Close Topic Options

Артист: Moszkowski & Paderewski Альбом: The Hyperion Romantic Piano Concerto series: Volume 1: Moszkowski & Paderewski Piano Concertos, 1991 Жанр: classical music Формат файла: EAC, FLAC + LOG, BOOKLET VOL1 RE-SEED CD VOL2: CD VOL3: CD VOL4: CD VOL5: CD VOL6: CD VOL7: CD VOL8: CD VOL9: CD VOL10: CD VOL11: RE-SEED CD VOL12: RE-SEED CD VOL13: RE-SEED CD VOL14: CD VOL15: CD VOL16: CD VOL17: CD VOL18: CD VOL19 RE-SEED CD VOL20: CD VOL21: CD VOL22: CD VOL23: CD VOL24: CD VOL25: CD VOL26: CD VOL27: CD VOL28: CD VOL29: CD VOL30: CD VOL31: CD VOL32: CD VOL33: CD VOL34: CD VOL35: CD VOL36: CD VOL37: CD VOL38: CD VOL38(Hybrid SACD): CD VOL39: CD VOL40: CD VOL41: CD VOL42: NEW! CD

A big thanks to the original uploader for His kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение
залить этот торент и использовать его материалы!!!



Introducing

The Hyperion Romantic Piano Concerto series

Volume 1: Moszkowski & Paderewski Piano Concertos


Of the myriad Piano Concertos composed in the second half of the 19th century all but a handful are forgotten. The survivors are played with a regularity that borders on the monotonous – the ubiquitous Tchaikovsky No. 1, the Grieg, Saint-Saлns’s second in G minor, the two by Brahms and, really, that is just about all there is on offer. Pianists, promoters and record companies play it safe and opt for the familiar. Even a masterpiece can become an unwelcome guest, especially when subjected to an unremarkable outing by yet another indifferent player, as happens so frequently today. How refreshing, then, to have the dust brushed off ... forgotten specimens of late 19th century piano concertos and rendered clean and polished for inspection again. Refreshing and rewarding, for they are exactly the sort of pieces that make one wonder why we are forced to live off such a limited concerto diet. How is it that such appealing, well-crafted, imaginative works with their high spirits and luscious tunes could have vanished from the repertoire? .. What is it about them that has failed to put them in the classical pop charts? Listening to them afresh it is a teasing question to answer; the longer one ponders the matter, the fewer become the justifiable, verifiable reasons why today’s audiences so rarely have the opportunity to enjoy works such as these delightful crowd-pleasers. It is time for those who promote and play piano music to be more adventurous and imaginative in their programming."
© 1991 Jeremy Nicholas, excerpt from the booklet notes





Moritz Moszkowski
(Breslau, August 23, 1854 - Paris, March 4, 1925)
Piano Concerto in E major, op. 59 (1897-98)
I. Moderato [13:07] - II. Andante [8:17] - III. Scherzo : Vivace [6:31] - IV. Allegro deciso [9:16]

Ignacy Jan Paderewski
(Kurylowka, Podolia, November 6, 1860 - New York, June 29, 1941)
Piano Concerto in A major, op. 12 (1888-89)
I. Allegro [16:29] - II. Romanza : Andante [10:08] - III. Allegro molto vivace [8:32]

Piers Lane, piano
BBC Scottish Symphony Orchestra
Jerzy Maksymiuk

Recorded in City Hall, Glasgow on 3, 4 June 1991
Recording engineer, Tony Faulkner. Recording producer, Martin Compton
© 1991 Hyperion Records Ltd. CDA66452


‘Performances of exceptional poetry and virtuosity and the recording is first class. Strongly recommended’ (The Good CD Guide) ... ‘Played with this degree of flair and passion it’s all one can do to keep one's hands off the repeat button’ (Piano International) ... ‘Outstandingly performed and recorded ... An absolute winner. I can’t wait for the new items in the series’ (CDReview) ...
‘Unassailable technical qualifications, state of the art sound and a first-rate orchestra’ (Fanfare, USA)

