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Currentzis - Mozart Le Nozze di Figaro (2014) [Sony] {24-192}

View attachment 195075

FLAC (tracks) 24 bit/192 kHz | 3 CDs | Front Cover | 5.60 GB | 5% recovery info
Genre: Classical | Official Digital Download - Source: Qobuz | Sony Classical
Wolfgang Amadeus Mozart
MusicAeterna
Teodor Currentzis, conductor

Spoiler

Sony Classical announces a major new Mozart opera project with conductor Teodor Currentzis and his orchestra & choir MusicAeterna. A ‘no-compromise’ studio recording cycle of Mozart’s three Da Ponte operas. Living in a unique artistic community established on the edge of Siberia, the musicians work and record under ideal conditions towards Currentzis’ stated goal “to show what can be achieved if you avoid the factory approach of the classical music mainstream”.

For Currentzis, these recordings represent the culmination of a decade-long research project dedicated to the discrepancies between the composer’s will and what our ears have become used to. About his Figaro, he says: “The radicality of this recording is its precision. It is through strictest discipline that you unlock the perfume, bring the composer’s text into real life, create all these colours that are impossible on the stage. This is why we spent such a significant amount of time in the studio – because we were pushing to reach our limits, to jump above our limit and reach a new understanding of this music. That is the privilege of a ‘no-compromise’ studio recording. There are so many recordings which convey the general spirit of Mozart’s music. The only point in making a new one is to give the audience a chance to hear and learn about all the magic which this score holds. I made this recording because I wanted to show what can be achieved if you avoid the factory approach of the classical music mainstream. My credo is that every performance you give has to be like a pregnancy. You have to dream and you have to wait until the time comes when you see the miracle happening. If you’re not like that in music, you lose the central idea of music. Music is not a profession and it’s not about reproduction. It’s a mission”.

Currentzis chooses the orchestra’s instruments depending on repertoire. For the Da Ponte cycle, historic instruments were chosen because, as Currentzis explains: “They give me the vibrancy, the speed, the taut, tight, crisp sound which fully delivers the thrill of this music. I use them because they sound better. If I thought this music sounds better on electric guitars, I would perform it on electric guitars”. The soloists’ vocal technique is also markedly different to modern operatic interpretation, with a focus on intimacy and clarity, a use of vibrato remarkably restrictive even by today’s ‘period practice’ standards as well as an approach to melodic ornamentation derived from historic sources which cannot be heard in other performances of these works.

Reviews: “Currentzis’s cast has a character and blend of its own. A premium has been put on crackling recitative, deft vocalisation (limited vibrato) and dramatic truthfulness: the sense of ensemble is palpable. The field of Figaro recordings is crowded, but Currentzis’s deserves a special space.”

“a lively performance, decently sung and conducted. Currentzis is much concerned with dynamic contrast...'Dove sono' is a true soliloquy. Most effective of all is the Sextet, where all the characters...sound appropriately stunned...Three cheers for the appoggiaturas, cadenzas and embellishments...What will, I fear, pall on repetition...is the hyperactive continuo.”

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Bản ghi này tuyệt vời quá! Cám ơn bác chủ rất nhiều: ít nhưng hay và độc. =D>

 

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Đúng như vậy thật!!! Em nghe đoạn mở đầu (symphonie) lần này mới nghe được tiếng trống Snare drum !!! mấy bản khác phải lắng nghe lắm và phải biết trước là có mới có thể được !!! Thiệt là quá đã !!! :-bd

 

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Bạn ivanhoe76 đã chia sẻ nhiều Album hay, cách sắp xếp bố cục rất bài bản và đẹp mắt. Bạn nên chia sẻ cách làm như thế nào luôn, để nhiều bạn muốn tặng lại Album cho ivanhoe76 biết cách chia sẻ. Cám ơn bạn rất nhiều !

 

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

Đi nghỉ mát mấy ngày nên giờ mới up thêm phục vụ cả nhà được!

