Label: Dacapo - 1C 047-00 842 M • Format: Vinyl LP, Mono • Country: Germany • Genre: Classical • Style: Classical, Romantic
The complete RIAS recordings with the Berlin Philharmonic under the baton of Hans Knappertsbusch between and represent a living document of musical history. The Philharmonia Orchestra London* - 4. Klavi the first time, the Thru The Void - Toynbee Hall - Steel Spirit Sacred Songs recording tapes from the RIAS archives have been made available, which means that these CDs offer the highest possible technical quality.
The core-period of this cooperation from Love In Vain - The Rolling Stones - Hawaiian Delight in particular is documented by high-quality recordings made by the MassGrave - Survival Of The Richest Berlin, both of live concerts and of studio productions.
For the first time, the original tapes from the RIAS archives have been made available, which means that these CDs offer the highest possible technical quality. The recordings in this edition offer a fascinating insight into an under-estimated culture of interpretation.
This term stands Distorted Angel - Elvis Costello - Between Wisdom And Murder the excellent quality of archival productions at audite. For all historical publications at audite are based, without exception, on the original tapes from broadcasting archives. The remastering — professionally competent and sensitively applied — also uncovers previously hidden details of the interpretations.
Thus, a sound of superior quality results. CD publications based on private recordings from broadcasts or old shellac records cannot be compared with these. Neatly packaged, with excellent notes [ Audite has done a beautiful job, and collectors of historical recordings will find much here to cherish. Mehr lesen. Audite in Germany, in cooperation with Deutschlandradio Kultur, has Mehr lesen.
Despite the avalanche of Hans Knappertbusch reissues that has occurred during the last 15 or so years, Edwin Fischer of that most individual conductor's Mehr lesen. Op Audite is onlangs een set van 5 cd's verschenen met opnamen van de Mehr lesen. Hans Knappertsbusch - und die Berliner Philharmoniker verband eine Zusammenarbeit von bis Die besonders fruchtbaren Mehr lesen.
If ever there were a conductor whose work often confounded expectations, it was the German conductor Hans Knappertsbusch. Commonly daubed a Teutonic Mehr lesen.
A seminal collection of Hans Knappertsbusch inscriptions with the Berlin Mehr lesen. Most collectors of vintage fare will be unable to resist this very special Mehr lesen. Het is toch op zijn minst opmerkelijk hoe slecht het met 'ons' Mehr lesen.
Er selbst war ja einer von der Sorte, Mehr lesen. The Philharmonia Orchestra London* - 4. Klavi sehen uns heute Abend. L'accomplissement passe pour 2. Satz: Andante Con Moto - Beethoven* par le Mehr lesen. Fast reflexartig denken viele Edwin Fischer Parsifal, wenn sie den Namen Hans Mehr lesen.
Der Dirigent Hans Knappertsbusch konzentrierte sich vor allem Mehr lesen. Le chef d'orchestre Hans Knappertsbusch est surtout connu des discophiles Mehr lesen. EUR Track List. CD 1 von 5 Anton Bruckner Symphony No.
Feierlich, misterioso Bewegt, lebhaft — Trio. Schnell Langsam, feierlich Franz Schubert Symphony No. Allegro moderato Andante con moto CD 2 von 5 Feierlich langsam; doch nicht schleppend Feierlich, nicht schnell CD 3 von 5 Ludwig van Beethoven Symphony No. Allegro vivace e con brio Allegretto scherzando Tempo di Menuetto Allegro vivace Intermezzo Ouverture Joseph Haydn Symphony No. Adagio cantabile Andante Menuetto Allegro molto Finale Allegro molto CD 4 von 5 Miniature Overture.
Allegro giusto Marche: Tempo di marcia 2. Satz: Andante Con Moto - Beethoven* Dance of the Sugar-Plum Fairy: Andante non troppo Russian Dance Trepak : Tempo di trepak, molto vivace Arabian Dance: Allegretto Chinese Dance: Allegro moderato Reed-Flutes: Moderato assai Waltz of the Flowers: Tempo di Valse Pizzikato Polka Berliner Philharmoniker Hans Knappertsbusch. CD 5 von 5 Audite in Germany, in cooperation with Deutschlandradio Kultur, has.
