- CD de audio (14 de diciembre de 2010)
- Imported ed. edición
- Número de discos: 1
- Formato: Audiolibro, CD
- Sello: Sony Music
- ASIN: B003YI3D4K
- Disponible también en: CD de audio | Disco de vinilo | Música MP3
- Valoración media de los clientes: 5.0 de un máximo de 5 estrellas Ver todas las opiniones (2 opiniones de clientes)
- Clasificación en los más vendidos de Amazon:
Brahms: Piano Concerto No. 2 In B-Flat Major, Audiolibro, CD
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Descripción del producto
Lista de canciones:
1. "Piano Concerto No. 2, Op. 83 in B-Flat"
2. "Piano Sonata No. 23, Op. 57 ""Appassionata"" in F Minor"
3. Allegro non troppo
4. Allegro appassionato
6. Allegretto grazioso
7. Allegro assai
8. Andante con moto
9. Allegro ma non troppo
Detalles del producto
Listas de canciones
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Principales opiniones de clientes
Sviatoslav Teofilovich Richter (piano) y la Chicago Symphony Orchestra dirigida por Erich Leinsdorf (née Erich Landauer en Viena) interpretan el segundo concierto de Brahms grabado en el Orchestra Hall, Chicago en 1960. Es una interpretación visionaria, expansiva y reticente con un enorme calor en cada línea musical que hace cualquier comparación irrelevante. Richter impone a orquesta y director sus tempi de elección que, gracias a su tremenda personalidad musical y técnica, nunca comprometen la arquitectura de la pieza. El director entiende al pianista y le proporciona un manto de sonido que resplandece con un sol otoñal con un suave cantábile legato, sin la sobriedad y rigidez que le caracteriza en sus interpretaciones de las sinfonías de Brahms, aunque pueda ser dinámico en el segundo tiempo y meditativo en el tercero.Leer más ›
Hablando de sonido, podemos decir que Sony hizo un logrado proceso de remasterización. Por ser dos grabaciones de estudio del año 1960, ambas se escuchan de forma excelente.
No dude un sólo instante en comprar este CD. De lo contrario, se perderá de escuchar el virtuosismo de uno de los grandes pianistas del pasado.
¡¡¡ GRABACIONES DE REFERENCIA ABSOLUTA !!!
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What one hears on this recording is a great artist suddenly free from all constraints and on an entirely new stage. His playing is full of youthful fire, of a probing and often restless musical intelligence combined with overwhelming power and incomparable technique. Soviet era pianists had a reputation for "pounding" the keyboard, imbued as they were with the emotionalism so loved by their Russian audiences. Richter never merely pounds the piano. He is far too elegant a pianist for such vulgar displays. During the concerto's frequent crescendos Richter seems to make the piano explode with sound yet it is always with finesse, and with unmistakable strength in reserve. He never abandons musical clarity for mere emotional display. And with Leinsdorf providing superb accompaniment, conducting the great Chicago Symphony Orchestra with urgency and drama, this performance is easily one of the great Brahms B-flat Concerto's on record. Also on this CD is a brilliant performance of the Beethoven Appassionata Sonata that would merit its own CD release.
Both performances were originally released as RCA Victor Living Stereo LP's. Sound is newly remastered using the DSD recording process. Unfortunately, Sony no longer releases this famous line on three channel SACDs. I have commented elsewhere about this distressing development. Nevertheless, the sound on this standard red book CD is exemplary: crystal clear, warmly alive and with a wide sound stage that fills the room. When using my receiver's Dolby PLIIx decoder the music approximates the airy brilliance of an SACD. These are two unforgettable performances that feature spectacular artistry and they are recorded in pristine CD sound. This disc definitely merits consideration as an addition to your collection, no matter how many Brahms B-flat concertos it already contains. You will return to it often and dream of having attended that premiere concert more than half a century ago. This spectacular recording is as close as we will ever get.