View attachment 195466

FLAC (tracks) 24 bit/44.1kHz | Time – 00:46:58 minutes | 410 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | © Naïve
Recorded: live at the Salle Adyar June 17, 1990
Grigory Sokolov, piano

Spoiler

Grigory Sokolov: a living legend of the piano whose public performances and recordings are as rare as the man is secretive. He stepped away from the limelight years ago, refusing to be idolised by a society avid for imagery. Under the winged fingers of the giant you hear the vibrancy of an inner song, wordless but not illegible. June 7 1990: concert and recording of Chopin’s Preludes by Grigory Sokolov, still relatively unknown in France.
The record receives high praise from the critics.

Tracklist:
24 Préludes, Op. 28
01 – Prélude N° 1 in C major, opus 28 (Agitato) 00:00:46
02 – Prélude N° 2 in A minor, opus 28 (Lento) 00:02:44
03 – Prélude N° 3 in G major, opus 28 (Vivace) 00:01:01
04 – Prélude N° 4 in E minor, opus 28 (Largo) 00:02:20
05 – Prélude N° 5 in D major, opus 28 (Allegro molto) 00:00:36
06 – Prélude N° 6 in B minor, opus 28 (Lento Assai) 00:02:36
07 – Prélude N° 7 in A major, opus 28 (Andantino) 00:00:41
08 – Prélude N° 8 in F sharp minor, opus 28 (Molto agitato) 00:02:11
09 – Prélude N° 9 in E major, opus 28 (Largo) 00:01:30
10 – Prélude N° 10 in C sharp minor, opus 28 (Allegro molto) 00:00:39
11 – Prélude N° 11 in B major, opus 28 (Vivace) 00:00:53
12 – Prélude N° 12 in G sharp minor, opus 28 (Presto) 00:01:22
13 – Prélude N° 13 in F sharp major, opus 28 (Lento) 00:04:25
14 – Prélude N° 14 in E flat minor, opus 28 (Allegro) 00:00:39
15 – Prélude N° 15 in D flat major, opus 28 (Sostenuto) 00:07:16
16 – Prélude N° 16 in B flat minor, opus 28 (Presto con fuoco) 00:01:05
17 – Prélude N° 17 in A flat major, opus 28 (Allegretto) 00:04:11
18 – Prélude N° 18 in F minor, opus 28 (Allegro molto) 00:01:02
19 – Prélude N° 19 in E flat major, opus 28 (Vivace) 00:01:16
20 – Prélude N° 20 in C minor, opus 28 (Largo) 00:02:00
21 – Prélude N° 21 in B flat major, opus 28 (Cantabile) 00:03:03
22 – Prélude N° 22 in G minor, opus 28 (Molto agitato) 00:00:50
23 – Prélude N° 23 in F major, opus 28 (Moderato) 00:01:11
24 – Prélude N° 24 in D minor, opus 28 (Allegro appassionato) 00:02:41

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Faust - Brahms Violin Concerto String Sextet no.2 (2011) [HM] {24-44}

View attachment 195531

FLAC (tracks) 24 bit/44.1kHz | 01:14:44 | 720 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | © 2011 Harmonia Mundi sa
Recorded: février 2010, Sociedad Filarmónica de Bilbao (Concerto) & septembre 2010, Teldex Studio Berlin (Sextuor)
Isabelle Faust, Violin
Mahler Chamber Orchestra, Chamber ensemble
Julia-Maria Kretz, Violin
Daniel Harding, Conductor
Stefan Fehlandt, Viola
Pauline Sachse, Viola
Christoph Richter, Cello

Spoiler

Isabelle Faust goes back to the roots of one of the most famous Romantic concertos, which is also one of the most difficult from a technical point of view: did Hans von Bülow not call it a ‘concerto against the violin’? Born of close collaboration between Brahms and the violinist Joseph Joachim, the work is a fine testimony to friendship – whereas the Sextet op.36 is directly linked to the love affair between the composer and the beautiful Agathe von Siebold.


