta and Vaudémont
13. Odnako gde že mï? 06:35
14. Vï mne predstali kak viden’e 05:30
15. Tvoyo molčan’e neponyatno … Čudnïy pervenec… 08:41
No. 8 Scene
16. Iolanta! – Menya zovut podrugi … Tï, osleplennïy… 07:26
17. Net, nazovi mučen’ya, stradan’ya, bol’ 04:16
No. 9 Finale
18. Prosti menya 02:09
19. Gotfrid, ya vïručat’ tebya yavilsya 04:50
20. Gde ya? 02:02
21. Blagoy, velikiy, neizmennïy 03:56

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Mravinsky - Tchaikovsky Symphony 5 (1961) [DG SACD] {24-88}

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FLAC (tracks) 24 bit/88kHz | 00:43:01 minutes | 834 MB | 5% recovery info
Genre: Classical | Official Digital Download | Deutsche Grammophon
Leningrad Philharmonic
Evgeny Mravinsky, conductor

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The link is broken. Can you please upload it again?
Esfahani - Time Present and Time Past (2015) [DG] {24-48}
https://www.fshare.vn/file/BSQ41H5Y5J2E

 

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Album đã được up lại link mới!

 

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Mravinsky - Tchaikovsky Symphony 6 (1961) [DG SACD] {24-88}

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FLAC (tracks) 24 bit/88kHz | 00:44:00 minutes | 846 MB | 5% recovery info
Genre: Classical | Official Digital Download | Deutsche Grammophon
Leningrad Philharmonic
Evgeny Mravinsky, conductor

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Thanks! Much appreciate it!

 

Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

bác ivanhoe có đĩa này không ợ [-O<

Vivaldi 4S do nghệ sĩ violin Janine Jansen chơi solo.

View attachment 145357

 

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Đĩa này trước mình có, nhưng vừa rồi sự cố ổ cứng chưa khắc phục được nên tạm thời chưa chia sẻ được!

 

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Collard - Chopin Préludes Piano Sonata No.2 (2013) [LDV] {24-96}

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FLAC (tracks) 24-bit/96 kHz | 00:58:01 minutes | 936 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | @ La Dolce Volta
Recorded: 9-11 avril 2013, Paris (Paroisse protestante luthérienne « Bon-Secours »)
Jean-Philippe Collard, piano

Spoiler

It has taken him decades to feel comfortable with the composer. Today he is confident in his approach to this repertory and has no qualms about his interpretative options. Chopin’s music gives him two very powerful impressions. First of all, it interprets the sensation of being in love, an aspect he finds fascinating. Moreover, his language speeds up the process of communication between artist and audience.
He sees this disc as a break, a renewal. All his previous records were released on EMI. Today he has changed labels, repertory, sound engineer … These developments enable him to escape a certain routine, to put himself on the line.
There are countless benchmark versions in this repertory, but the French pianist has not sought to measure himself against them, and his approach to the composer is honest and totally sincere. Chopin represents a genuine challenge, for which Jean-Philippe Collard has identified a style that is his alone.

Jean-Philippe Collard is a renowned interpreter of Romantic piano music, and his recordings of the works of Gabriel Fauré have been particularly praised for their brilliance and sensitivity. Somewhat surprisingly, his recordings of the music of Frédéric Chopin have been quite rare, so this 2013 release of the 24 Préludes and the Piano Sonata No. 2 in B flat minor breaks new ground for this distinguished performer. One of Collard’s many gifts is an ability to make difficult music seem easy, and some of the more virtuosic Préludes are simply sparkling and spontaneous, without any signs of struggle or deliberate effort. Consequently, Collard cannot be expected to be overly dramatic or brooding, so the Préludes that other pianists treat with excessive pathos he tends to play with a lighter touch and a forward movement, to avoid sentimentality. Even in the famous Marche funèbre of the Piano Sonata No. 2 in B flat minor, Collard maintains a steady but not overly slow tempo that makes the music more affecting for the lack of bombast, and he gives the following Presto an understated quality that is chilling. –AllMusic Review by Blair Sanderson