It would be hard to imagine a more auspicious debut for Hyperion’s series "The Romantic Piano Concerto" than Piers Lane’s poetic and scintillating account of both the Moszkowski and Paderewski piano concertos. Written at a time when whirlwind virtuosos were two a penny, both works, particularly the Moszkowski, resolve their fearsome acrobatics in music of exceptional grace and fluency; qualities revered before they were superseded by altogether more strenuous and sombre virtues. Such music was once extensively served in a previous romantic revival by pianists, including Raymond Lewenthal and Michael Ponti, whose brittle and often savage brilliance was high on energy but short on charm. And clearly, such music requires very special handling and commitment if its oddly endearing mix of naivety and sophistication, cunning and obviousness, is not to degenerate into emptiness or triviality. – From Lane the Moszkowski, where ideas are so lavishly protracted, seems not a note too long. His virtuosity is altogether more pliant and musical than Michael Ponti’s on his long deleted Vox recording and more elegant and affectionate than David Bar-Illan on his Audiofon CD. His first entry at once provides a case in point, being both subtle and dramatic, and invitations to play grazioso (3’49"') or to treat some Chopinesque tracery con eleganza are met with exceptional finesse and poetic vitality. In the Scherzo Moszkowski presents sunny Italianate clichйs without even a trace of irony (a far cry from Busoni’s dark and menacing way with such conventions in his massive and daunting Piano Concerto) and here Lane is vivace indeed, whirling his way through every intricacy with a luminous and immaculate brio. Only his opening to the finale –a tune to set even the most jaded heads nodding along and tired feet tapping – is less than ideally poised, is insufficiently con forza or deciso as marked. But in the subsequent leggiero second subject his fine-spun tone and rippling dexterity are enchanting.

The same virtues colour Lane’s performance of the Paderewski Concerto, though here his occasional reticence is emphasized by a balance that allows too little decorative detail to be savoured; a piano sound unduly recessed, most notably in the first movement cadenza. Yet once again the playing is as masterly as it is self-effacing and in the central Romanza, music to soothe the savage breast and one of Paderewski’s happiest inspirations, his warmth and flexibility are beautifully apt. However, I’m bound to say that when compared to Earl Wild’s legendary RCA account of both the Polish Fantasy and the Concerto (unforgivably unavailable and awaiting transfer to CD) even Lane, for all his skill, can hardly compete with such larger-than-life brilliance, particularly in the Concerto’s finale, where Wild’s glitter (greatly admired by Horowitz among others) is of the sort dreamed of rather than achieved by his younger colleague... None the less I have few reservations in recommending the Hyperion disc. From Lane you remember the poetry even more than the fireworks, a very special accomplishment. He is stylishly and accurately partnered by Jerzy Maksymiuk, so this is a distinguished start to what promises to be a delectable series.
Gramophone.co.uk





Three languages-, 20 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes – Collections)

QUOTE

Techne / The Romantic Piano Concerto, vol. 1 Extraction: Exact Audio Copy 0.95 beta 3 Used drive: PLEXTOR CD-R PREMIUM, Offset +30 Read mode: Secure with NO C2, accurate stream, disable cache Manually integrated natively-tagged .flac files through EAC proper additional commandline: [-8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T "comment=Exact Audio Copy 0.95 b3 Secure Mode / FLAC q8 v. 1.1.2" %s] Full artwork included in .png and .pdf lossless format, scans at 600 dpi resized to 300.Text pages not descreened.

This post has been edited by yury_usa on 11-08-2007, 18:23

Рипы сделаны потреково в соответсвие с требованиям первоначального трекера откуда слиты торенты. Разрешение залить получил при условие что ничего не буду менять в оригинальные файлы.

Качать ЗДЕСЬ.

