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Rare Classical Vinyl. I have a large collection of classical LP's, many of which have never been transferred to digital format, or if they have been transferred commercially, have lost some of their excellent analogue audio qualities in the process. In 1. 95. 1, when the company was a Chicago- based independent, it launched its ''Olympian Series'' with the now classic recording of the Mussorgsky- Ravel ''Pictures at an Exhibition'' played by the Chicago Symphony Orchestra under Rafael Kubelik. Only the original masters were used for CD transfer, and, as in the recording sessions themselves, no equalization, filtering, compression, or limiting was used. The actual analog- to- digital conversion device used 1. Throughout the CD mastering process, the digital master was compared to and matched against the 3- track master to ensure as true and faithful digital reproduction as possible. For the transfer of these masters to the digital domain, the original Mercury vacuum- tube Westrex film recorder and Ampex 3- track tape machine were restored. This combination of classic tube technology and state- of- the- art digital equipment re- creates for compact disc the wide dynamic range, lifelike clarity, and spatial perspective of Mercury Living Presence. Because of the historical significance of the Mercury Living Presence recordings, and in response to requests from record collectors, it was decided to use the original LP covers and liner notes whenever possible. There is, for example, one devoted exclusively to Mercury LP labels: http.//ronpendorf. No lossy mp. 3 files here. My uploads on this blog are all lossless (. The quality of these performances and recordings deserves nothing less. Paray lightens the textures and yields a lithe, supple and pointed reading in which inner voices are far more prominent than usual. It's always fascinating and significant to hear a conductor's own compositions in which they can reveal their own aesthetic outlook even more readily than when interpreting the instructions of others. Despite the gravity of its timeless theme, Paray's own Mass, written in 1. Without being blatantly innovative, it's original enough to not sound derivative and is a work that should be far better known. With this example of how Paray chose to organize his own musical world, his application of similar principles to the music of others fits into place. The CD concludes with touching impromptu remarks Paray made to the performers upon concluding this recording session. More striking than the words themselves is the extreme difficulty with which he tried to express his thoughts in English years after assuming his position at the helm of a great American orchestra. Perhaps it only goes to show that despite cultural nationalism, music is indeed the most universal of all languages. The Mercury issues are a prime source of recordings of Hanson's works. I've always been enchanted by his . It appeared originally on a Mercury LP that also contained the . The trudging and rushing forward momentum (5: 4. Hanson superbly sustains, accents and goads the progress of the music. He also insists on some mice dynamic contrasts. Sibelius 2 can be heard in those dynamic pizzicato rushes. In the second movement softly chanting woodwind gently launches one of those long string melodies related to that in the Second Symphony. In the third movement there are echoes of Sibelius 3 in the chipper writing for woodwind. This mixed with shadows of Sibelius 1 and the folk . The finale is strident, gripping, raw, dark and sinuously Nordic. The Koussevitsky Elegy is the most sincere and indomitably built of all the works included here. He owed much to Koussevitsky including the commission for both the second symphony and the piano concerto. Koussevitsky also recorded the Third Symphony on 7. Dutton in their Essential Archive series CDEA5. The Lament for Beowulf dates from Hanson's days in Rome and his studies with Respighi. It is amongst his most potently brooding works. It carries all his irresistible fingerprints: long- spun themes, gruff brass punctuation, Holstian insistence from the drums, taciturn majesty, and string ostinati with brass punch- syncopated above. At 1. 