Tracklist:
Johannes Brahms (1833-1897)
Violin Concerto op.77 37’05
in D major / Ré majeur / D-dur
1 | I. Allegro non troppo 20’35
2 | II. Adagio 8’50
3 | III. Allegro giocoso, ma non troppo vivace – Poco più presto 7’38
String Sextet no.2 op.36
in G major / Sol majeur / G-dur 37’46
4 | I. Allegro non troppo 14’38
5 | II. Scherzo. Allegro non troppo 6’41
6 | III. Poco adagio 8’18
7 | IV. Poco allegro 8’04

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Album này link die rồi bác chủ ơi

 

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Mấy album này đều die ạ

 

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Một số album trên lại die tiếp bác ạ

 

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Đợt này công việc bận quá, nên không chia sẻ gì được. Hơn nữa nhạc cổ điển cũng kén người nghe nên số lượng download ít quá, không đủ duy trì link fshare (30 ngày ko down là xóa). Thế nên tạm thời tôi không thể phục hồi các link chết. Mong ACE thông cảm!

 

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Bác ivanhoe76 ơi bác có Brahms Symphony No.1 không ạ?

 

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Brahms - Symphonie No. 1 Schumann - Symphonie No. 1 - Karajan - DG

View attachment 195976

Gửi bạn 2 bản Symphony No. 1 của Brahms và Schumann với nhạc trưởng H.v. Karajan và Berliner Philharmoniker trong bộ đĩa Deutsche Grammophon The Originals.

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Mutter - Carmen-Fantasie (1993) [DG] {24-44}

View attachment 196035

FLAC (tracks) 24 bit/44.1kHz | 01:06:43 minutes | 680 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | Deutsche Grammophon , Universal Music
Recorded: 11/1992, Grosser Saal, Musikverein, Vienna
Anne-Sophie Mutter, violin
Wiener Philharmoniker
James Levine, conductor

Spoiler

German virtuoso violinist Anne-Sophie Mutter is joined by the Vienna Philharmonic in a performance of Pablo De Sarasate’s Carmen Fantasie among others as conducted by James Levine and recorded at Musikverein, Grosser Saal in Vienna in November of 1992.

“Gathered together here is music that Mutter might play as encores after an intense recital or concerto programme. Several were written by composers who were themselves virtuoso violinists, and whose very intention was to test the technical mettle of all who dared to attempt a performance. For some violinists, simply playing the notes would be enough. But being Mutter, these pieces are interpreted with as much care and intelligence as the most profound concerto.

“This may be a feast of lollipops, then, but the flavours are well varied. Two of the works – perhaps the two that are most obviously show-stoppers – are by Pablo de Sarasate, the 19th-century Spanish violin virtuoso. He was considered one of the great violinists of his day, and Bruch, Saint-Saëns and Dvorák were among those who wrote major pieces for him. But he also wrote more than 50 pieces for himself, of which the two recorded here are possibly the best known: the Zigeunerweisen op. 20, which was written in 1878; and the ingenious and technically fiendish “Carmen” Fantasy op. 25. The latter was composed around 1883, when Bizet’s great opera, after its disastrous première-run eight years earlier, had been triumphantly revived in Paris.

