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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

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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.

Это сообщение отредактировал(а) yury_usa - 11-08-2007, 18:23

The Hyperion Romantic Piano Concerto series

Volume 6: Dohnanyi Piano Concertos





Erno (Ernst von) Dohnanyi
(Poszony / Bratislava, July 27, 1877 - New York City, February 9, 1960)

Piano Concerto no. 1 in E minor, op. 5 (1897-8)
I. Adagio maestoso - Allegro - Adagio [18:02]
II. Andante [10:02] - III. Vivace - Cadenza con orchestra - Vivace [17:07]
Piano Concerto no. 2 in E minor, op. 42 (1946-7)
I. Allegro - attacca: [14:12] - II. Adagio, poco rubato - attacca: [7:44] - III. Allegro vivace [7:51]


Martin Roscoe, piano
BBC Scottish Symphony Orchestra
Fedor Glushchenko

Recorded in Henry Wood Hall, Glasgow on 17, 18 June 1993
Recording engineer, Philip Hobbs. Recording producer, Andrew Keener
© 1993 Hyperion Records Ltd. CDA66684

BBC MUSIC MAGAZINE BEST OF THE YEAR

The sixth disc in Hyperion’s admirable "Romantic Piano Concerto" series, this coupling provides a salutary reminder of two of Dohnбnyi’ most substantial if sadly neglected works. Both concerto concertos (separated by 50 years, but mildly rather than radically different in their musical language) burgeon with sufficient heartfelt melody and high-flying pianistics to satisfy even the most ardent aficionado of the genre. And if, as the insert-note so aptly puts it, Dohnбnyi hardly provides anything so important as a bridge between Liszt and Bartуk, and remains "stuck in a style somewhere between Brahms and Saint-Saлns", his alternation of dark and scintillating ideas is accomplished with an easy and professional aplomb. The Second Concerto’s crisply accented finale in whirling and nationalistic duple time is notably attractive. Martin Roscoe’s superbly authoritative performances are majestic and glittering as required, and his survival of his recessed placing in relation to the orchestra is doubly to his credit. Fedor Glushchenko’s partnership is excellent and, overall, the recordings are of high quality.
Gramophone.co.uk



Erno Dohnanyi & Martin Roscoe

The Hungarian composer Ernst (Erno) von Dohnanyi is well known in his homeland but less celebrated internationally. Over the years his most famous composition has been another piano concerto, the Variations on a Nursery Song, but in truth he was prolific, and was admired by fellow musicians from the time of Brahms (whom he knew) through to his final years in the United States. As a young man Dohnбnyi was a virtuoso pianist, and it shows in his Piano Concerto No. 1, which he composed in 1897-98. It is nothing if not substantial in scale, lasting for a full 45 minutes, and cast in the conventional three-movement design with the slow movement at the centre. The style is very much of its time, with a full awareness of Liszt and Brahms, but without the challenging qualities of the harmonic language of Bartуk. There is an heroic, almost epic quality about the outer movements, both of which approach 20 minutes in duration. This puts a strong demand upon the soloist, of course, and in this sense Martin Roscoe does not disappoint. For he is a splendid pianist, who sounds very much inside the music and thoroughly in command of the technique required. If there is a criticism of the performance it is probably more to do with the balancing of piano and orchestra, since the solo piano does sometimes sound swamped by the massive orchestral sound, and details of articulation can disappear. Of course Dohnбnyi’s skilful orchestration does not always place this consideration uppermost on the agenda, and in a movement of the size and scale of the opening Allegro maestoso there are many turns of direction and manner. Slow movement is perhaps the best, a brave and imaginative touch in the orchestration is that the strings play pizzicato for most of the time, while the melodic shaping is derived in large part from a subtle transformation of first movement material. It is all particularly well judged, and Roscoe plays with care and taste in every bar. The finale returns to the heroic epic scale, and becomes more compelling as it reaches its final stages. Here Roscoe and the orchestra sweep the music on to a particularly exciting conclusion, just what the romantic piano concerto is all about. - There are fifty years between these two concertos, though the listener would not know it from the music. The Piano Concerto No. 2 was completed in 1947. It remains romantic in style (thus justifying its position in Hyperion’s series), but the construction seems tighter than that of its earlier companion, and it is none the worse for that. This is reflected in the length, which comes out at around the 30 minute mark. Again there are three movements in the traditional sequence, but the large first movement dominates the work, forming a half of its duration. Dohnбnyi opens with a theme which he develops obsessively, in the style of a motto, but there is also room for more indulgent lyric romantic gestures. The artists manage these contrasts well, maintaining the flow and convincing the listener of the structural purpose. In his useful insert notes, the distinguished musicologist Otto Karolyi refers to the slow movement as occupying ‘a stylised Hungarian gypsy style’. But it is not an indulgence, for in the final two movements the unity of the conception is a real priority, as the motto returns and the lively finale emerges as the only possible conclusion for the whole work. Again Roscoe is a convincing interpreter. Of the two concertos, the more carefully constructed Second is probably the more compelling, but the experience both works offer is thoroughly satisfying, and wholly justifies Hyperion’s foray into this little known territory.
Terry Barfoot, www.musicweb-international.com