This post has been edited by vpenev on 07-05-2007, 06:30

эх...жаль что треками

Если хочешь можешь очень легко и быстро обединить все треки в имидж файл (.wav + .cue) через foobar2000, друг!!! В каждой папке из этой серии включен также cue файл для соответного, неразделенного на треки, .wav файла. Я не могу сделать это потому что просто нарушаю условия разрешения. Могу сказать однако, что и рипы и торенты сделаны превосходно и исключительно акуратно, и что каждый торент содержит все необходимое для конвертирования.

Zemlynin!!! Очень прошу сократить заглавие топика только на The Hyperion Romantic Piano Concerto series отстраняя vol. 1 - Moszkowski & Paderewski (1991) [FLAC]. Вчера ночью просто не сообразил что могу под топиком с общим заглавием выпускать последовательно отдельние волумы, помещая инфо для них в отдельные посты. Видел что именно так делают в таком случае.

ЕДИТ: Zemlynin!!! Спасибо большое друг!!!

This post has been edited by vpenev on 12-03-2007, 08:20

The Hyperion Romantic Piano Concerto series

Volume 2: Medtner Piano Concertos nos. 2 & 3





Nikolai Medtner
(Moscow, January 5, 1880 - London, November 13, 1951)

Piano Concerto no. 2 in C minor, op. 50 (1920, rev. 1927)
I. Toccata (Allegro risoluto) [17:37]
II. Romanza (Andante con moto) [9:52]
III. Divertimento (Allegro risoluto e molto vivace) [11:08]

Piano Concerto no. 3 in E minor, op. 60 (1940-43)
I. Con moto largamente [15:21]
II. Interludium (Allegro molto sostenuto, misterioso) [1:36]
III. Finale (Allegro molto. Svegliando, eroico) [18:37]

Nikolai Demidenko, piano
BBC Scottish Symphony Orchestra
Jerzy Maksymiuk

Recorded in Greyfriars Kirk, Edinburgh on 7, 8 November 1991
Recording engineer, Tony Faulkner. Recording producer, Andrew Keener
© 1992 Hyperion Records Ltd. CDA66580


GRAMOPHONE AWARD WINNER
LUISTER-CD VAN HET JAAR 1992

‘Performances as searingly intense as they are ardently lyrical. Truly extraordinary fire and brilliance’ (Gramophone)
‘A triumph’ (CDReview) ... ‘Dazzling virtuosity’ (Classic CD)
‘Waste no time in acquiring this magnificent disc’ (Piano International)

If you want to hear Medtner’s music purged of all possible superfluity or convention, vitalized in a way that previously seemed impossible, then Demidenko is your man. I have not heard a more thrilling recording of a virtuoso romantic concerto since Michelangeli’s legendary EMI disc of Rachmaninov’s Fourth Concerto. Medtner, as much as any composer, requires a very special advocacy, an unwavering commitment expressed in a truly blazing keyboard temperament and pianistic resource combined with an innate sense of Russian lyricism. For despite many unsatisfactory tags ("the Russian Brahms" was one Medtner particularly disliked) and suggestions of cosmopolitanism, Medtner remains indubitably Russian. And it is this central elixir or quality which Demidenko conveys to perfection in performances as searingly intense as they are ardently lyrical. In page after page of these superficially diffuse and rambling scores his playing pulsates with a truly extraordinary fire and brilliance. Listening to other pianists you have your doubts concerning the music’s ultimate quality but with Demidenko all possible sense of clichй or staleness is swept into oblivion. From him you would never think for one second that you were listening to music that is "strangely twice told". The opening of the Second Concerto’s Toccata is launched with a super-charged, molten bravura followed by a second subject caressed with the most insinuating ease and grace. Listen to Demidenko in the following al rigore di tempo (2’44") as an example of his razor sharp rhythm, or try 9’35" where his all-Russian virtuosity creates a truly vertiginous effect, almost as if one was being suddenly pitched down a mountainside. - Similar wonders and felicities abound throughout the Third Concerto, arguably the most endearing of the three. Demidenko’s is urgent with the opening theme, with its soaring melody and churning undertow, and the sweep and glamour of his pianism at, say, 4’00"' are hard to resist. In page after page his sheer agility allows him an expressive freedom and verve that bring every bar vividly and authentically alive. The BBC Scottish Symphony Orchestra sound well equipped for their admittedly daunting task (Demidenko’s abrupt changes of tempo and direction keep everyone on the qui vivre) and the recording is are outstanding, the balance very much as you would hear it in a live concert-hall performance. Above all you find confirmation of the words, quoted on Hyperion’s excellent sleeve, "being a Russian is a duty. For Medtner coming to England did nothing to change that. The Moscow nights, the Russian spring, the basilicas and bards of his young manhood; such was his heritage, a chalice of dreams and memories to hold for always. Prince of truth, he was one of Russia’s great sons."
Gramophone.co.uk



