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 The Hyperion Romantic Piano Concerto series |
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Posted: 24-02-2007, 06:40
(post 1, #717556)
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News makers Group: News makers Posts: 986 Warn:0% 
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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)
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Posted: 05-08-2007, 11:09
(post 91, #769807)
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The Hyperion Romantic Piano Concerto series Volume 39: Delius & Ireland Piano Concertos  Frederick Albert Theodore Delius Bradford, West Yorkshire, northern England, January 29, 1862 Grez-sur-Loing near Fontainebleu, Ile de France, June 10, 1934 Piano Concerto in C minor (1897-07) First recording of the original 1904 version I. Allegro ma non troppo [10:58] II. Largo [6:07] - III. Maestoso con moto moderato [11:38] John Nicholson Ireland Bowdon near Manchester, August 13, 1879 Rock Mills in the Downs, southern Sussex, June 12, 1962 Legend for piano and orchestra (1933) [11:45] Piano Concerto in E flat major (1930) I. In tempo moderato [8:47] II. Lento espressivo - Allegro - cadenza - attacca: [7:12] III. Allegretto giocoso [7:51] Piers Lane, piano Ulster Orchestra David Lloyd-Jones Recorded in Ulster Hall, Belfast on 8, 9 March 2005 Recording engineer, Simon Eadon. Recording producer, Andrew Keener © 2006 Hyperion Records Ltd. CDA67296 BBC Music Magazine - Orchestral Choice  The old castle’s remains at Grez-sur-Loing, Frederick Delius' death place Having already given us a scintillating version of Delius’s 1907 Piano Concerto with Vernon Handley and the Royal Liverpool Philharmonic Orchestra, Piers Lane now turns his attention to the composer’s original thoughts. The piece actually began life in 1897 as a single-movement fantasy for piano and orchestra, which Delius subsequently recast as a concerto in three separate movements. First heard in Berlin in October 1904, that’s the version performed here. The most striking difference surrounds the finale, which Delius discarded for the 1907 revision. It launches with a grittily defiant C minor theme in 5/4 time and, at 7’56", you’ll encounter a magical idea that Delius salvaged for his 1916 Violin Concerto. The piano writing throughout is less flamboyant than in the revision yet still offers ample opportunity for winning display. It’s all dashingly dispatched here, and devotees of this composer should certainly investigate. How odd that, with the honourable exception of Eric Parkin’s Chandos account, recordings of John Ireland’s delectable Piano Concerto never seem to survive long in the catalogue. This Hyperion newcomer possesses many virtues. Piers Lane responds with nimble sensitivity, David Lloyd-Jones secures a tidy response from the Ulster Orchestra and the performance as a whole has a sparkle, eagerness and snap that are most refreshing. Some (myself included) may wish for a rather greater sense of anguished undertow in the slow movement, a reaction that extends to the clean-limbed account of the 1933 Legend. This is one of Ireland’s most haunting and powerful creations but I’m not sure that all of its other-worldly caprice and slumbering disquiet is conveyed here; Parkin’s digital remake with Thomson and the London Philharmonic Orchestra, though somewhat cavernously recorded, is both more poetic and questing. (...) Enough grumbling: the programme is an immensely appealing one and there’s so much that is praiseworthy about this cleanly engineered issue that it deserves a cordial reception. Andrew Achenbach, Gramophone, February 2006  Delius’ only piano concerto went through several revisions on its way to its final form, which is about 10 minutes shorter than the full three-movement structure on display here. It's probably not a major work, but this is certainly the way to hear it, as its flaws (such as they are) don’t have anything to do with form per se, but rather relate to the composer’s own anti-virtuosic idiom. At only 28 minutes, the piece hardly outstays its welcome, and the extra room for lyrical expansion, particularly in the finale, brings us closer to the composer’s later style. From the listener’s point of view there’s nothing wrong with a concerto predominantly lyrical in style. The problem (as with the similar case of Dvorбk’s lovely concerto) is getting pianists to play the thing in the first place. So kudos to Piers Lane for doing such a beautiful job, and for projecting the solo part with so much sensitivity and intelligence. John Ireland’s Piano Concerto is a minor masterpiece for sure, and its current neglect is puzzling. The