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.

Это сообщение отредактировал(а) vpenev - 12-03-2007, 00:14

The Hyperion Romantic Piano Concerto series

Volume 7: Henselt & Alkan Piano Concertos





Adolf von Henselt
(Schwabach, Bavaria, May 12, 1814 - Warmbrunn, October 10, 1899)
Piano Concerto in F minor, op. 16 (1843-4)
I. Allegro patetico - Religioso - Reprise [13:44]
II. Larghetto [8:06] - III. Allegro agitato [8:14]
Variations de Concert, op. 11 (1840) [17:52]
on ‘Quand je quittai la Normandie’ from Jacob Meyerbeer’s Robert le Diable


Charles-Valentin Alkan
(Paris, November 30, 1813 - March 29, 1888)
Concerto da Camera in C sharp minor, op. 10 no. 2 (1833) [7:40]
Concerto da Camera in A minor, op. 10 no. 1 (1832) [14:18]


Marc-Andre Hamelin, piano
BBC Scottish Symphony Orchestra
Martyn Brabbins

Recorded in Govan Town Hall, Glasgow on 2, 3 December 1993
Recording engineer, Philip Hobbs. Recording producer, Andrew Keener
© 1994 Hyperion Records Ltd. CDA66717

GRAMOPHONE EDITOR’S CHOICE / CRITICS’ CHOICE
BEST OF THE YEAR, BBC MUSIC MAGAZINE

"An admirable disc for all lovers of bravura virtuoso piano writing" (CDReview)
"Recommended without reservation" (American Record Guide)
"You could hardly ask for a more brilliant display of fireworks" (Classic CD)
"Hamelin’s performance can only be described as sensational" (Piano International)

If, like me, you have derived a great deal of pleasure from the six previous issues in Hyperion’s enterprising series, The Romantic Piano Concerto, then you will surely want to explore the latest volume which, to my mind, could well be counted amongst the finest, if not the finest, to have appeared so far. Much of the credit must go to the phenomenal playing and superb musicianship of Marc-Andre Hamelin (whose account of the staggeringly difficult Henselt Concerto is quite breathtaking) but plaudits must also go to the imaginative programming and excellent accompanying booklet-notes.

The main work of the disc, both in terms of quality and length, is of course the above-mentioned Henselt F minor Concerto, which, although once an active participant in the repertoire of most top league pianists during the late nineteenth century (at least those sufficiently technically equipped to approach it), dropped out of sight in the early part of this century until revived by those ‘champions of the forgotten’, Raymond Lewenthal and Michael Ponti. As a concerto it is particularly ‘giving’ to the listener and very unforgiving to the pianist, as the extreme technical difficulties are concealed in such a way that they become almost transparent to the ear – which probably accounts for its disappearance from the repertoire. Rubinstein once recounted that "I procured the Concerto and his Etudes, but after working on them for a few days I realised it was a waste of time, for they were based on an abnormal formation of the hand. In this respect Henselt, like Paganini, was a freak." Egon Petri described it as one of the hardest pieces he had ever played. Musically the concerto owes allegiance to Chopin (in the Larghetto) and Thalberg and Mendelssohn in the outer movements, but generally the overall Henseltian style has its own peculiar flavour which I am sure will win many friends through Hamelin’s highly persuasive and thoroughly committed performance.