Nikolai Demidenko

This splendid disc is given a fine recording, good orchestral playing from a Scottish orchestra under a Polish conductor and, above all, truly coruscating and poetic playing from the brilliant young Russian pianist Nikolai Demidenko. Medtner was a contemporary and friend of Rachmaninov; he settled in Britain in the 1930s, and like Rachmaninov he was an excellent pianist. But while the other composer became immensely popular, Medtner languished in obscurity, regarded as an inferior imitation of the former who wrote gushing music that was strong on gestures but weak on substance. The fact is that he can be diffuse (not to say long-winded) and grandiose so that his music needs to be played well to come off. When it is, there’s much to enjoy as here in Demidenko’s hypnotically fiery and articulate accounts.
The Gramophone Good CD and DVD Guide, 2005

Three languages-, 20 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (see: Indexes – Collections)

A big thanks to the original uploader for His kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 27-02-2007, 18:37

The Hyperion Romantic Piano Concerto series

Volume 3: Mendelssohn Concertos for Two Pianos


Of the myriad Piano Concertos composed in the second half of the 19th century all but a handful are forgotten. The survivors are played with a regularity that borders on the monotonous: pianists, promoters and record companies play it safe and opt for the familiar. Even a masterpiece can become an unwelcome guest, especially when subjected to an unremarkable outing by yet another indifferent player, as happens so frequently today. How refreshing, then, to have the dust brushed off ... forgotten specimens of 19th century piano concertos and rendered clean and polished for inspection again. Refreshing and rewarding, for they are exactly the sort of pieces that make one wonder why we are forced to live off such a limited concerto diet. How is it that such appealing, well-crafted, imaginative works with their high spirits and luscious tunes could have vanished from the repertoire? ... It is time for those who promote and play piano music to be more adventurous and imaginative in their programming."
© 1991 Jeremy Nicholas





Felix Mendelssohn-Bartholdy
(Hamburg, February 3, 1809 - Leipzig, November 4, 1847)

Concerto in A flat major for two pianos (1824)
I. Allegro vivace [17:26]
II. Andante [9:45]
III. Allegro vivace [14:17]

Concerto in E major for two pianos (1823)
I. Allegro vivace - Poco piщ allegro [12:58]
II. Adagio non troppo [9:17]
III. Allegro [8:20]

Stephen Coombs & Ian Munro, pianos
BBC Scottish Symphony Orchestra
Jerzy Maksymiuk

Recorded in City Hall, Glasgow on 31 August, 1 September 1991
Recording engineer, Philip Hobbs. Recording producer, Andrew Keener
© 1992 Hyperion Records Ltd. CDA66567