music is wonderful, and having played in the orchestra in a performance of it, I can say from personal experience that it is wonderfully written, not to mention being a real crowd-pleaser. Among earlier recordings, Eric Parkin’s effort on Chandos suffers from blowsy sound and a surprising heaviness. Kathryn Stott on Conifer is better, but Piers Lane’s performance captures the music’s wit and jazzy inflections more effectively than anyone, and it’s very nice to have the equally attractive Legend included as well. David Lloyd-Jones and the Ulster Orchestra provide very sensitive accompaniments, while the engineering is first class. This is another triumphant entry in Hyperion’s Romantic Piano Music series, a disc to return to often. David Hurwitz, ClassicsToday.com  Frederick Delius John Ireland ... Robert Threlfall’s notes make a good case for regarding the three-movement original as having a greater validity, and this splendid first recording bears him out ... Piers Lane, an eloquent advocate (BBC Music Magazine) ... Those who are familiar with (and those who have dismissed) Delius’ Piano Concerto in the 1907 revision should make the acquaintance of the original version without more ado (International Record Review) ... Lane makes a convincing case for the piece, and his performance is paired with an equally sparky one of John Ireland’s concerto. His punchy abrasiveness undercuts the work’s more fey moments, and gives it an almost neoclassical edge (The Guardian) ... This first recording of the original version from 1904 reveals a work stamped with far more rhapsodic gusto and genuine heartache than the composer’s misguided revisions suggest. Lane’s performance is very enjoyable; the recording does the players proud (The Times) ... Throughout, Piers Lane is sympathetic, sensitive and a virtuoso, and the support from David Lloyd-Jones and the Ulster Orchestra is exact. The vivid recording presents an exemplary balance between piano and orchestra. (Fanfare, USA) Three languages-, 24 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 05-08-2007, 11:17 |
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Posted: 08-08-2007, 01:41
(post 92, #770283)
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The Hyperion Romantic Piano Concerto series Volume 40: Herz Piano Concertos no. 3, 4 & 5  Henri (Heinrich) Herz Vienna, January 6, 1803 Paris, January 5, 1888 Piano Concerto no. 3 in D minor, op. 87 (1835) I. Allegro moderato [15:04] - II. Andantino sostenuto [6:28] III. Finale : Allegro (con fuoco ed appassionato) [8:58] Piano Concerto no. 4 in E major, op. 131 (1843) I. Allegro moderato [9:20] - II. Andante cantabile [5:29] III. Rondeau Russe : Allegro vivace [7:59] Piano Concerto no. 5 in F minor, op. 180 (1854) I. Allegro moderato [5:54] - II. Andantino [4:37] III. Finale : Allegro agitato [5:28] Howard Shelley, piano and conducting Tasmanian Symphony Orchestra Recorded in Federation Concert Hall, Hobart, Tasmania on 2-4 September 2004 Recording engineer, Andrew Dixon. Recording producers, Ben Connellann & David Garrett © 2006 Hyperion Records Ltd. CDA67537 Following his earlier superb recordings of Herz’s Piano Concertos Nos 1, 7 and 8, Howard Shelley continues with Nos 3-5 in Vol 40 of Hyperion’s ever-expanding ‘Romantic Piano Concerto’ series. As before, whatever sparkles and delights is here in super-abundance, and a more stylish or scintillating advocate than Shelley would be hard to imagine. Clearly Herz could charm the birds out of the trees, his brilliant confections cost him little effort and, presumably, like Saint-Saлns, he wrote music as an apple tree produces apples. In the Third Concerto, Mendelssohnian flourishes lead to one virtuoso flight after another, each designed to make ears waggle and eyes start out of the head. The finale’s fierce octave play and following fugue will appeal to those with more adventurous expectations, but there are enough decorative asides to console those addicted to a more conservative, salon style. The dazzling photo-finish would tax the fingers of even the most dextrous virtuoso and the orchestra, too, goes out in a blaze of martial splendour. The Fourth Concerto is all bustle and hyperactivity, the pianist’s aimiable opening gestures soon ambushed by some savagely intricate demands, while the Rondeau russe finale, complete with sleighbells, conforms to popular notions of an exotic foreign dance. In the Fifth Concerto Herz is back in minor-key drama without ever overstepping accepted notions of social propriety. So here, magnificently performed and recorded, is music to set heads nodding and feet tapping, the epitome of art which scorns profundity and elevates pianistic acrobatics to a high and elegant