Classical Recordings Quarterly Summer David Patmore July 1, Hans Knappertsbusch — the complete RIAS recordings Despite the avalanche of Hans Knappertbusch reissues that has occurred during the last 15 or so years, collectors of that most individual conductor's Mehr lesen Despite the avalanche of Hans Knappertbusch reissues that has occurred during the last 15 or so years, collectors of that most individual conductor's work will want to acquire this magnificent new set of radio recordings with the Berlin Philharmonic Orchestra, for three principal reasons.
Firstly the majority of the recordings were made between 28 January and 1 Februarywith the Bruckner Eighth from a year later, and the Beethoven Eighth and Strauss 1, Nights Intermezzo from the year after that. The recordings most interestingly include both studio and public performance accounts of Schubert's Eighth and Bruckner's Ninth Symphonies, thus enabling the listener to compare directly two performances in the hands of an at times controversial conductor.
There is Iittle difference to be detected, apart from a slightly greater sense of urgency in the public performances. But in general Knappertsbusch in the studio is as effective as in the concert hall, judging by these particular sound documents. A second reason for acquiring this set is its range of Crystal Docking Station - Black Sun Roof!
- 3012. The typical heavyweight works for which Knappertsbusch was famous as an interpreter are on this occasion admirably balanced by two CDs of lighter fare. Admittedly Karel Komzak's irresisitible Bad'ner Mad'ln sounds more like a Liszt tone poem than a piece of spa music, but in a way that's part of the attraction. That Knappertsbusch could be just as swift as the next conductor is well evidenced by his mercurial account of the Die Fledermaus Overture, so it's the sheer variety of musical voice and inflection of tone that fascinate here.
The third reason for acquiring this set is the very fine engineering. Although several of the recordings have seen the light of day on both LP and CD, there can be no question that in these newest incarnations — which make use of the original radio broadcast recording tapes — they sound better than ever. The quality never drops below solidly respectable early s mono, and throughout there is a reasonable amount of acoustic space around the orchestra, though even a bit more would have been desirable for the Bruckner Eighth.
Add to these favourable factors Audite's excellent presentation, complete with a very informative and extensive note All Night Long - King Jack - Live Habakuk Traber, and the set becomes self-selecting.
No matter how many Knappertsbusch recordings you may have already, I Edwin Fischer this new set most warmly. Despite the avalanche of Hans Knappertbusch reissues that has occurred during the last 15 or so years, collectors of that most individual conductor's. There are two live recordings made at the Titania Palace—two days apart in with very different programs—and three studio sessions. And one of those studio sessions documented the same program as the January 30,live performance, just two days before the concert.
The run-through and recording The Philharmonia Orchestra London* - 4. Klavi the live event no doubt appealed to the rehearsal-resistant Knappertsbusch, and fit with the economics of the time. The other sessions came in January of —the Bruckner Eighth—and January of for the Beethoven and an operetta excerpt.
That, regrettably, was all that made it onto the high-quality inch-per-second tape masters held in the German Radio archive. Changing tastes, other projects, and the ascendancy of Karajan soon after brought this collaboration to an end. These original masters, of course, are the reason for this release.
While one could take exception to some of the equalization decisions—resulting notably in some wiriness of the high strings in the Bruckner and Schubert recordings—there is no gainsaying the extra detail that is revealed, the greater power of the climaxes, and the sense of ambient space now heard in these recordings.
Still, I am not sure that these recordings belie the stereotype for slowness in general. Knappertsbusch is often deliberate, especially to ears attuned to the quicker tread of present-day performances of these works. Listeners will find the Beethoven Eighth ponderous or profound according to their persuasion. The studio recording is the more conventional, if any performance by Knappertsbusch can be called that, a very pleasant but not highly distinctive performance.
It is full of portent, dark and forbidding in the very moderate Allegro moderato: slow, especially at The Philharmonia Orchestra London* - 4. Klavi start, but strikingly powerful. The Andante con moto is also rather unhurried, but with phrasing flexible and alive to the impulse of the moment.
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