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Bartok: Piano Concerto No. 1 Anda / Fricsay Speakers Corner LP DGG SLPM 138708
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Bartok: Piano Concerto No. 1 Anda / Fricsay Speakers Corner LP DGG SLPM 138708

Disque vinyle de 180 grammes, Speakers Corner Records, fabriqué en Allemagne. Pure analogue, pressage et mastering audiophile à partir de bandes originales analogiques de l'époque. Maison d'édition d'origine : Deutsche Grammophon. Conditionnement : 1 disque vinyle 33T, pochette cartonnée simple (poids 350gr/m2) et sous-pochette doublée. Disques vinyles fournis par Planète Disque sont emballés dans un carton robuste avec intercalaires de calage et une pochette plastique luxueuse en PVC. Ci-dessous, une description en anglais de la maison Speakers Corner Records : Béla Bartók: Concerto for Piano and Orchestra No. 1, Rhapsody for Piano and Orchestra, Op. 1 - Géza Anda and the Radio Symphonie Orchester Berlin conducted by Ferenc Fricsay Between Bartók’s Rhapsody for Piano and his First Piano Concerto lie 22 years of development, a struggle to find subject matter, form and his own musical language. While the Rhapsody from 1904 is dominated by a late-Romantic tone, which delights in a free, craggy and capricious feast of affable harmonies, the Piano Concerto reflects contemplation and a delving into the formal strictness of the classical three-movement concerto form. Rather less concerto-like and unconventional is, however, the use of the piano as a percussion instrument, which after just a few bars on the winds, hammers out an unrelenting staccato against the harsh and dissonant orchestra. In the slow movement too the piano is predominantly employed as a percussion instrument that, like the pendulum of a clock, rhythmically bulldozes on against the cheerless, bleak winds. Wild emotion predominates in the Finale. Stormy, insistent figures in the piano are answered by the orchestra with animated blows, but the quick flashes of melodies cannot establish themselves and are slashed to pieces as if caught in a storm. This uncompromising severity presents an enormous challenge that is mastered with aplomb by Géza Anda and the RSO Berlin under Ferenc Fricsay. Bartók’s musical language is milder and more accessible in his Second and Third Piano Concertos, which are now available in a new pressing from Speakers Corner Records (DGG 138 111). Recording: October 1960 at Jesus-Christus-Kirche, Berlin, by Günter Hermanns Production: Otto Gerdes
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Beethoven: String Quartet, Op. 132 LasalleSpeakers Corner LP DGG 2530 728
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Beethoven: String Quartet, Op. 132 Lasalle Speakers Corner LP DGG 2530 728

Disque vinyle de 180 grammes, Speakers Corner Records, fabriqué en Allemagne. Pure analogue, pressage et mastering audiophile à partir de bandes originales analogiques de l'époque. Maison d'édition d'origine : DGG. Conditionnement : 1 disque vinyle 33T, pochette cartonnée simple (poids 350gr/m2) et sous-pochette doublée. Disques vinyles fournis par Planète Disque sont emballés dans un carton robuste avec intercalaires de calage et une pochette plastique luxueuse en PVC. Ci-dessous, une description en anglais de la maison Speakers Corner Records : Ludwig van Beethoven: String Quartet in A minor, Op. 132 - LaSalle Quartett = Walter Levin, Henry Meyer (v); Peter Kamnitzer (va); Lee Fiser (vc) Beethoven’s lifelong occupation and pioneering work with the string quartet can be divided up into three creative phases. Beginning with the youthful, fresh Quartets op. 18 which soon became highly popular with the public shortly after their composition, then on to the compact and intensive sounding Quartets op. 59, Beethoven continued to develop his style right up to his late period between 1822 and 1826. The opinions of his contemporaries of his late works range from »extremely moving and haunting« to »Chinese« and show that the rhapsodic style was considered alien and wilful, and the structure of the various movements a cause for bafflement. In the Quartet in A minor, most attention is focussed on the slow movement, which Beethoven headed with the words “Heiliger Dankgesang” (“Holy song of thanksgiving”). The movement with its hymnal melody is fully in the tradition of a protestant chorale, but this sacred grandeur is twice contrasted with optimistic, dance-like sections, “Neue Kraft fühlend” (“feeling new strength”). In the meantime, the world-famous LaSalle Quartet has gone down in history; their superb sound, fine intonation and unerring understanding of the highly sensitive late Beethoven is now brought to life once again on this recording. This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid. Recording: December 1975 at Beethoven-Saal, Hannover (Germany), by Klaus Scheibe Production: Rainer Brock
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