“In much the same flamboyant manner, though written 40 years later, is Maurice Ravel’s brilliant showpiece Tzigane. Written for the Hungarian virtuoso Jelly d’Arányi, it was styled very much in the “Hungarian gypsy rhapsody” manner and took as its specific model Paganini’s 24 Caprices.” – Richard Morrison


“It is unashamedly a fun record, and even Mutter has rarely played with such freedom and warmth, obviously enjoying these display pieces every bit as much as the repertory concertos and new works that are her staple diet. The gipsy flavours of the two Sarasate pieces, as well as of Ravel’s “Tzigane,” sound even more exotic than usual, and rarely has the brilliant sound section, with its Hungarian fire, sounded quite so exciting with a stunning accelerando at the end. The tender repose which she then brings to the Massenet “Meditation” is thus all the more affecting…Sarasate’s Carmen Fantasy, which provides the whole disc with its title, is as high-powered as the Ravel…with James Levine and the Vienna Philharmonic providing Mutter with comparably weighty and committed accompaniment, I have to say her performance thrusts home powerfully.” – Edward Greenfield, Gramophone
Tracklist:
Pablo Martin De Sarasate (1844 – 1908)
1. Zigeunerweisen, Op.20 8:41
Henryk Wieniawski (1835 – 1880)
2. Legende, Op.17 7:41
Giuseppe Tartini (1692 – 1770)
3. Sonata for Violin and Continuo in G minor, B. g5 – “Il trillo del diavolo” 16:32
Maurice Ravel (1875 – 1937)
4. Tzigane 10:01
Jules Massenet (1842 – 1912)
Thaïs, Acte Deux
5. Meditation 6:42
Pablo Martin De Sarasate (1844 – 1908)
Carmen Fantasy, Op.25
6. Introduction. Allegro moderato 3:22
7. 1. Moderato 2:27
8. 2. Lento assai 2:11
9. 3. Allegro moderato 2:07
10. 4. Moderato 2:31
Gabriel Fauré (1845 – 1924)
11. Berceuse, Op.16 4:28

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Kantorow - Liszt Piano Concertos (2015) [BIS] {24-96}

View attachment 196047

FLAC (tracks) 24 bit/96kHz | 58:02 minutes | 1.0 GB | 5% recovery info
Genre: Classical | Official Digital Download – Source: eclassical.com | © BIS Records AB
Recorded: November 2014 at the Tapiola Concert Hall, Finland
Alexandre Kantorow piano
Tapiola Sinfonietta
Jean-Jacques Kantorow conductor

Spoiler

As a teenager, Franz Liszt created at least two virtuosic concertos for piano and orchestra, scores which now are lost. The three works gathered here first saw the light of day only a few years later, however, during the 1830’s when Liszt’s career as a young, travelling virtuoso was at its height. The two numbered concertos, which Liszt revised extensively before letting them be published some 25 years after their conception, frame the single-movement Malédiction for piano and strings which Liszt composed in 1833 and revised in 1840, but which was never published in his lifetime. Stepping into Liszt’s shoes for the present recording is Alexandre Kantorow, another very young man. Born in 1997, Alexandre is here supported by his father Jean-Jacques Kantorow conducting the Tapiola Sinfonietta, a team with a number of highly acclaimed recordings to their credit. The recording is Alexandre’s first for BIS, as well as being his début concerto disc, and represents a remarkable achievement by a hugely promising talent, as well as being a vibrant and exciting account of three impassioned scores.

Tracklist:
Franz Liszt (1811–86)
Piano Concerto No.1 in E flat major, S.124 (1832-56)
1. I. Allegro maestoso. Tempo giusto 5’49
2. II. Quasi adagio 5’08
3. III. Allegretto vivace – Allegro animato 4’05
4. IV. Allegro marziale animato 4’01
Concerto in E minor Malediction, S.121 (1833-40)
5. Quasi moderato – Sostenuto- 7’56
6. Bar 163: energico nobilmente – Sempre moderato- 7’47
Piano Concerto No.2 in A major, S.125 (1839/1849-61)
7. Adagio sostenuto assai – Allegro agitato assai 7’22
8. Tempo del andante – Allegro moderato 6’25
9. Allegro deciso 2’52
10. Marziale, un poco meno allegro 1’07
11. Un poco meno mosso 2’58
12. Allegro animato 1’30

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Mehta - Handel Ombra cara (2010) [HM] {24-44}