Marc-Andre Hamelin

The slightly earlier Variations de Concert (on a theme from Meyerbeer’s Robert le Diable) is admittedly slighter fare but is nevertheless an attractive and enjoyable work which hails from the same stable as Chopin’s Lа ci darem la manoVariations. The remainder of the disc consists of two ‘mini’ concertos by Henselt’s exact contemporary and fellow ‘reticent’ Charles-Valentin Alkan (Henselt, like Alkan, gave very few public concerts due to stage-fright that bordered on the pathological). The two early Concerti da Camera (the only surviving concertante pieces by Alkan) are not, it has to be said, ‘major’ Alkan works, but they are original in invention and full of melodic appeal, with more than a hint or two of the Alkan of later years. Hamelin delivers them with astonishing dexterity and panache and, as in the Henselt pieces, he is given equally committed support from the BBC Scottish Symphony Orchestra under the direction of Martyn Brabbins. A thoroughly enjoyable disc, well worth exploring!
Michael Stewart, Gramophone.co.uk

Three languages-, 36 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.

Это сообщение отредактировал(а) vpenev - 11-03-2007, 10:21

The Hyperion Romantic Piano Concerto series

Volume 8: Medtner Piano Concerto no. 1 & Piano Quintet





Nikolai Medtner
(Moscow, January 5, 1880 - London, November 13, 1951)
Piano Concerto no. 1 in C minor, op. 33 (1915-17)
I. Allegro - attacca: [11:52] - II. Theme and Variations - attacca: [13:13]
III. Recapitulation - attacca: [2:32] - IV. Coda : Allegro molto [6:38]
Piano Quintet in C major, op. posth. (1940-43)
I. Molto placido [7:47]
II. Andantino con moto [4:54]
III. Finale : Allegro vivace [11:58]


Dmitri Alexeev, piano
BBC Symphony Orchestra led by Alexander Lazarev on Piano Concerto no. 1
The New Budapest Quartet on Piano Quintet

Recorded between 18 and 25 March, 1994
Recording engineer, Tony Faulkner. Recording producer, Arthur Johnson
© 1994 Hyperion Records Ltd. CDA66744]

‘A tour de force of impassioned eloquence and white-hot intensity’ (Piano International)
... ‘Once again Hyperion hold the day. Strongly recommended ... for a first-rate performance of one of the finest
of all late-Romantic concertos ever composed, and for a fresh look at a chamber-music masterpiece’ (CDReview)
... ‘This concerto is endlessly inventive and splendidly original’ (BBC Music Magazine)

Medtner would have been both grateful and astonished by his present and ever-increasing recognition. Once dismissed as an unsatisfactory betwixt-and-between composer, one without a convincing personal voice who was overshadowed by Rachmaninov’s greater glamour and accessibility, his time has truly come. For Dmitri Alexeev the First Concerto is Medtner’s masterpiece, an argument he sustains in a performance of superb eloquence and discretion. Even the sort of gestures later vulgarized and traduced by Tinseltown are given with an aristocratic quality, a feel for a love of musical intricacy that takes on an almost symbolic force and potency, but also for Medtner’s dislike of display. You may occasionally miss the torching brilliance of Demidenko’s Medtner (his solo recital, and the Gramophone Award-winning disc of the Second and Third Concertos, also for Hyperion, are of unique authority), yet time and again Alexeev makes you pause to reconsider Medtner’s quality, and his reserve brings its own distinctive reward. The early Abbandonamente ma non troppo has a haunting improvisatory inwardness and later, as the storm clouds gather ominously at 11’55", his playing generates all the necessary electricity.