plane. Bryce Morrison, Gramophone, June 2006 EDITOR’S CHOICE - Gramophone Magazine This second disc of concertos by Henri Herz turns out to be even more delightful and attractive than the first. Two of these concertos, Nos. 3 and 5, are rooted in minor keys, and while their demeanor is hardly tragic, that additional harmonic spice makes them that much more affecting. Concerto No. 3 has a wonderful potpourri-style finale with a very French, high-stepping march interlude complete with crashing percussion. It’s a delight, and in fact all of the tunes are top-quality. No. 4 in E major is a gentle, even pastoral work with a gorgeous slow movement (Howard Shelley does an excellent job bringing out the music's lyrical, cantabile qualities). It also has a delicious finale, a Rondeau Russe that uses a ‘clochette’, or clock-chime, to introduce a delightful fairy-tale atmosphere. That these two concertos aren’t taken out and played at least once in a while is a great mystery. They are beautifully written and just plain fun. The neglect of Concerto No. 5 is less surprising: it’s only a bit more than 15 minutes long, though it would make a great ‘pops concert’ piece (Gershwin’s Rhapsody in Blue is about the same length). It too has some beautiful thematic material, particularly in its first movement. If anything Shelley and the Tasmanian Symphony are even more energized than in their previous release, and the sonics are very well balanced and lively. The march episodes in the finale of Concerto No. 3 erupt with particular sparkle and impact ...This is Volume 40 of Hyperion’s ongoing Romantic Piano Concerto series – can there really be this much attractive, neglected music? What are today’s traveling virtuosos doing with themselves, endlessly playing the same old stuff when there are so many fine works that deserve a hearing? Thank God for this extraordinary roster of recordings. David Hurwitz, ClassicsToday.com  Portrait of Henri Herz ... There’s tremendous pleasure to be had from the music’s sheer charm...and even more from its outbursts of exuberance. Unless you’re on a strict musical diet that allows no dessert, this release, like its predecessor, will lift your spirits.. (Fanfare, USA) ... Shelley has so much surplus energy that he can lift these entertaining works up to a level where they are so much more than just audible. They are at times even touching and beautiful.. (Pianist Magazine) ... As on the previous release, Howard Shelley is both soloist and director. It would be hard to think of a more persuasive advocate. His passagework, however technically demanding the music, is always crystalline, and the sound is consistently warm and brilliant.. (International Record Review) ... Howard Shelley is well up to the considerable technical challenges that these works present and, apart from phrasing intelligently himself, persuades the orchestra to follow suit. In all, a disc that looks on the bright side of life.. (BBC Music Magazine) ... These charming concertos, the second of three volumes conducted by Shelley from the keyboard, are just the thing to set the feet tapping. (Observer) 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 (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 08-08-2007, 01:51 |
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Posted: 09-08-2007, 18:12
(post 93, #770613)
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меломан Group: Prestige Posts: 18020 Warn:0%
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добавил все ссыслки в шапку. vpenev, большое спасибо за такой труд. Сколько дисков еще ожидается?  |
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Posted: 10-08-2007, 05:17
(post 94, #770762)
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News makers Group: News makers Posts: 986 Warn:0%
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The Hyperion Romantic Piano Concerto series Volume 41: Kalkbrenner Piano Concertos no. 1 & 4  Friedrich Kalkbrenner Cassel (now Kassel), central Germany, November 7, 1785 Enghien-les-Bains near Paris, June 10, 1849 Piano Concerto no. 1 in D minor, op. 61 (1823) I. Allegro maestoso [14:41] - II. Adagio di molto [7:11] III. Rondeau : Vivace [8:57] Piano Concerto no. 4 in A flat major, op. 127 (1835) I. Maestoso brillante [13:43] - II. Adagio [6:03] III. Rondeau : Allegro non troppo [8:32] Howard Shelley, piano and conducting Tasmanian Symphony Orchestra Recorded in Federation Concert Hall, Hobart, Tasmania on 24-27 May 2005 Recording engineer, Andrew Dixon. Recording producer, Ben Connellann © 2006 Hyperion Records Ltd. CDA67535 Hyperion’s 41st offering in their invaluable "Romantic Piano Concerto" series includes a first recording of Kalkbrenner’s Fourth Piano