View attachment 196072

FLAC (tracks) 24 bit/44.1kHz | Time – 01:11:37 minutes | 730 MB | 5% recovery info
Genre: Classical | Official Digital Download – Source: Qobuz | © Harmonia Mundi
Recorded: mars 2010, Freiburg im Breisgau (DE), Paulussaal
Countertenor – Bejun Mehta
Soprano – Rosemary Joshua (#11, #13)
Freiburger Barockorchester
Conductor – René Jacobs

Spoiler

If Handel’s arias enjoy such success today, perhaps it is because they lie at the intersection between past and present, light and shadow. They might very well illustrate on their own the entire range of possibilities offered by the voices of his time. On this 2010 recital album, countertenor Bejun Mehta has chosen most of the ‘hits’ from the repertoire of the famous castrato Senesino. From shadow (Ombra cara) to light (Sento la gioia), Grammy-winner René Jacobs conducts the Freiburg Baroque Orchestra in perfect accompaniment to Lewis.


The concept behind this album is a speculative one: this is the sort of program that a singer of the eighteenth century might put together to showcase his talents. The idea would be to display a variety of moods, as well as all those expected technical flourishes such as appoggiaturas and coloratura passages. The conceit is that if a putative virtuoso were to choose a program of Handel arias written for a farorite singer of the day such as the castrato Francesco Bernardi detto Senesino, there would be enough variety to fill an evening.
Having established this concept, the notes to the recording then derail it by conceding that the first two operas on the bill, Amadigi di Gaula and Agrippina, were not written with Senesino in mind, though most of the rest were. No matter: the most important issue, variety, is admirably addressed by this program, which takes us from one of Handel’s earliest operas, Rodrigo, premiered in Florence in 1707, to late works written for London theaters, Sosarme (1732) and Orlando (1733).
We start with a stirringly militant aria, complete with trumpet solo, from Amadigi di Gaula (1715). It bears a striking resemblance to the Alla Hornpipe movement from Handel’s Water Music Suite in F Major of two years later. A similarly militant aria from Orlando is even more virtuosic. From the same opera we have the much-praised mad scene from Act II. Orlando imagines that he crosses the River Styx to do battle with the ghosts and demons of the Underworld. In a series of accompanied recitatives and arias, he lurches from tender reflection to insane fury, freighted with generous dollops of coloratura, of course.
There are despairing arias such as Voi, che udite il mio lamento from Agrippina, in which the character Ottone laments his rejection by his love, Poppea, and the accusations of treachery mounted against him. Equally somber is the lament of Tolomeo (Ptolemy), who believes he is taking poison though it is only a sleeping draught; tragedy will eventually turn to triumph in this convoluted tale of intrigue in the Egypt of the pharaohs. In the titular aria Ombra Cara from Radamisto, the hero speaks peace over the shade of his departed wife Zenobia. As with Tolomeo, however, the report of her death has been greatly exaggerated: she survives to be reunited with Radamisto at the end of the opera.
Finally, we have the tender, resigned duet Per le porte del tormento from Sosarme, which foretells the bliss that awaits the lovers following their travails, thus exploring a different set of emotions entirely through Handel’s music. To add further variety, the program includes the purely instrument Pasacaille section from the Overture to Rodrigo. Here, a solo violin has a virtuoso turn, and there are colorful passages as well for the oboes and bassoons. But this is only a brief departure from the vocal display.
The Freiburger Barockorchester shines in this piece and provides first-rate accompaniment throughout, but ultimately this is Bejun Mehta’s show. As a boy soprano, Mehta made some precocious recordings for Delos before going behind the microphones to produce well-received recordings by other musicians, including cellist Janos Starker. Then Mehta took up the study of voice again, working with legendary soprano Phyllis Curtin. Today, he’s one of the most sought-after countertenors in the world, winning praise for his portrayal of Orlando in revivals mounted by the Royal Opera Company and New York City Opera.
Mehta’s voice is a wonderfully pliant instrument. Those leaps, trills, and runs are negotiated with the kind of ease a great flutist would command. However, it’s the emotional involvement in the music that truly distinguishes his performances. Handel is known for the psychological depth of character he plumbs in his operas; by exploring a variety of emotional states, Mehta pays apt tribute to the fact. This is a thoroughly engaging program.
René Jacobs conducts with the vigor and involvement that he’s shown in his other critically acclaimed Handel recordings such as Giulio Cesare and Saul; Ombra Cara reunites Jacobs and Rosemary Joshua, who joined him for the recording of Saul. Her melting soprano is heard in only two selections on the present disc, more’s the pity. But then this is a showcase for the art of the countertenor, and a ravishing one it is. Enthusiastically recommended! –Lee Passarella, Audiophile Audition