How thankful one is, too, for Alexeev’s advocacy of the Piano Quintet where, together with his fully committed colleagues, he recreates music of the strangest, most unworldly exultance and introspection. Instructions such as poco tranquillo (sereno) and Quasi Hymn take us far away from the turbulence of the First Concerto (composed in the shadow of the First World War) and the finale’s conclusion with glissando and tremolo for added effect, is wonderfully uplifting. The recordings are judiciously balanced in both works, and the BBC Symphony Orchestra under Lazarev are as alert as they are sympathetic. Alexeev’s own accompanying notes, with their reference to the strange paradox of Medtner’s genius and his joy in the re-discovery of music "imbued with the strength of his powerful spirit and the beauty he believed in", provide a crowning touch to this brilliantly enterprising disc; the eighth, and certainly one of the finest, in Hyperion’s Romantic Piano Concerto series.
Bryce Morrison, Gramophone.co.uk



Dmitri Alexeev & Nikolai Medtner

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.

Это сообщение отредактировал(а) vpenev - 11-03-2007, 22:06

Друзья! А когда же будет продолжение гиперионовской серии? Уж я жду, жду.. а Германа vpenev'a все нет.

Это сообщение отредактировал(а) bibigon - 30-03-2007, 21:39

А ты друг просто потерпи еще немножко пока положение в Болгарии выясниться. Потому что...:

Цитат взят из этого топика: Topic Link: Varios Artist - Revolution (2006)

Это сообщение отредактировал(а) vpenev - 31-03-2007, 03:37

Ссылка куда то не туда ведет. Нет там ни чего похожего на текст цитаты

Ссылка куда то не туда ведет. Нет там ни чего похожего на текст цитаты

Вот полный цитат из указанного выше топика друг (посмотри пасаж вниз имиджа):

А здесь можно найти немного инфо об этих собитиях - Topic Link: В течение последнего месяца ...рекеры были закриты

Это сообщение отредактировал(а) vpenev - 03-04-2007, 03:17

vpenev Все еще облавы и опасность? А то уж очень хочется продолжения релизов.

Эсли верит прессе сейчась идет проверка на незаконное содержание в сетях квартальных LAN доставчиков. Конечный срок проверки 15 апрель. Это с одной стороны. С другой стороне 24 апреля в европарламент будет первое чтение проекто директивы о гармонизации европейского законодательства в области защиты интелектуальной собствености. В болгарском инете сообщили что правная комисия европарламента предлагает декриминализировать как файлообмен между частными лицами, так и копирование на носителях эсли они делаються с неторговых целей. Что выдет из этого однако еще очень неясно (потому что ожидаеться большой натиск со стороны медиа монстры), но голосование внесет все таки известная определенность в ситуации.

Это сообщение отредактировал(а) vpenev - 09-04-2007, 06:58

The Hyperion Romantic Piano Concerto series

Volume 9: d’Albert 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: 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





Eugen Francis Charles d’Albert
(Glasgow, April 10, 1864 - Riga, March 3, 1932)
Piano Concerto no. 1 in B minor, op. 2 (1884)
I. Mäßig - attacca: [17:08] - II. Langsam, mit Empfindung - attacca: [9:23]
III. Erstes ZeitmaЯ - attacca: [11:30] - IV. Cadenza - attacca: [2:52] - V. Dasselbe ZeitmaЯ [3:33]
Piano Concerto no. 2 in E major, op. 12 (1946-7)
I. Mäßig bewegt - attacca: [7:30] - II. Langsam - attacca: [6:44]
III. Sehr lebhaft - attacca: [2:13] - IV. ‘Wie vorher’ (crotchet - dotted crotchet) [4:30]

Piers Lane, piano
BBC Scottish Symphony Orchestra
Alun Francis

Recorded in Govan Town Hall, Glasgow on 14, 15 May 1994
Recording engineer, Tony Kime. Recording producer, Andrew Keener
© 1994 Hyperion Records Ltd. CDA66747

