He has an excellent sense of phrasing, and conveys all that one needs of the dance-like character in each movement. The solemn preludes, especially those of the C major and D minor Suites, come off beautifully, and there is plenty of contrast in timbre. Clément can develop a good, sonorous tone on his C and G strings … Jean-Max Clément is playing the arpeggio figures with clarity of technique, excellent tone, and harmonic intent. – The Grammophone Magazine

 

The Jean-Max Clément cycle has much to commend it. He’s a communicative player, and whilst some of his tempi are generally on the slower side than we are used to today, the music-making has a spontaneity, leaving the favourable impression of music freshly composed and being created on the wing. He draws a big, rich, full-bodied sound from his instrument, and his varied vibrato endows his playing with a wealth of tonal shadings. He’s not averse to the use of portamenti to obtain a particular expressive effect. Nor is he afraid of applying some tasteful rubato to enhance the line. I love the way he captures the sombre introspection of Suite No. 5, gauging to perfection the ebb and flow of the melancholy Sarabande. To the faster dance movements there’s rhythmic vitality. This is certainly a premier league set, in admirable sound for its age. – Stephen Greenbank, Music Web International

Article-No.: CL43064
Barcode: 8808678160642
Format: 2LPs 180g 33rpm /gatefold sleeve
Release date: 09.03.2017

Artykuł BACH Jean-Mac Clement Six suites for unaccompanied cello pochodzi z serwisu Rogers HiFi.

Seit 1806 sind zwar viele Violinkonzerte entstanden, die einen wirkungsvolleren und virtuoseren Solopart besitzen, doch es gibt kaum ein Werk ähnlichen kompositorischen Gehalts, das wegen der offenen, exponierten Lage seines Soloparts so schonungslos auch die geringste Unebenheit der Darstellung aufdeckt: Beethovens Violinkonzert bedeutet immer noch eine der großen artistischen Herausforderungen für jeden Geiger. Eines der besten Beispiele ist die Aufnahme: BEETHOVEN Violin Concerto Anne-Sophie Mutter von Clearaudio.

Audiophile Pressing:

https://rogershifi.de/produkte/produkte/clearaudio-vorverstaerker-nano-phono-v2/

Andere Titeln mit Anne-Sophie Mutter.

Artykuł BEETHOVEN <br />Violin Concerto <br />Anne-Sophie Mutter pochodzi z serwisu Rogers HiFi.

Solche Bearbeitungen ungenannter Bearbeiter zum eigenen Gebrauch sind schon für Johann Sebastian Bach die selbstverständlichste Sache der Welt gewesen. Bei den Bearbeitungen von fremder Hand muß man halt darauf achten, daß diese Arrangements mit gutem Geschmack gemacht wurden, meint Mischa Maisky, und dafür legt er bei dieser Auswahl: Mischa Maisky, Pavel Gililov MEDITATION  – die Hand ins Feuer.

Rostropovich of the Future

Born in 1948 in Riga, Latvia, Mischa Maisky received his first music lessons there at the Children’s Music School and Conservatory. In 1962 he entered the Leningrad Conservatory. In 1965 his debut with the Leningrad Philharmonic earned him the nickname “Rostropovich of the Future”. One year later he was a prizewinner at the International Tchaikovsky Competition in Moscow and began his studies with Rostropovich at the Moscow Conservatory while pursuing a concert career throughout the former Soviet Union. After being imprisoned in a labour camp near Gorky for 18 months in 1970, he emigrated from the USSR.

Maisky and extraordinary musicians

„In great demand as a chamber player, Maisky has performed with a number of extraordinary musicians, including Vladimir Ashkenazy, Gidon Kremer, Peter Serkin, and Martha Argerich. Acclaimed for his renditions of concertos by Haydn and Schumann, Maisky is the only cellist to have received a Deutsche Grammophon offer to record Bach’s complete works for the cello. The year 2000 was dedicated to Bach by Maisky, when he performed all of Bach’s cello works in three recitals in a single day, and presented 100 Bach performances around the world.“ – All Music Guide

• 6. Frederic Chopin: Prelude
• 7. Franz Schubert: Ave Maria
• 8. Robert Schumann: Traumerei
• 9. Johannes Brahms: Wiegenlied
• 10. Manuel de Falla: Nana
• 11. Gabriel Faure: Apres un reve
• 12. Jules Massenet: Elegie
• 13. Camille Saint-Saens: Le Cygne
• 14. Maurice Ravel: Habanera
• 15. Anonym: Katalanisches Volkslied (Gesang der Vögel)
• 16. Peter Tschaikowsky: Nocturne
• 17. Sergei Rachmaninow: Vocalise
• 18. Fritz Kreisler: Liebesleid

Sein Meister.