3m. 19s there is a delirious counterpoint rising to majesty, and at 1. Neptune- like evocation of eternity fades into mystery. Rob Barnett (http: //www. Hanson. Dorati conducts the London Symphony for Janos Starker in the great cellist's patrician performances of the Dvorak Concerto, Bruch's ''Kol Nidrei'' and Tchaikovsky's Variations on a Rococo Theme.. If it had been sent to me as a recording made in the last year or so, I don’t think I would ever have suspected otherwise. The fruits of those sessions are on two of the CD's - 5. Balalaika Favorites'' recorded in a nonstop midnight session by the Osipov Russian State Folk Orchestra, and the two Liszt concertos with Byron Janis. It comes with the even more magical ones of ''La Valse'' and four other Ravel works - an especially striking example of Mercury's success in balancing warmth and shimmer, a ''round'' sound with startling sharpness of detail. Byron Janis. Van Cliburn got the hero's welcome in New York, but Janis received Russian adulation well before the Texan's Tchaikovsky Competition prize. Janis dispatches the meretricious yet sentimentally entertaining two Liszt concertos with all the . The Second Piano Concerto is the finer work with more musical substance and it again shines in the hands of Janis and the Rozhdestvensky whether in elfin display, thunderous triumph, or melancholy swoon. Track List. New working links: http: //isynz. Minneapolis Symphony Orchestra, Stanislaw Skrowaczewski. Moussorgsky - A Night on Bald Mountain. London Symphony Orchestra, Antal Dorati Review by Ivan March, Gramophone . The LP made an extremely strong impression when it first appeared here in 1. Dorati had brought the Minneapolis orchestra to a high peak of achievement. The playing is often electrifying in its precision and delicacy—witness the very opening filigree on the high violins in the ''Folk Dance'' of Suite No. Mercutio which follows. Skrowaczewski's subtlety of rubato, both in the latter (track 2) and the wonderfully delicate ''Madrigal'' which follows (when Romeo first approaches Juliet), is equally memorable for the wistful character of the orchestral playing. Prokofiev did not strictly follow the narrative line in the order of his selections and so ''Juliet as a young girl'' comes in Suite No. It again brings playing which combines a gossamer touch with unpretentious virtuosity of the highest order, while at the closing climax of ''Romeo at Juliet's grave'' the music's pungent agony and sense of apotheosis is powerfully expressed (the bite of the violin line well matched by the turbulent horns and mordant brass). There are other fine modern selections from what, in my view, is Prokofiev's greatest score and, perhaps, the greatest of all ballets, but none which captures its unique atmosphere and character more tellingly. There are excellent notes relating the music to the action, and which appealingly quote from the Shakespearean text to set the mood of the major excerpts. It is a dramatic performance, not always conventional in pacing, with a particularly poignant closing section—again, Mercury engineering at its most impressive, with the resonant sonorities never clouding the detail. No less impressive is Dorati's Schoenberg/Berg/Webern disk with the London Symphony Orchestra, a sort of basic repertory of the Second Viennese School (has anyone else produced a scream quite as searing as Helga Pilarczyk's at the end of the ''Lulu'' Suite?). While the other works here are among the best recordings of them ever made, it's the Brazilian Impressions that excites the most. Like Milhaud, Respighi was astounded by his trip to Brazil and it opened up for him a creative horizon that counteracted his serious, depressive illnesses. The 'Brazilian Impressions' point toward a direction that led to other of his triumphs such as the great ballet . Once more the pantheist gaze of this composer points out the influence of Italian Neoclassicism lead by Casella. Five clavichordists fragments of the XVII century inspired by the song of several birds (from pages of Pasquini, Phillipe Rameau and Jacques de Gallot and a British anonym ). It can feel the deliberated hedonistic avidity so typical of this Century as a clear response to the Age of Rationalism: the triumph of triviality over reason empire. Fine, to represent both the range of the label's artists and repertory and the specific recordings most in demand. At the head of the list for many collectors will be Howard Hanson conducting his own Symphonies Nos. Nordic'') and 2 (the ''Romantic''). He believed in his own music and communicated his evangelistic fervor to his Eastman- Rochester Orchestra. The irresistible disk includes his choral ''Song of Democracy,'' with the Eastman School Chorus singing the Walt Whitman text. President Richard Nixon. Hanson proudly noted this was the first inaugural concert to feature exclusively American music. I have a particular affection for . I've included the Whitman text sung by the chorus in the links below. New working links: http: //gr. Corrected texts for Song of Democracy http: //u. Perhaps because she was such an astonishingly good all- round player – a true 'generalist' – Bachauer has been too little regarded in recent years. And like several other great pianists she was rarely heard at her best in the studio. But, try out this recording and you will see, as B. Morrisson (Gramophone magazine, August 2. Fittingly described by Barbirolli as . The sound on this release, as well as on the others in this Mercury series of vintage recordings, is amazingly spacious and dynamic. This disc's rousing version of the Crown Imperial Coronation March is THE definitive recorded performance of that work.
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