Mendelssohn’s mature piano style was derived not so much from the orchestral texturing of Beethoven and Schubert, as from the filigree intricacies of the German virtuoso piano school, represented principally by Hummel and Weber, further enhanced by a Mozartian emphasis on textural clarity. It was never Mendelssohn’s intention to push contemporary keyboard instruments beyond that of which they were comfortably capable, more to utilise those qualities for which they were best adapted – brilliant clarity in the treble register, and the ability to sustain a flowing, cantabile melody without undue bass risonance. Mendelssohn’s first surviving works in concerto form date from 1822: the D minor Violin Concerto (not the popular E minor, a much later composition) and the Piano Concerto in A minor, both with string orchestra accompaniment, closely followed by a D minor Concerto for violin, piano and strings in May 1823. The Concertos for two pianos also belong to this early group, the E major being dated 17 October 1823, and the A flat major 12 November1824. both works had entirely dropped out of the repertoire until, in 1950, the original manuscripts were ‘rediscovered’ in the Berlin State Library. Mendelssohn’s sister, Fanny, was also a gifted pianist, and it is almost certain that the E major Concerto was written with her in mind. However, it also appears likely that the A flat major Concerto was inspired by Felix’s first encounter with the young piano virtuoso Ignaz Moscheles. Upon seeing the boy Mendelssohn play, even Moscheles could barely believe his eyes: "Felix, a mere boy of fifteen, is a phenomenon. What are all other prodigies compared with him?" - The major criticism levelled at the Two-Piano Concertos is their tendency to overstretch relatively fragile musical material, as, with two soloists to contend with, Mendelssohn had been keen to ensure that the music was shared equally, thus involving an unusual amount of repetition. It would hardly be fair to expect even Mendelssohn to have achieved the miraculous thematic concision and structural cohesion of the E minor Violin Concerto and G and D minor Piano Concertos at such an early age.
© Julian Haylock, from the booklet notes.



Ian Munro - Stephen Coombs

"... Coombs and Munro prove ideal advocates, playing with delectable point and imagination" (Penguin Guide to Compact Discs) "... Fine talent is on display here ... this programme makes ideal listening as well as offering welcome insight into Mendelssohn’s great genius" (CDReview) "..The sheer joy of playing this music bubbles over in every measure" (American Record Guide) ".. Sensitive and enchanting" (Piano International)

This new record is a fair recommendation to those who are curious about, or fond of, the two-piano concertos – sometimes ingenious, sometimes pleasantly tuneful or stimulating works which lack the quality of the solo concertos. The performances also lack something of the required energy and dash, and occasionally the speeds adopted overtake clarity and precision of fingerwork. This is noticeable especially in the virtuoso passagework of the protracted first movement of the A flat work; the Weberian glitter of the E major Concerto’s finale comes off pretty well. The pianists’ greatest strength is in their lyrical playing of the slow music, in particular the Adagio non troppo of the E major. The recording might have made more of the musical alternations which Mendelssohn exploits, especially in the finale of the E major.
Gramophone.co.uk

Three languages-, 10 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (see: Indexes – Collections)

A big thanks to the original uploader for His kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 27-02-2007, 18:39

The Hyperion Romantic Piano Concerto series

Volume 4: Arensky & Bortkiewicz Piano Concertos



Anton Stepanovich Arensky
(Novgorod, July 12, 1861 - Perkijarvi, Finland, February 25, 1906)

Piano Concerto in F minor, op. 2 (1881)
I. Allegro maestoso [12:16] - II. Andante con moto [6:49]
III. Scherzo - Finale : Allegro molto [6:48]
Fantasia on Russian Folksongs, op. 48 (1899) [9:05]

Sergeij Bortkiewicz
(Kharkov, Ukraine, February 16, 1877 - Vienna, October 25, 1952)

Piano Concerto no. 1 in B flat major, op. 16 (1912)
I. Lento - Allegro deciso [16:50] - II. Andante sostenuto [6:39]
III. Molto vivace e con brio [12:14]

Stephen Coombs, piano
BBC Scottish Symphony Orchestra
Jerzy Maksymiuk

Recorded in Henry Wood Hall, Glasgow on 21, 22 August 1992
Recording engineer, Tony Faulkner. Recording producer, Andrew Keener
© 1993 Hyperion Records Ltd. CDA66624