BOCCHERINI VIVALDI TARTINI Cello Concertos Mstislav Rostropovich

Artykuł Mischa Maisky, Pavel Gililov MEDITATION pochodzi z serwisu Rogers HiFi.

Charles Dutoit and the London Philharmonic Orchestra give a splendid, warm performance without overwhelming violinist Salvatore Accardo’s playing. Salvatore Accardo is an outstanding Italian violin virtuoso, best known as a master of these works of Niccolo Paganini. The Italian violin virtuoso and conductor, Salvatore Accardo, is highly regarded for his interpretations of Paganini. He studied violin in the southern Italian city of Naples in the 1950s and gave his first professional recital at the age of 13, performing Paganini’s Capricci. He won the Geneva Competition in 1956 and in 1958 became the first prize winner of the Paganini Competition in Genoa. Audiophile Pressing: PAGANINI Diabolus in Musica Salvatore Accardo Charles Dutoit

Charles Dutoit

The Swiss conductor, Charles Édouard Dutoit, is known for his interpretations of French and Russian 20th century music. Dutoit studied in Switzerland where he was born and graduated from the Geneva Conservatory where he won first prize in conducting. In his youth, he frequently attended Ansermet’s rehearsals and had a personal acquaintance with him. He has been guest conductor for the Orchestre de la Suisse Romande and the Lausanne Chamber Orchestra as well as conducting for Radio Zurich, the Bern Symphony Orchestra, the National Symphony Orchestra of Mexico, Sweden’s Gothenburg Symphony and the Minnesota Orchestra.

PAGANINI Diabolus in Musica Salvatore Accardo Charles Dutoit

• 01. La Risata del Diavolo (tema) (0:35)
• 02. La Campanella – Rondo dal Concerto per Violino e Orchestra No.2 (8:59)
• 03. Capriccio per Violino Solo No.5 – Agitato (2:19)
• 04. Adagio flebile con sentimento (6:54)
• 05. Rondo galante.Andantino gaio-dal Concerto per Violino e Orchestra n.4 (11:09)
• 06. Introduzione e variazioni su God Save the King Op.9 (6:45)
• 07. Capriccio per violino solo No.24 – Tema.Quasi Presto-Variazioni-Finale (4:28)
• 08. Polacca. Andantino vivace – dal Concerto per Violino e Orchestra No.3 (11:38)
• 09. Capriccio per violino solo No.1 – Andante (1:50)
• 10. Rondo.Allegro spirituoso-dal Concerto per Violino e Orchestra n.1,op.6 (9:46)
• 11. Capriccio per violino solo No.13 – Allegro (2:02)12. Sonata Moto Perpetuo – Allegro vivace (3:11)

Artykuł PAGANINI <br />Diabolus in Musica <br />Salvatore Accardo Charles Dutoit pochodzi z serwisu Rogers HiFi.

Er hat das Zeug zur Legende – in Ihm befindet sich eine ganze Sammlung an meisterhafter Violinkunst, dargebracht mit einer gleichermaßen furchterregenden wie unbegreiflichen Schönheit so das BBC Music Magazin . Im November 2007 erschien sein Album Virtuoso, welches auf Platz 1 der Amazon – Klassikcharts sowie der i-tunes Klassikcharts schoss. Jetzt präsentieren wir ein audiophile Vinyl: Clearaudio VIRTUOSO David Garrett

Clearaudio VIRTUOSO David Garrett – Audiophile Pressing von Clearaudio:

SIDE A:

SIDE B:

• 1. Paganini Rhapsody
• 2. Serenade
• 3. The Flight of the Bumble Bee
• 4. Toccata
• 5. Somewhere
• 6. Eliza’s Song

David Garrett, born in Aachen, Germany to an American prima ballerina and German lawyer, is a classical violinist and recording artist.