Tracklist:
Frédéric Chopin (1810–1849)
Préludes op. 28
1 Preludes No. 1 in C Major, Op. 28: Agitato 00:33
2 Preludes No. 2 in A Minor, Op. 28: Lento 01:42
3 Preludes No. 3 in G Major, Op. 28: Vivace 00:59
4 Preludes No. 4 in E Minor, Op. 28: Largo 01:44
5 Preludes No. 5 in D Major, Op. 28: Allegro molto 00:38
6 Preludes No. 6 in B Minor, Op. 28: Lento assai 01:46
7 Preludes No. 7 in A Major, Op. 28: Andantino 00:40
8 Preludes No. 8 in F-Sharp Minor, Op. 28: Molto agitato 01:51
9 Preludes No. 9 in E Major, Op. 28: Largo 01:23
10 Preludes No. 10 in C-Sharp Minor, Op. 28: Allegro molto 00:32
11 Preludes No. 11 in B Major, Op. 28: Vivace 00:36
12 Preludes No. 12 in G-Sharp Minor, Op. 28: Presto 01:14
13 Preludes No. 13 in F-Sharp Major, Op. 28: Lento 03:20
14 Preludes, Op. 28 No. 14 in E-Flat Minor: Allegretto 00:27
15 Preludes No. 15 in D-Flat Major, Op. 28: Sostenuto 05:12
16 Preludes No. 16 in B-Flat Minor, Op. 28: Presto con fuoco 01:12
17 Preludes No. 17 in A-Flat Major, Op. 28: Allegretto 02:50
18 Preludes No. 18 in F Minor, Op. 28: Allegro molto 00:52
19 Preludes No. 19 in E-Flat Major, Op. 28: Cantabile 01:22
20 Preludes No. 20 in C Minor, Op. 28: Largo 01:23
21 Preludes No. 21 in B-Flat Major, Op. 28: Cantabile 01:45
22 Preludes No. 22 in G Minor, Op. 28: Molto agitato 00:45
23 Preludes No. 23 in F Major, Op. 28: Moderato 00:58
24 Preludes No. 24 in D Minor, Op. 28: Allegro appassionato 02:38
Piano Sonata No. 2 in B-Flat Major, Op. 35 “Funeral March”
25 I. Grave – Doppio movimento 05:25
26 II. Scherzo 06:19
27 III. Marche funèbre (Lento) 08:23
28 IV. Finale (Presto) 01:32

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Várjon - Precipitando (2012) [ECM] {24-44}

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FLAC (tracks) 24-bit/44.1 kHz | Time – 00:57:42 minutes | 333 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | @ ECM Records GmbH
Recorded: April 2011, Auditorio Radiotelevisione svizzera, Lugano
Dénes Várjon: piano

Spoiler

After important contributions to Heinz Holliger’s “Romancendres” and acclaimed performance, with Carolin Widmann, of Schumann’s Violin Sonatas, here is the first New Series solo recording from Hungarian pianist Dénes Várjon. It is a recital that draws the listener in from the first moments – beginning with the dark, brooding language of Alban’s Berg’s Piano Sonata Op. 1, shaped in the shadow of Schoenberg, and continuing into the nebulous regions of Janáček’s impressionistic and near-contemporaneous “In the mists”, finally emerging into the clear light of Liszt’s immense – and immensely-influential – B-minor Sonata.

“Precipitando,” precipitating, is an excellent title for this recital, which is dramatically better as a whole than as the sum of its parts. Each work, in the vision of pianist Dénes Várjon, is the precipitate, or perhaps the crystallization, of an experimental tradition that began with Liszt and continued in various forms through the Second Viennese School and the French Impressionists, whom Várjon considers manifestations of related rather than opposed impulses. Várjon’s most novel take here is his way of looking at Liszt as a proto-modern, getting away from the rock-star image bequeathed by, among others, filmmaker Ken Russell. Instead, as Paul Griffiths puts it in his fine notes, Liszt was the “forerunner” of Strauss and Schoenberg “in matters for form because he was so in matters of harmony, a continuous, constantly evolving structure answering the needs of a harmonic style in which keys and key relationships can no longer be taken for granted.” That description might apply to all three of the pieces on the album: the densely motivic and harmonically challenging Piano Sonata, Op. 1, of Berg, and even Janácek’s In the mists, which pushes Debussy’s Impressionism to the breaking point harmonically. You could find better recordings of any of these pieces individually; the Liszt Piano Sonata in B minor may seem perfunctory for some listeners. Yet hearing the three works together in this way becomes a source of revelations, many of them concerning the fact that harmonic experimentation was never an end in itself for composers in the second half of the 19th century. An intelligent triumph of programming, and engineering as well. –AllMusic Review by James Manheim

