The Romantic Piano Concerto · Vol. 10 · Weber
FLAC | Booklet | 260 MB | 1995
Nikolai Demidenko (piano), Scottish Chamber Orchestra, Sir Charles Mackerras (conductor)
| “ | 'Superlative performances' (The Scotsman) 'Brilliant performances' (Classic CD) 'Scintillating performances' (Piano International) 'Unmitigated joy ... I haven't enjoyed a concerto record more all year' (The Sunday Times) 'Makellose Technik und musikalischen Verstand - eine Kombination, die man bei Pianisten heutzutage immer seltener antrifft. Und ganz nebenbei versprühen die Aufnahmen so viel Vitalität. Frische und erlichen Enthusiasmus, dass sie neben dem Interesse und der Neugierde auch die Stimmung des Hörers zu beflügeln verstehen' (Fono-Forum, Germany) 'Demidenko is in his element with such music. His control of contrasting dynamics is astonishing, and the clarity of his passagework is unfaltering. Not the least exciting feature of these superb performances is the marvellously appropriate cadenza which Demidenko improvises for the first movement of the E flat Concerto. The recording is magnificent. Don't miss this one!' (Musical Opinion) | ” |
Frederic HANDEL - The Masterworks - Brilliant Classic CD7 & CD8
Brilliant Classics | 30 novembre 2004 | Classical | FLAC+CUE | 3% Recovery | 40 CDs | 10,7 GB | Covers
It is not my rip...so many thanks to the real uploader.
George Frideric Händel (1685 - 1759)
Jephtha - Belsazar - Messiah - Brockes Passion - Acis & Galatea - Imeneo - Faramondo - Rinaldo - Coronation Anthems - Italian Cantatas - Deutsche Arien - Water Music - Fireworks Music - Concerti grossi Op. 3 & 6 (complete) - Organ Concertos (complete) - Chamber Music (complete)
Artists
Vocal soloists: Lynne Dawson, John Mark Ainsley, Christiane Oelze, Peter Schreier, Julianne Baird, Mária Zádori, Marilyn Horne a.o. Akademie für Alte Musik, Marcus Creed - Berliner Singakademie - Kammerorchester Berlin, Capella Savaria, Nicholas McGegan - Brewer Chamber Orchestra, Rudolph Palmer - Holland Boys Choir, Pieter Jan Leusink - Choir of King's College, Cambridge - Brandenburg Consort - Concerto Armonico - Academy of St-Martin-in-the-Fields, Sir Neville Marriner - L'École d'Orphée (Holloway/ Pickett/ Preston/Beckett/ Sheppard/ Carolan/ Wooley)
(Brilliant Classics - STEMRA – DDD)
| “ | “An ethereal clarity that is absolutely captivating.” – BBC Music Magazine “The ensemble's singing has a sensual kind of purity.” – The Times, London | ” |
| “ | Hindemith’s Mathis der Maler has come to be regarded as a modern parable about the plight of the artist in the midst of social unrest and political restrictions. In Mathis der Maler, Hindemith violated some of the principles of music composition that the Nazi regime had already legislated for the Reich and thus, by extension, set himself up for the same kind of criticism as the protagonist of the work. Not a roman a clef or any sort of thinly disguised autobiography, the opera serves a dual purpose in portraying the story found in the libretto and also in serving as a kind of socio-political commentary that would not be lost on the censors. —Opera Today | ” |
| “ | With their renowned purity of sound ANONYMOUS 4 mark the millennium by exploring in chant and polyphony dread of the Last Judgment and fear of the end of the world which pervaded late tenth-century thought. | ” |
| “ | Vivaldi may be best remembered for his virtuosic concertos but, as anyone familiar with his famous D major Gloria will know, he also had a real ear for vocal sonorities. His only surviving oratorio, Juditha Triumphans, has until recently been a well-kept secret. The biblical story of Judith overcoming Holofernes and his army (beheading him herself--no shrinking violet she) was popular with both librettists and composers, offering plenty of opportunities for exuberant tub-thumping. And these Vivaldi seizes eagerly, the opening rabble-rousing chorus (here preceded by a sinfonia reconstructed by Vivaldi scholar Michael Talbot) setting the tone in truly martial fashion. However, Juditha also abounds in reflective numbers, something at which Vivaldi excels. Perhaps the most striking examples are the ethereal "turtle dove" aria ("Veni sequere fida"), with our heroine beautifully accompanied by a chalumeau (a precursor of the clarinet), the tranquil "Vivat in pace," and the sublime "Umbrae carae", here lyrically sung by Marina Comparato. The all-female lineup (five solo characters plus, on this particular recording, an all-female chorus) is a strong one. And, vitally, the soloists are well-differentiated, each with immediately recognizable timbres. Magdalena Kozena is fruity in the title role: not the kind of voice you'd necessarily associate with this repertoire, but it does turn a potentially smug heroine into one of real flesh and blood. Maria José Trullu is an opulent Holofernes, while Anke Herrmann's Abra is attractively mellow voiced. Downers? Just one--the recorded sound, which is too echoey. Overall, though, this is a fine performance of a great work and one that deserves a place on the shelves of every lover of Baroque music. --Harriet Smith | ” |
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