When David was four years old, his father bought a violin for his older brother. David took interest and soon learned to play. At the age of five, he won first prize in his first competition. By the age of seven, he was playing once a week in public and studied violin at the Lubeck Conservatoire. 

Garrett studied one semester at the Royal College of Music in London at the age of 17. In 1999, at the age of 19, he moved to New York to attend the Juilliard School, winning the 2003 Composition Competition of Juilliard School with a fugue. While at Juilliard, Garrett studied under world-renowned violinist Itzhak Perlman.

For those who noticed Garrett is as good looking as he is talented, you might be interested to know while studying at Juilliard, he supplemented his income by working as a model.

David Garrett has done much to encourage and entice young people to the genre of classical music. His 2010 release, Rock Symphonies, includes an innovative mashup of U2’s „Vertigo“ with Vivaldi’s Four Seasons while his rendition of Michael Jackson’s „Smooth Criminal“ appears on the 2008 album Encore.

This 2007 release, Virtuoso, includes Garrett’s renditions of „La Califfa“ by Morricone, „Nothing Else Matters“ by Metallica and „The Flight of the Bumble Bee“ by Rimsky-Korsakov.

Audiophile Violin:

Artykuł Clearaudio <br />VIRTUOSO David Garrett pochodzi z serwisu Rogers HiFi.

HANDEL PURCELL RAMEAU Noveau monde Patricia Petibon

Die Eroberung der Neuen Welt, das ist ein Thema, über das sich noch vieles sagen und schreiben lässt, und das Stoff für viele Projekte bietet. Patricia Petibon gehört zu jenen außergewöhnlichen Künstlern, die uns immer wieder neue Seiten im Bilderbuch der Vergangenheit aufblättern und uns die Zeitlosigkeit der Geschichte spüren lassen – ein Gütesiegel großer Künstler.

Patricia Petibon, Sopran

Andrea Marcon, Leitung La Cetra Barockorchester und Vokalensemble Basel

© Felix Broede / DG

»rothaarigen Schönheit«

Das neue Album der »rothaarigen Schönheit« (FAZ) ist eine musikalische Reise von der alten in die neue Welt: Musik aus der Zeit der großen Entdecker. Petibon zeichnet auf ihrem Konzeptalbum ein faszinierendes Klangportrait dieser Ära durch eine spannende sowie überraschende Zusammenstellung mit Arien von Rameau, Charpentier, Händel und Purcell, die die Faszination der Komponisten über die neu entdeckten Landschaften ausdrücken, sowie farbenreichen südamerikanischen Volksliedern..

exotic Baroque journey

Adventurous French soprano invites us on an exotic Baroque journey. It’s not often that an aria disc has you dancing, but this adventurous album from Patricia Petibon might just do the trick. The French soprano has combined two of her musical passions – Spanish music and the Baroque – into one program, in which 17th- and 18th-century arias and folksongs from England, France, Spain and Latin America mingle with gay abandon. Dance rhythms and catchy tunes abound, from the seguidilla of José de Nebra’s En amor, pastorcillos, to the chaconne of Charpentier’s Sans frayeur dans ces bois to the zippy French folksong J’ai vu le loup, which comes complete with bagpipes and historically informed pronunciation.

Fascination

There’s typical Baroque fare too, chosen to reflect the Old World’s fascination with the New: arias from Purcell’s Dido and Aeneas, Charpentier’s Médée and Rameau’s i, all of them set in farflung lands.It’s a diverse program, whose varied strands intertwine in fascinating ways. Dido’s Lament, for instance, is an intriguing companion to Le Bailly’s Yo soy la locura, and it’s interesting to hear Handel’s Spanish aria No se emenderá jámas amid its native counterparts. Petibon brings her own lively artistry to the mix, moving easily between Old World and New. She has the depth of tone for Dido and Médee, the playful sparkle for Rameau’s Zima, and the flexibility for Handel; and she enters just as idiomatically into the less formal world of the folksongs.Like most of Petibon’s albums, this one contains its share of vocal effects and quirky touches.

distinctive vocal personality

This eccentricity has always been part of Petibon’s distinctive vocal personality, though, and is mostly well employed here, particularly in the colourful textures of the Spanish and Latin American selections. Indeed, it is these selections which set this album apart, their exotic sounds and infectious rhythms endowing them with an immediate, often toe-tapping appeal which Petibon’s bright soprano can’t help but enhance. She shares these laurels equally, however, with the musicians of Marcon’s La Cetra (and assorted soloists), whose playing explodes with authentic colours and threatens at every moment to steal the show.