Tracklist:
George Frideric Handel (1685-1759)
Amadigi di Gaula (1715)
1 | Aria Sento la gioia (III, 6) 4’39
Agrippina (1709)
2 | Otton, Otton 1’18
3 | Aria Voi, che udite il mio lamento (II, 5) 6’02
Riccardo primo, re d’Inghilterra (1727)
4 | Aria Agitato da fiere tempeste (I, 6) 4’05
Tolomeo, re d’Egitto (1728)
5 | Recitativo Che più si tarda omai 2’09
Accompagnato Inumano fratel
6 | Aria Stille amare (III, 6) 5’32
Orlando (1733)
7 | Accompagnato Ah! stigie larve 8’13
Arioso Già latra Cerbero
Accompagnato Ma la furia
Aria Vaghe pupille (II, 11)
Rodrigo (1707)
8 | Passacaille (Ouverture) 4’38
Radamisto (1720)
9 | Aria Ombra cara di mia sposa (II, 2) 9’31
Rodelinda (1725)
10 | Fra tempeste funeste (II, 4) 4’46
11 | Con rauco mormorio (II, 5) 7’12
Orlando (1733)
12 | Recitativo T’ubbidirò, crudele 3’54
Aria Fammi combattere (I, 9)
Sosarme (1732)
13 | Duetto Per le porte del tormento (II, 8) 9’38

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Abbado - Mahler Symphony No. 5 (1993) [DG] {24-44]

View attachment 196094

High-Fidelity FLAC Stereo 44,1kHz/24bit | 01:09:28 | 655 MB | 5% recovery info
Genre: Classical | Label: © Deutsche Grammophon | Release Date: 2015 | Source: Qobuz
Recorded: Berlin, Philharmonie, 5/1993
Gustav Mahler (1860-1911)
Berliner Philharmoniker
Claudio Abbado, conductor

Spoiler

The Fifth Symphony (1901-02) itself demonstrates Mahler’s principle of “progressive tonality,” moving from a Funeral March to a jubilant sense of triumph in D Major. In the course this monumental score, divided into three parts, Mahler juxtaposes the most extreme emotions and musical forms: learned counterpoint and simple country laendler, vociferous anger and grotesque fantasies, and grateful love and appreciation of Nature and human affection.
If martial energy and resentment dominate the first two movements, a blissful or triumphant note emerges from the chorale motifs later in the score, even anticipated, in the stormy second movement, when pantheistic and visionary elements in the brass interrupt the dreadful impetus of the music. In a letter to his wife, Alma, Mahler expressed his own reaction to the originally-scored brass turbulence: “Heavens, what is the public to make of this chaos in which new worlds are forever being engendered, only to crumble into ruin the next moment? What are they to say to this primeval music, this foaming, roaring, raging sea of sound, to these dancing stars, to these breathtaking, iridescent, and flashing breakers?”