Tracklist:
Alban Berg (1885-1935)
1. Sonata Op. 1 11:03
Leoš Janáček (1854-1928)
2. V Mlhách (In the Mists) (1912): I Andante 03:28
3. V Mlhách (In the Mists) (1912): II Molto Adagio 05:08
4. V Mlhách (In the Mists) (1912): III Andantino 02:56
5. V Mlhách (In the Mists) (1912): IV Presto 04:13
Franz Liszt (1811–1886)
6. Sonata in B Minor (1853) 31:10

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Ciccolini - Mozart Alla Turca (2011) [LDV] {24-96}

View attachment 197103

FLAC (tracks) 24-bit/96 kHz | Time – 00:53:51 minutes | 862 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | @ La Dolce Volta
Recorded: mai 2011, Paris (Église Réformée de l’Annonciation)
Aldo Ciccolini, piano

Spoiler

Over the course of his 60-year career Aldo Ciccolini has established an intimate relationship with the great composers. Now aged 85, he takes a fresh look at one of the greatest and says “I understand Mozart now”. For this recording Aldo Ciccolini plunged into the past, to his earliest years: he says that with the Bechstein he rediscovers “the sound of my childhood” and that this new energy does justice to the impetuous spirit of an untamed genius. Although he has played and replayed these three sonatas for so many years, they suddenly rise to new heights, borne of a deep relationship between the two masters. It took Mozart 17 years to write these sonatas; it took Ciccolini 85 to transcend them: “I have these three sonatas in me from my soul to my fingertips,” he says.

When an 85-year-old pianist says that Mozart helps him to live, you tend to sit up and take notice. Pianist Aldo Ciccolini further says that making these recordings of early Mozart sonatas, using a Bechstein piano, helped him rediscover the enthusiasm for Mozart he felt as an adolescent prior to World War II. And these are indeed unusual Mozart recordings. Asked in the interview-format booklet notes “Are we still in the Classicist spirit here or already in the in the Romantic?” he answered, “Most certainly Romantic!” That gives you the overall flavor of these readings, which feature free tempi, lots of pedal, and in some places (sample the opening movement of the Piano Sonata in A major, K. 331) luxuriant added decoration. These details are not consistently applied, and it’s a bit hard to discern a consistent idea, but a pervading spirit of deep lyricism supplies an X factor that keeps you listening through periods such as the oddly abrupt finale of the Piano Sonata in F major, K. 280. Generally speaking, this is not only a trip back to Ciccolini’s inward love of Mozart in his youth, but also to the way Mozart was played back then, as a kind of prelude to Beethoven and Schubert. Certainly a must-have for Ciccolini fans, and an intriguing find for anyone interested in the question of late-life creativity. –AllMusic Review by James Manheim

Tracklist:
Wolfgang Amadeus Mozart (1756-1791)
Sonate n° 11 en la majeur, Marche Turque K.331 19’38
1 Andante grazioso 10’35
2 Menuetto 5’17
3 Alla Turca : allegretto 3’46
Sonate n° 2 en fa majeur, K.280 12’19
4 Allegro assai 4’44
5 Adagio 4’29
6 Presto 3’07
Sonate n° 13 en si bémol majeur, Linz K.333 20’57
7 Allegro 8’03
8 Andante cantabile 6’05
9 Allegretto grazioso 6’49
Das Butterbrot, KV Anh. 284n
10 La Tartine de beurre 1’14

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Barenboim - Dudamel - Brahms The Piano Concertos (2015) [DG] {24-96}

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FLAC (tracks) 24-bit/96 kHz | Time – 01:42:06 | 1.7 GB | 5% recovery info
Genre: Classical | Official Digital Download | @ Deutsche Grammophon | 2015
Daniel Barenboim, piano
Staatskapelle Berlin;
Gustavo Dudamel, conductor

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Perianes - Grieg Piano Concerto (2015) [HM] {24-96}

View attachment 197482

FLAC (tracks) 24-bit/96 kHz | Time – 01:10:02 | 1.1 GB | 5% recovery info
Genre: Classical | Official Digital Download | @ Harmonia Mundi | 2015
Javier Perianes, piano
BBC Symphony Orchestra;
Sakari Oramo, conductor

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