‘Two formidable concertos, brilliantly performed. One of the most successful issues in Hyperion’s outstanding Romantic Piano Concerto series’ (The Guardian) ... ‘Brilliantly performed ... an unqualified success ... In Hyperion’s outstanding Romantic Piano Concerto series this is one of the most successful issues yet, very well recorded’ (The Penguin Guide to Compact Discs)

Eugen d’Albert First Piano Concerto is big, very big – lasting 45 minutes for a single movement structure here! On first hearing I would have guessed that the concerto was a product of a composer in his mid-to-late twenties or even older, but a quick calculation reveals that d’Albert was a mere 18 when he composed it, and as such it is a testimonial not only to his ability as a composer but also to his exceptional prowess as a pianist. However, despite the fact that the writing for both piano and orchestra is exceptionally assured, and that the concerto contains a good deal of attractive writing, there are also, it seems to me, some serious shortcomings. A concerto on this scale needs to contain a good deal of strong and memorable music, and whilst I would be the first to say that d’Albert material is far from weak, it’s simply not strong enough to hold the listener’s attention for 45 minutes. The second section of the Concerto (there are five altogether) is marked Langsam, mit Empfindung and it is here, for me, that the work seriously begins to lose its way in an interesting but dense thicket of Wagnerian tone. Stylistically, Wagner seems to be one of the major influences in this concerto (there are several allusions to Parsifal here), but Liszt’s presence is also strongly felt, especially in the cadenza which sounds strikingly similar to the fugato section of the B minor Sonata. The final section, an attractive and engaging scherzo, also has much in common with Litolff’s famous Scherzo from his Fourth Concerto Symphonique.
The Second Concerto needs less introduction. At less than half the duration of the First, is perhaps the more immediately accessible – it’s certainly the more compact and traditional of the two. Curiously though, and this may sound contradictory to my remarks concerning the First Concerto, I actually find it less interesting and appealing. For all my reservations I have to say that the First poses a challenge that I find hard to resist, and for that reason I shall not give up on the work in a hurry. As usual with this series, the performances are beyond reproach. Piers Lane makes light work of the technical demands and plays both concertos as though they have been in his repertoire for years (one could not imagine a better advocate for these problematic works) and he is exceptionally well supported by Alun Francis and the BBC Scottish Symphony Orchestra. The recording, fittingly made in Govan Town Hall (d’Albert was born in Glasgow) is also of the highest quality.
Michael Stewart, Gramophone, May 1995



Eugen d’Albert Piers Lane

Three languages-, 18 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.

Это сообщение отредактировал(а) vpenev - 09-04-2007, 04:39

Большое спасибо за продолжение серии.

Забыл добавить и за продолжением дрожания что полиция все еще может приити в гости.

Это сообщение отредактировал(а) vpenev - 09-04-2007, 05:00

Какая жуть по среди ночи. Балгарская полиция прям как герои фильмов ужаса. Кошмар!

Спасибо за музыку! Спасибо за смелость!

Это ты расспространяешь всякие кошмары - ночной террор, ужасные собаки, тайные оружия от которых когти багровеют и всякие подобние жуткие вещи!!! А потом насмехаешься что все мы дрожим от страха!!! И все таки... Большое Спасибо!!! за прекрасные релизы друг!!!

А они действительно так и проводили свои акции в домах самых обычных аплоадеров - в стиль американских фильмов... со шлемами, автоматами, спецекипами... вообще со всеми аксесуарами которые используют спецотряды для борбы с организованной преступности и тероризма. И все это можно было увидеть по тв. Так что для переживших это действительно был кошмар наяве.

Это сообщение отредактировал(а) vpenev - 09-04-2007, 07:06

vpenev!!! Чтобь жизнь продолжала без кошмаров и лишных сотрясениях надо менять старую шкуру!

Это сообщение отредактировал(а) bagabum - 09-04-2007, 07:08