Concerto lovingly reconstructed by Howard Shelley and Philip Littlemore. And this, together with the First Concerto, allows one a scintillating overview of a composer as admired for his playing as he was despised as a person. A fake grand seigneur and "popinjay" (delightful word), Kalkbrenner was mocked by most contemporaries of note, though Chopin fell briefly under his spell. ‘A knowing fellow’ whose music was like ‘a bonbon fallen in the mud’ (Heinrich Heine), Kalkbrenner needs an especially persuasive advocate. And in Howard Shelley he has found a pianist who not only relishes everything the composer throws at him, including ambuscades of double notes, but who plays with truly dazzling wit and style. Shelley is a master of such period virtuosity, yet he surpasses even his own standards and it is hard to imagine a more fine-spun or dazzling command. The fidgety theme opening the First Concerto’s finale and its subsequent embellishment provide a case in point, as does the finale of the Fourth Concerto where Shelley’s effortless bravura would surely have awed and piqued the composer himself. Amazingly, Shelley finds himself able to conduct as well as play these concertos, and he has been immaculately balanced and recorded. Bryce Morrison, Gramophone, October 2006  Friedrich Kalkbrenner was a highly respected pianist in his day, though he was later eclipsed by the likes of Chopin and Liszt. Still, his First Concerto is pretty terrific; the minor key isn’t used to plumb the depths of emotion so much as it is to keep the music harmonically fascinating, and you may well find yourself riveted as the composer springs one surprise after another. He sustains the 15 minutes of the opening movement effortlessly, through good tunes and brilliant keyboard showmanship, and if the music exists primarily to entertain it certainly does so with style and grace. The Fourth Concerto, perhaps owing to its major-mode orientation, strikes me as a touch less interesting, though it’s no less full of scintillating writing for the soloist, and as with its partner the tunes themselves are quite fetching. Howard Shelley plays both works with the panache that they require, and given the fact that he seldom has much of a chance to take his hands off of the keyboard, the Tasmanian Symphony stays with him admirably every step of the way. Hyperion’s sonics are also better than some other releases from this source, being well balanced and flattering to both soloist and orchestra. These truly enjoyable concertos may be rarities in the concert hall, but you may find them becoming staples at home. David Hurwitz, ClassicsToday.com  Friedrich Kalkbrenner Howard Shelley ... Kalkbrenner’s First Concerto offers a truly beautiful and atmospheric slow movement ... it would be a boring world if we couldn’t find an hour to listen to these musical layer cakes from a bygone age... (Pianist) ... Shelley draws committed and expressive playing from this fine ensemble, besides dispatching the demanding solo parts with unfailing йlan... (International Piano) ... Shelley’s fearless and seemingly impeccable technique seems to match Kalkbrenner’s ideal of good piano-playing perfectly. The sound is always beautiful, those endless runs at the upper end of the keyboard register delivered as if they came easily rather than being the formidable obstacle course that they really are... (International Record Review) ... Hyperion’s Romantic Piano Concerto series is one of the most significant recording ventures in front of the public today ... The standard of the Hyperion edition has been so high, and it has done so much to showcase both young and established talent, with such exceptional recording quality, that it remains without parallel. Anyone who revels in exploring the peripheries of the repertoire will enjoy this disc enormously... (MusicWeb) ... Howard Shelley is a persuasive advocate, who apart from reconstructing the Fourth with Philip Littlemore, performs these pieces with a dazzling wit and style... I have a notion that Shelley’s bravura might have unsettled even the composer himself, particularly in the Fourth’s finale where the soloist’s effortless command of the music is absolutely stunning. Amazingly, Shelley is able to conduct as well as play these concertos with the Tasmanian players wonderfully supportive. (Classical.net) 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 (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 10-08-2007, 05:22 |
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Posted: 10-08-2007, 05:31
(post 95, #770764)
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News makers Group: News makers Posts: 986 Warn:0%