At the end of his balanced and informative sleeve-note Jeremy Nicholas suggests that "there must always be a place for those like Arensky and Bortkiewicz who reflect so elegantly and expertly on what has gone before, rather than shake us by the ears and grab us (sometimes screaming) into the future". That’s well said (though other alternatives do suggest themselves) and pertinent to the concertos here recorded. Anton Arensky’s Op. 2 is an apprentice piece from 1881, an engaging cocktail of Liszt, Chopin and Grieg, with echoes of Liszt’s E flat Concerto having the first and last word; Sergei Bortkiewicz’s Op. 16, premiered in 1912, is a true product of Russia’s Silver Age, the scent of the Nicholas and Alexandra era evoked by a blend of Rachmaninov and Parsifal. All three works are reminders of the pleasures of easy-listening music from an age before the whole concept was hijacked by commercialism. If this is the sort of thing you like, you’ll surely like this sort of thing, as they say. Both concertos fall pleasantly on the ear neither it seems to me, is destined for concert-hall revival; both find their natural place on disc. Stephen Coombs and the BBC Scottish pay the music the compliment of careful preparation and sensitive, wholehearted advocacy. Hyperion’s balance has the piano rather backward, not allowing it to sparkle as it ideally should, and there are times when the music seems to demand a more outsize soloistic personality. Otherwise this is a model issue from a source which has become a byword for the best in enterprise.
Gramophone.co.uk



Stephen Coombs

"... A couple of piano concertos that have been waiting in the wings for the committed advocacy they deserve and have finally received’ (Fanfare, USA) "... Coombs is an artist of great sensitivity and effortless virtuosity, and he makes the best possible case for both" (The Penguin Guide to Compact Discs) "...Coombs’s musicianship and authority carry all before it" (Piano International)


Three languages-, 16 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (see: Indexes – Collections)

A big thanks to the original uploader for His kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 28-02-2007, 04:48

А сколько всего будет volumes?

По-моему около 30-40, может чуть больше. Я вообще-то не уверен, что hyperion прекратил выпускать диски в этой серии, т.е. по-моему проект еще не закрыт.

upd: Проверил, всего в серии пока 41 диск.

This post has been edited by timtima on 28-02-2007, 17:18

По-моему около 30-40, может чуть больше. Я вообще-то не уверен, что hyperion прекратил выпускать диски в этой серии, т.е. по-моему проект еще не закрыт.

upd: Проверил, всего в серии пока 41 диск.

Я тоже не знаю сколько будут вообще. На сайт Хипериона до сих пор они 41. Оригинальный аплоудер обещал выпустить всех со скоростью 1 диск приблизительно за неделю. До сих пор залил 10. Я залею их здесь, а потом будем двигаться с той скоростью, с которой заливают их в первоначальном трекере. Кстати тот тракер пока еще одинственное место в инети где можно найти серию.

This post has been edited by vpenev on 01-03-2007, 02:10

По-моему около 30-40, может чуть больше. Я вообще-то не уверен, что hyperion прекратил выпускать диски в этой серии, т.е. по-моему проект еще не закрыт.

upd: Проверил, всего в серии пока 41 диск.

Я тоже не знаю сколько будут вообще. На сайт Хипериона до сих пор они 41. Оригинальный аплоудер обещал выпустить всех со скоростью 1 диск приблизительно за неделю. До сих пор залил 10. Я залею их здесь, а потом будем двигаться с той скоростью, с которой заливают их в первоначальном трекере. Кстати тот тракер пока еще одинственное место в инети где можно найти серию.

Если время будет, то начну с другого конца, т.е. с 41-го и вниз. Где-нить может встретимся

По-моему около 30-40, может чуть больше. Я вообще-то не уверен, что hyperion прекратил выпускать диски в этой серии, т.е. по-моему проект еще не закрыт.

upd: Проверил, всего в серии пока 41 диск.