Pressestimme – HANDEL PURCELL RAMEAU Noveau monde Patricia Petibon

Christmas 2012

****

“Conquest is one theme, confession another; the whole a breakneck A-Z of Baroque song from airs de cours to zarzuela.”

January 2013

“’Nouveau Monde‘ is a tightly thought-through and arranged and compelling programme, a tour de force for its performer/compiler, most atmospherically recorded. Compulsive, repeatable listening.”

Inhalt: HANDEL PURCELL RAMEAU Noveau monde Patricia Petibon

anon.:

Cachua a voz y bajo Al Nacimiento de Christo Nuestro Señor (from Codex Martinez Compañon)
Tonada la Lata a voz y bajo, para bailar cantando (from Codex Martinez Compañon)
Mon amy s’en est allé
Tonada la Lata el Congo a voz y bajo para baylar cantando (from Codex Martinez Compañon)
Greensleeves to a ground

Bailly:

Yo soy la locura

Charpentier, M-A:
Quel prix de mon amour (from Medée)
Prélude…Noires filles du Styx (from Medée)
Dieu du Cocyte et des Royaumes sombres (from Medée)

Handel:
No se emendará jamás, HWV 140

Nebra Blasco:
El bajel que no recela (from Vendado es amor, no es ciego)
En amor, pastorcillos, no hay quien distinga (from Vendado es amor, no es ciego)

Purcell:
When I am laid in earth (from Dido and Aeneas)
Fairest Isle (from King Arthur)

Rameau:
Rondeau – Forêts paisibles (from Les Indes Galantes)
Les Indes galantes: Tempête : La nuit couvre les cieux !

trad.:
J’ai vu le loup, le renard et la belette

Audiophile Pressungen + Audiophile Plattenspieler = Audiophile Schönheit

Clearaudio Plattenspieler EMOTION SE

Artykuł HANDEL PURCELL RAMEAU <br />Noveau monde <br />Patricia Petibon pochodzi z serwisu Rogers HiFi.

In dieser neuen Produktion ging es uns darum, eine Art Konzert mit anspruchsvollen Tanzsätzen aufzuzeichnen, wie es in dieser Weise bisher noch nirgends veröffentlicht wurde. Beliebte Walzer und Mazurken von Chopin und ein vergessener Walzer von Liszt durften hier ebenso wenig fehlen, wie weitgehend unbekannte Musik von Smetana, Debussy und Dvořák. 13 Tänze sollen dem Hörer ermöglichen, fast eine Stunden zauberhafter Musik, meisterhaft auf einem wunderbaren Flügel vorgetragen, zu genießen. Audiophile Pressung: MONIKA TEEPE KLAUS JÄCKLE Nacht und Traume

Inhalt – MONIKA TEEPE KLAUS JÄCKLE Nacht und Traume

1. DER MUSENSOHN
2. IM ABENDROT IM ABENDROT
3. DIE STADT
4. NACHT UND TRÄUME
5. AN DEN MOND
6. DIE STERNE
7. NACHTSTÜCK
8. DES MÄDCHENS KLAGE
9. TÄUSCHUNG
10. DER GEISTERTANZ
11. DER ZWERG
12. DER TOD UND DAS MÄDCHEN
13. AN DIE LAUTE
14. STÄNDCHEN
15. DASS SIE HIER GEWESEN
16. WONNE DER WEHMUT
17. STÜRMISCHER MORGEN
18. MORGENLIED

Clearaudio Plattenspieler PERFORMANCE DC

Artykuł MONIKA TEEPE KLAUS JÄCKLE <br />Nacht und Traume pochodzi z serwisu Rogers HiFi.