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До сих пор вышли 42 тома, так что остаеться залить еще один. yury_usa!!! Поправь пожалуйста в шапке линки на том 19, 38, 39 и 40! Вот правилные ссылки: VOL19: CD RESEED http://torrent.e2k.ru/details.php?id=11992 VOL38: CD http://torrent.e2k.ru/details.php?id=12172 VOL39: CD http://torrent.e2k.ru/details.php?id=12173 VOL40: CD http://torrent.e2k.ru/details.php?id=12210 Добавь также последный залитый том 41: VOL41: CD http://torrent.e2k.ru/details.php?id=12243 This post has been edited by vpenev on 10-08-2007, 05:53 |
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Posted: 10-08-2007, 06:05
(post 96, #770769)
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меломан Group: Prestige Posts: 18020 Warn:0%
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Posted: 11-08-2007, 07:43
(post 97, #771011)
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News makers Group: News makers Posts: 986 Warn:0%
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The Hyperion Romantic Piano Concerto series Volume 42: Alnaes & Sinding Piano Concertos  Eyvind Alnaes Fredrikstad, Norway, April 29, 1872 Oslo, December 24, 1932 Piano Concerto in D major, op. 27 (1914) I. Allegro moderato [12:52] II. Lento [8:47] - III. Allegro assai (Tempo di valse) [9:51] Christian Sinding Kongsberg, southern Norway, January 11, 1856 Oslo, December 3, 1941 Piano Concerto in D flat major, op. 6 (1889, rev. 1901) I. Allegro non troppo [12:49] II. Andante [10:00] - III. Allegro non assai [10:48] Piers Lane, piano Bergen Philharmonic Orchestra Andrew Litton Recorded in the Grieghallen, Bergen, Norway on 4-6 September, 2006 Recording engineer, Arne Akselberg. Recording producer, Andrew Keener © 2007 Hyperion Records Ltd. CDA67555 For the 42nd issue in its "Romantic Piano Concerto" series, Hyperion turns for inspiration to Norway and, in a first recording of Eyvind Alnжs’s Concerto, they light up the sky like an aurora borealis. Here is music very much for those in love with the most succulent romanticism, with lush, lavishly decorated melodies and a fin de siиcle array of props. The opening Allegro moderato follows one sumptuous gesture with another (Tinseltown has been slow off the mark in failing to capitalise on such glamour) and in the central Lento the pianist weaves starry figuration around the orchestra’s full-blooded outcry. In the finale all fashionable gloom is cast aside for a rollicking waltz guaranteed to sweep its dancers (to say nothing of the hard-working pianist) off the floor. So for those wishing to venture beyond the Grieg or MacDowell concertos such music is heaven-sent, particularly when played by Piers Lane with such enviable poetry, fluency and aplomb. Few pianists could have entered into the romantic spirit more infectiously, though even he is hard-pressed to make a convincing case for Sinding’s less heart-warming Concerto. Here, the music remains more effortful than inspired, huffing and puffing its way through one inflated gesture after another. Yet listening to Lane in the sequence commencing at 5’15" in the finale is to be reminded of playing as to the romantic manner born. Andrew Litton and the Bergen Philharmonic are a perfect foil for their scintillating and indefatigable soloist, and Hyperion’s sound balance is impeccable. Bryce Morrison, Gramophone.co.uk You’re going to love this disc. It does everything this wonderful series of ‘Romantic Piano Concertos’ is supposed to: present captivating repertoire in excellent performances. Christian Sinding was a notoriously spotty composer when working in large forms. After all, if you live well into your 80s writing tons of music along the way, but remain famous for one three-minute piano miniature ("Rustle of Spring"), then something’s not right. That said, this youthful concerto offsets its tendency to ramble with an abundance of fresh, enjoyable tunes and fistfuls of pianistic fun and games. When the melodies are so attractive it’s impossible to deny Sinding his right to dwell on them at length. Eyvind Alnaes was one of those composer / performer / administrators whose busy schedule prevented him from writing much music, but thank God he turned out this piano concerto. Scored for a massive orchestra with an enormous brass section (six trombones!), the piece is, believe it or not, actually rather light and vivacious, except for those moments when the full ensemble really cuts loose. The finale, a free-flowing waltz, would be a "pops" favorite if the scoring weren’t so extravagant. It’s just the kind the music you’ll want to enjoy on disc because you’ll never hear it live: a big, juicy, Wagnerian love-fest between the soloist and the orchestra that leaves you wanting more. Piers Lane plays both concertos