„Listening to the recording . . . I felt aware of a powerfully unifying, interpretive force that was pushing and pulling the music in the most subtle, natural way. Realizing that this must be the 'silent' personality of the conductor, I immediately cemented my reactions to the name 'Claudio Abbado'. The link had been made and I was a fan from that day on, without really knowing it.“ --Dinuk Wijeratne, Musical Toronto

Tracklist:
Gustav Mahler (1860-1911)
Symphony No.5 In C Sharp Minor
1. 1. Trauermarsch (In gemessenem Schritt. Streng. Wie ein Kondukt - Plötzlich schneller. Leidenschaftlich. Wild - Tempo I) 12:36
2. 2. Stürmisch bewegt. Mit größter Vehemenz - Bedeutend langsamer - Tempo I subito 14:46
3. 3. Scherzo (Kräftig, nicht zu schnell) 17:26
4. 4. Adagietto (Sehr langsam) 09:01
5. 5. Rondo-Finale (Allegro) 15:40

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Escher String Quartet - Mendelssohn String Quartets Nos. 1 4 (2015) [BIS] {24-96}

View attachment 196249

FLAC (tracks) 24-bit/96 kHz | 80:10 minutes | 1,6 GB | 5% recovery info
Studio Master, Official Digital Download | Artwork: Covers & Digital booklet
Adam Barnett-Hart - violin
Aaron Boyd - violin
Pierre Lapointe - viola
Dane Johansen - cello

Spoiler

Founded in 2005, the Escher String Quartet is still a young ensemble as string quartets go. It has nevertheless become established as one of the most exciting quartets around, both in its home country, the U.S.A., and elsewhere, recently being shortlisted for a BBC Music Magazine Award. With their début disc on BIS, the Eschers launch a three-disc cycle of Mendelssohn's string quartets...

The Escher Quartet replaced their cellist last month, and it will be interesting to hear whether the new lineup will affect their sound in the rest of their Mendelssohn cycle – this is the first disc in a planned series of three. If it doesn’t, all to the good: as recorded here, the Eschers sound warm, relaxed and responsive to all of Mendelssohn’s expressive nuances. Based in New York, the quartet are former BBC New Generation Artists, and proteges of the Emersons. They lavish full, red-blooded tone on the slow movement of the genial Quartet No 1, and in the restless Quartet No 4 they keep the momentum striving forward, with first violinist Adam Barnett-Hart spinning long, seamless phrases. In the middle comes the unnumbered E flat major quartet, written when Mendelssohn was 14, and if it finds the composer aping his elders, it’s a proficient and at times inspired imitation that they would definitely have found flattering.

Tracklist:

01 - Quartet No.1 in E flat major, Op.12, MWV R25 (1829) - I. Adagio non troppo – Allegro non tardante
02 - Quartet No.1 in E flat major, Op.12, MWV R25 (1829) - II. Canzonetta. Allegretto
03 - Quartet No.1 in E flat major, Op.12, MWV R25 (1829) - III. Andante espressivo
04 - Quartet No.1 in E flat major, Op.12, MWV R25 (1829) - IV. Molto allegro e vivace
05 - Quartet in E flat major, MWV R18 (1823) - I. Allegro moderato
06 - Quartet in E flat major, MWV R18 (1823) - II. Adagio non troppo
07 - Quartet in E flat major, MWV R18 (1823) - III. Minuetto. Trio
08 - Quartet in E flat major, MWV R18 (1823) - IV. Fuga
09 - Quartet No.4 in E minor, Op.44 No.2, MWV R26 (1837) - I. Allegro assai appassionato
10 - Quartet No.4 in E minor, Op.44 No.2, MWV R26 (1837) - II. Scherzo. Allegro di molto
11 - Quartet No.4 in E minor, Op.44 No.2, MWV R26 (1837) - III. Andante
12 - Quartet No.4 in E minor, Op.44 No.2, MWV R26 (1837) - IV. Presto agitato