Я тоже не знаю сколько будут вообще. На сайт Хипериона до сих пор они 41. Оригинальный аплоудер обещал выпустить всех со скоростью 1 диск приблизительно за неделю. До сих пор залил 10. Я залею их здесь, а потом будем двигаться с той скоростью, с которой заливают их в первоначальном трекере. Кстати тот тракер пока еще одинственное место в инети где можно найти серию.

Если время будет, то начну с другого конца, т.е. с 41-го и вниз. Где-нить может встретимся

timtima!!! Буду очень рад такой встречи!!!

This post has been edited by vpenev on 03-03-2007, 09:05

timtima!!! Оказываеться что ты все таки начнешь не с самого конца!!! Буду очень рад однако эсли действительно поможешь быстрее раздать эту замечатeльную серию.

This post has been edited by vpenev on 04-03-2007, 21:30

timtima!!! Оказываеться что ты все таки начнешь не с самого конца!!!

Кто знает? Обычно диски у меня на руках за 2-3 недели до официальной даты релиза

The Hyperion Romantic Piano Concerto series

Volume 5: Balakirev & Rimsky-Korsakov Piano Concertos





Nikolaj Andreevic Rimsky-Korsakov
(Tikhvin, March 6, 1844 - Lyubensk, June 8, 1908)
Piano Concerto in C sharp minor, op. 30 (1882-3)
I. Moderato - Allegretto quasi polacca - attacca: [6:22]
II. Andante mosso - attacca: [4:15] - III. Allegro [4:03]

Milij Alekseevic Balakirev
(Nizhny Novgorod, January 2, 1837 - St. Petersburg, May 29, 1910)
Piano Concerto no. 1 in F sharp minor, op. 1 (1856) [13:42]
Piano Concerto no. 2 in E flat major, op. posth. (1861-1910)
I. Allegro non troppo [13:07] - II. Adagio [10:07]
III. Allegro risoluto (compl. Sergei Lyapunov) [8:54]

Malcolm Binns, piano
The English Northern Philharmonia
David Lloyd-Jones

Recorded in Huddersfield Town Hall, West Yorkshire on 25, 26 October 1992
Recording engineer, Tony Faulkner. Recording producer, Andrew Keener
© 1993 Hyperion Records Ltd. CDA66640

‘Op. 1’ and ‘Op. posth.’ says a lot about Balakirev’s two piano concertos. The First is a single movement only, composed at the age of 18 and massively indebted to the Chopin concertos. The Second was begun not long after, in 1861, but abandoned after the first movement; Balakirev apparently extemporized the rest to fellow-Mighty-Handful members but was only persuaded to write the other movements down near the end of his life. At his death in 1910 the finale had to be completed by Lyapunov, which may be partly why it sounds so splendidly rambunctious, so close in places, I felt, to Gershwin. The concerto was certainly worth the efforts of all concerned; the first movement’s fugal episodes and the slow movement’s tinges of Russian Orthodox gloom stay in the mind, compensating for Balakirev’s occasional recourse to inflating and over-decorating short sub-phrases. The First Concerto, too, has little flashes of individuality which keep you listening despite the obvious naivety and derivative quality of the material. The Rimsky-Korsakov has come and gone from the catalogue over the years and is currently not listed. It is in effect more of a folk-song fantasia than a concerto, but there is much post-Liszt-and-Grieg-ian charm, as well as a striking foretaste of Rachmaninov’s Paganini Rhapsody (Paganini’s famous opening motif coincidentally also begins the second strain of Rimsky’s chosen theme). These three works make an excellent programme, then. And Malcolm Binns, though not the most sparkling of soloists, plays with commendable solidity. A tighter focus on some sections of the orchestra might have improved the recorded sound; but the quality of the English Northern Philharmonias contribution is high, and all in all this is an admirably conceived and executed disc.

Gramophone.co.uk



Malcolm Binns

Three languages-, 12 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes – Collections)

A big thanks to the original uploader for His kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 09-03-2007, 02:43