with a confidence that belies their unfamiliarity, and you know that Andrew Litton and the Bergen orchestra will do their bit like real pros. Excellent sound completes the picture. A genuine find! David Hurwitz, ClassicsToday.com  Eyvind Alnaes Christian Sinding The latest instalment of Hyperion’s series The Romantic Piano Concerto turns its attention to Eyvind Alnжs (1872-1932) and Christian Sinding (1856-1941), two Norwegian composers whose reputations were outstripped by that of Grieg. Both were cosmopolitan rather than nationalist in stance, and their concertos are problematic in that they wear their influences too much on their sleeves. Sinding revamps the classical concerto as a post-Wagnerian, Valhalla-storming phantasmagoria by deploying continuous thematic transformations, overt references to Gцtterdдmmerung, and cadenzas that are developmental rather than decorative. Alnaes takes Rachmaninov, Tchaikovsky and Brahms as models for his first two movements, before closing with a wonderfully flippant waltz that is probably unique in the concerto repertoire. The performances, with Piers Lane as soloist and the Bergen Philharmonic conducted by Andrew Litton, are jaw-droppingly good - so much so that any qualms you may have about the works themselves are swept aside by the sheer excitement of it all. Tim Ashley, The Guardian.co.uk ... The performances, with Piers Lane as soloist and the Bergen Philharmonic conducted by Andrew Litton, are jaw-droppingly good – so much so that any qualms you may have about the works themselves are swept aside by the sheer excitement of it all... (The Guardian) ... Piers Lane is tremendous, the Bergen Philharmonic Orchestra is splendid and both Lane and Andrew Litton find the perfect tone of delivery ... The best of this work is very fine indeed. Lane is again excellent ... and all the performers make excellent advocates for a work thoroughly deserving of them... (International Record Review) ... Despite the obscurity of this music, Piers Lane plays it with confidence and insight. The Bergen Philharmonic, under its music director Andrew Litton, provides solid, stylish support and the recording is spacious and ideally balanced... (Daily Telegraph) 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 11-08-2007, 07:53 |
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Posted: 11-08-2007, 16:31
(post 99, #771082)
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Сварливый Мозг Клуба  Group: Roots Posts: 22869 |
огромное спасибо за титаническую работу! |
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Posted: 11-08-2007, 16:39
(post 100, #771086)
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News makers Group: News makers Posts: 986 Warn:0%
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Я тоже присоединяюсь к тебе FiL!!! С этим: 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!!! Кстати скоро начну заливать серию Бах - Сузуки, BIS, релиз того же перфектного аплоадера. Конечно с его любезным разрешением. ЕДИТ: Вот и топик серии Бах - Сузуки, BIS -> Topic Link: Bach / Suzuki series, BIS [EAC/FLAC+CUE/COVERS/BOOKLETS] This post has been edited by vpenev on 14-08-2007, 13:30 |
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Posted: 14-08-2007, 20:32
(post 101, #771849)
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Newbie Group: Members Posts: 9 Warn:0%
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Огромное спасибо! |
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Posted: 07-10-2007, 01:00
(post 102, #784491)
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News makers Group: News makers Posts: 986 Warn:0%
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Посколько устал заливать снова (как РЕСИЙД) некоторых волумов этого издания и устанавливать что они в очередный раз стерты с трекера то прошу всех желающих скачать их попробовать свою удачу ЗДЕСЬ. Советую однако предварительно запастись большим терпением. This post has been edited by vpenev on 08-10-2007, 02:24 |
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Posted: 03-11-2007, 16:01
(post 103, #791782)
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News makers Group: News makers Posts: 986 Warn:0%
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Можете скачать vol.43 - W.S. Bennett, F.E. Bache ОТСЮДА. |
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Posted: 15-01-2008, 20:09
(post 104, #811580)
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Advanced Group: Members Posts: 387 Warn:0%
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Vol. 44 H. Melcer - тут Topic Link: The Hyperion Romantic Piano Concerto v.44 - Henryk Melcer |
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