In dieser neuen Produktion ging es uns darum, eine Art Konzert mit anspruchsvollen Tanzsätzen aufzuzeichnen, wie es in dieser Weise bisher noch nirgends veröffentlicht wurde. Beliebte Walzer und Mazurken von Chopin und ein vergessener Walzer von Liszt durften hier ebenso wenig fehlen, wie weitgehend unbekannte Musik von Smetana, Debussy und Dvořák. 13 Tänze sollen dem Hörer ermöglichen, fast eine Stunden zauberhafter Musik, meisterhaft auf einem wunderbaren Flügel vorgetragen, zu genießen. Audiophile Pressung: CHOPIN LISZT DVORAK Klavier Danses Romantiques Gerhard Oppitz

Inhalt: GERHARD OPPITZ Klavier Danses Romantiques

side a
Frederic Chopin
1. Walzer as-dur op. 42
2. Walzer des-dur op. 64 nr. 1
3. Walzer cis-moll op. 64 nr. 2
4. Mazurka a-moll op. 59 nr. 1
5. Mazurka as-dur op. 59 nr. 2
6. Mazurka fis-dur op. 59 nr. 3

Franz Liszt
7. Premiere valse oubliee

side b
Bedrich Smetana
1. polka g-moll op. 8 nr. 2

Claude Debussy
2. Valse romantique
3. La plus que lente (valse)

Antonin Dvorak
4. Walzer a-dur op. 54 nr. 1
5. Walzer a-moll op. 54 nr. 2
6. Walzer des-dur op. 54 nr.4

Artykuł CHOPIN LISZT DVORAK <br />Klavier Danses Romantiques <br />Gerhard Oppitz pochodzi z serwisu Rogers HiFi.

Bergs Violinkonzert (1935) wird von vielen als das am leichtesten zugängliche und emotional fesselndste Werk der atonalen Musik betrachtet. Berg schrieb dieses Stück – sein letztes vollständiges Werk – im Gedanken an einen Engel. Bei Wolfgang Rihm Gesungenge Zeit handelt es sich um ein faszinierendes neoexpressionistisches Tongedicht aus langen, schimmernden Streicherklängen, die eine Art Äther zu bilden scheinen, auf dem die Solistin dahintreibt, die später jedoch immer wieder durch das Aufbrausen des gesamten Orchesters unterbrochen werden. Audiophie Pressing: BERG RIHM Violin Concerto Anne-Sophie Mutter

Sensitive, sensuous, soulful

Violinist Anne-Sophie Mutter is here at her commanding, warm-toned best! Sensitive, sensuous, soulful and soul-baring, ravishing and ravaged, the music enters your living-room with a vividness you may find overpowering. Mutter and Deutsche Grammophon’s commitment to new repertoire is in itself cause for celebration. Mutter performs with conductor James Levine and the Chicago Symphony Orchestra.

Berg’s concerto offers a rich and highly personal blend of diverse musical features and autobiographical allusions. It is dedicated „to the memory of an angel“ – Manon Gropius, who died at the age of 18 in April 1935. Several weeks before that tragic event Berg had been commissioned to write a concerto by the American violinist Louis Krasner. But it was the death of Manon, the daughter of Berg’s friends Walter Gropius and Alma Mahler Gropius, that impelled him to compose the work, tearing him away from the orchestration of Lulu. As a result, the opera would remain incomplete.

Emotional power

Berg rejected the traditional, quasi-symphonic three-movement scheme favoured by 19th century concerto composers in favour of two subdivided parts, the first progressing from a gentle Andante to a more dance-like but still reflective Allegretto, the second balancing a turbulent Allegro which is an extended accompanied cadenza against a set of variations on the chorale which veers constantly between the spiritual and the sensual, between mourning and longing. Near the end, the markings „religioso“ and „amoroso“ occur simultaneously in different instrumental parts, and this sums up the extraordinary ambibalence as well as the disturbing emotional power of this remarkable work.