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

Wallisch - Mozart Piano Concertos 12 13 14 (2013) [Linn] {24-192}

View attachment 196292

FLAC (tracks) 24 bit/192 kHz | Digital Booklet | 2.6 GB | 5% recovery info
Genre: Classical | Official Digital Download - Source: Linn Records
Wolfgang Amadeus Mozart
Gottlieb Wallisch, piano
Piatti Quartet

Spoiler

The Quartet’s debut recording features master Mozartian Gottlieb Wallisch in a stunning performance of his fellow Austrian’s own rarely-heard chamber orchestrations in ‘Mozart: Piano Concertos Nos. 12, 13 & 14’. In contrast to the orchestral version the ensemble strikingly enhances the intricacies of the string writing and encourages immediate interaction among the five musicians.
Wallisch and the Piatti Quartet performed this repertoire to packed audiences at various venues and festivals across the UK in the summer and autumn of 2011.
In 2012 the Piatti Quartet (Charlotte Scott 1st violin, Michael Trainor 2nd violin, David Wigram viola, Jessie Ann Richardson cello) were chosen for the UK-wide ‘Future Classics Classical Tour’ designed to promote the ‘stars of tomorrow’.

The Quartet has performed at both the Newbury Spring Festival and the Bath International Festivals plus major UK venues UK including the Purcell room, Conway Hall, St Georges (Bristol), The Queens Hall (Edinburgh) and has made numerous appearances live on BBC Radio 3.
Named a Steinway Artist in 2012, Gottlieb Wallisch is a competition prize-winner and a respected artist in the Viennese piano tradition.
Wallisch has performed with many leading orchestras including the Vienna Philharmonic, Royal Liverpool Philharmonic Orchestra and BBC National Orchestra of Wales and has appeared at leading festivals and in major concert halls including the Salzburg Festival, Lucerne Festival, Klavierfestival Ruhr, Carnegie Hall, Wigmore Hall, Tonhalle Zurich, Musikhalle Hamburg and Singapore Arts Festival amongst others.

Reviews: As the headnote suggests, these performances are played by piano and string quartet in what was acceptable practice in the 18th century, when reduced versions of Mozart’s concertos were routinely published. Still, when I listen to these sensitive, well-played versions of Mozart, I hear the orchestral versions going through my head. Other listeners may be more readily adaptable. This recording has its own appeal, besides the fact that it is beautifully recorded by Linn. The opening of K 414 sounds indeed like a sprightly string quartet, until Wallisch’s relatively robust entrance. I say relatively robust, because I feel that, in order to balance with the quartet, he seems to be holding back at times. I have heard the slow movement of K 414 played with more tension; in this movement the usual contrast with a full orchestra is appealing. For contrast, one might listen to the Pollini recording. On the other hand, the concluding rondo of K 415, one of Mozart’s most Haydnesque movements, is delightfully played, and the gentle approach to the slow movement of that concerto works particularly well. Of course there are many other recordings of these pieces, including Perahia’s, Ashkenazy’s, Uchida’s, and also Maria João Pires’s of the K 449. Here is a different take on Mozart by a quartet often playing wittily as well as exquisitely, and by a talented pianist.

Tracklisting:

01. Piano Concerto No. 12 in A Major, K. 414 - Allegro
02. Piano Concerto No. 12 in A Major, K. 414 - Andante
03. Piano Concerto No. 12 in A Major, K. 414 - Allegretto
04. Piano Concerto No. 13 in C Major, K. 415 - Allegro
05. Piano Concerto No. 13 in C Major, K. 415 - Andante
06. Piano Concerto No. 13 in C Major, K. 415 - Rondeau. Allegro
07. Piano Concerto No. 14 in E-flat Major, K. 449 - Allegro vivace
08. Piano Concerto No. 14 in E-flat Major, K. 449 - Andantino
09. Piano Concerto No. 14 in E-flat Major, K. 449 - Allegro ma non troppo

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

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Ðề: Kệ nhạc cổ điển ivanhoe76 [Multi]

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