I do not subscribe to the knockers' opinions. To my ears, these are amongst the most thrilling performances ever recorded of both pieces. This is at least the third issue and by all accounts is now in the best sound possible - as well as being available very cheaply on Marketplace. Apart from being amazed by the sheer bravado of Richter's interpretations, the listener will be struck by his awesome technique - yet it is wedded to extraordinary delicacy and fleetness and a fine ear for contrasting dynamics; this is by no means all wham-bam pyrotechnics. I do not recall anyone else sharing my opinion that the slow movement in Brahms' Second Piano Concerto is something of a disappointment when it comes to the ultimate in tender melody and the pathos Brahms achieves elsewhere in other works, but I am clear that Richter makes the best case for the third movement that I have ever heard.
Apparently Richter complained later in life that Leinsdorf pushed too hard for his liking in this recording. Leinsdorf could be variable, to put it mildly, but I find him and the Chicago Symphony Orchestra to be on top form here, following the pianist's lead and and abetting his endeavours; they sound as fired up as he evidently was. In that regard, Leinsdorf sounds far more like Reiner, the conductor of my other favourite account of the Brahms Second with Gilels far more impassioned and poetic than in his later, more celebrated but frankly rather stately and lugubrious version with Jochum.
But not even the younger Gilels rivals Richter for attack and fluency. The same is true of Richter's seminal performance of the Appassionata, which here really lives up to the implications of its sobriquet. To me it seems perverse to require restraint and understatement in two of the most energised and tumultuous compositions ever written for the piano, music in turn written by two of the most overtly "masculine" of classical composers. That virility is not incompatible with sensitivity is very evident in Richter's art - never more so than in these, his incomparable recordings of two masterpieces.
The remastered recording is very successful indeed in all the expected ways of extra 'presence' and definition. The improvement in the sound of the following sonata is little less than startling. The recording quality of this hair-raising performance was always inclined to verge on the edge of aggressive but this new mastering has completely tamed the recording aggression while retaining the power of the playing.
The Brahms concerto has tremendous forward sweep and energy, very apparent in the opening two movements especially. This is tempered by great lyrical delicacy in the slow movement and a dance-like lilt to the finale. The culminating effect is really quite unlike any other recording that I have ever heard of this work and the performance has long since justified its cult status among discerning collectors.
The Beethoven is conceived on a very large scale with absolutely no trace of 'period' sensibilities of authenticity. Not unless authenticity must include what may have been in Beethoven's mind and simply undeliverable on the pianos of previous ages. Here we have Richter unleashed, so to speak. Tempi of the outer movements are very fast but delivered with amazing digital accuracy. The dynamic range has to be heard to be believed. This is certainly a great performance, but probably not a definitive one. It is best thought of as a uniquely powerful statement by an outstanding musician without regard to context other than to produce a white hot experience of music making.
This is a remarkable disc with two remarkable performances caught in remarkably improved sound. It deserves to be considered as a very tempting purchase by any serious collector of special recordings and musical events.
For the Brahms 2, the only other recording I have heard that is even remotely on this level is Gilels/Reiner on RCA, which is currently out of print and very expensive (worth tracking down though). It can be found here: http://www.amazon.com/Brahms-Piano-Concerto-No-2/dp/B00070EBBM/ref=sr_1_6?s=music&ie=UTF8&qid=1406367057&sr=1-6&keywords=gilels+reiner+brahms
As for the Appassionata, this and the one on Annie Fischer's complete set are my favorite Appassionatas in stereo sound. That being said, I think Richter made even better Appassionatas live, such as the one in Moscow 1960, but the sound there is not nearly as good (it's still good enough mono though). It can be found here: http://www.amazon.com/Beethoven-Sonatas-Bagatelles-Fantasy-Richter/dp/B0001LGEYE/ref=sr_1_1?s=music&ie=UTF8&qid=1406367174&sr=1-1&keywords=richter+edition+vol+2