„In a ‚chanted time‘ I find the unalterable forward movement of time and the absurd commentary of one who, while living in tiem, wants to make it satnad still, enclose it within the moment, lock it in the moment as if in the living rock – but as movement, energy, breathless but not rigid in death (Artaud’s idea of betyl, the singing rock, or a simile that makes sense even musicologically: melos = nerves…). This calls for a medium with the virtuosic skill to make nerves and strands of thought audible, make them stand out from the immaterial configuration as palpable, sensual shapes.“ – Wolfgang Rihm

Inhalt:

BERG RIHM Violin Concerto Anne-Sophie Mutter

Side 1:
Alban Berg (1885 – 1935)
Violin Concerto
1. Andante – Allegro
2. Allegro – Adagio

Side 2:
Wolfgang Rihm (1952 – )
Time Chant (Gesungene Zeit)
3. Anfang/Beginning/Debut/Inizio
4. Takt/Bar/Mesure/Battuta 179

Clearaudio SMART SEAL Plattenklemme

Artykuł BERG RIHM <br />Violin Concerto <br />Anne-Sophie Mutter pochodzi z serwisu Rogers HiFi.

Anna Netrebko als La Traviata – Violetta. Im Sommer 2005 war Anna Netrebko die große Sensation in Salzburg, als sie bei den Festspielen zum ersten Mal gemeinsam mit Rolando Villazón Verdis „La Traviata“ sang. In einzigartiger Qualität– auf Doppel LP in 180g Vinylausführung: Verdi VIOLETTA – Anna Netrebko, Rolando Villazon Thomas Hampson

new ‚it‘ girl of the opera world

„Mark that name (Anna Netrebko) – and meet the new ‚it‘ girl of the opera world. Netrebko, whose glorious and well-schooled voice matches her physical beauty, has left audiences saucer-eyed while turning operadom on its ear… At every moment, Netrebko displays a voice of agility, accuracy, warmth, brilliance and power. It is touching and authoritative singing… Opera might never be the same.“

– Lawrence B. Johnson, Detroit News

„Beautiful, charismatic and possessing a gift for making audiences boil over in a ferment of emotion… „

– Classic FM, London, November 2008

Tragic heroine

Praised both for her glorious voice and beauty, Anna Netrebko is acknowledged today as one of the world’s most stunning young sopranos who sweeps audiences off their feet wherever she appears.

Anna Netrebko’s artistry takes on a new dimension as she delves into the world of Verdi’s tragic heroine. Hear the immortal melodies that are La Traviata, delivered with raw emotion and breath-taking virtuosity. Bolstered by the bravura of Rolando Villazon, Anna’s portrait of Violetta is her most compelling – and revealing – triumph yet.

VIOLETTA – Anna Netrebko, Rolando Villazon, Thomas Hampson

Wiener Philharmoniker, Carlo Rizzi

Inhalt:

VIOLETTA – Anna Netrebko, Rolando Villazon, Thomas Hampson

LP1 – Side A:
Act 1
1. Brindisi (Toast): „Libiamo ne’lieti calici“
2. „Un dì felice, eterea“
3. Scena ed Aria – Finale: „E strano! – Ah, fors’è lui“
4. „Follie! Follie! Delirio vano è questo!“
5. „Sempre libera“
Act 2
6. Scena ed Aria: „Lunge da lei“ – „De‘ miei bollenti spiriti“
7. „O mio rimorso!“

LP1 – Side B:
8. Duetto: „Pura siccome un angelo“
9. „Non sapete quale affetto“
10. „Un dì, quando le veneri“
11. „Ah! Dite alla giovine“
12. „Imponete“ „Non amarlo ditegli“
13. „Che fai?“ „Nulla“

LP2 – Side C:
14. „Invitato a qui seguirmi“
15. „Ogni suo aver tal femmina“
16. „Di sprezzo degno se stesso rende“
17. „Alfredo, Alfredo, di questo core“
Act 3
18. „Annina?“ / „Comandate?“
19. „Teneste la promessa – Attendo, attendo, ne a me giungon mai!“

LP2 – Side D:
20. „Addio del passato“
21. Scena e Duetto: „Signora“ / „Che t’accade?“
22. „Parigi, o cara, noi lasceremo“
23. „Ah, non più!“ – Ah! Gran Dio! Morir sì giovine“
24. Finale ultimo: „Ah, Violetta!“ / „Voi? Signor?“
25. „Prendi, quest’è l’immagine“

Artykuł Verdi VIOLETTA – Anna Netrebko, Rolando Villazon pochodzi z serwisu Rogers HiFi.