ESOTERIC SACD ESSG-90249 Abbado Argerich Tchaikovsky Piano Concerto No.1
Description
Product introduction
Flowing and dramatic Abbado's Tchaikovsky.
A masterpiece with a powerful tag team with Argerich and the Berlin Philharmoniker.
■ Three songs that make you realize the breadth of the repertoire of Abbado and the Berlin Philharmoniker
Claudio Abbado (1933-2014) who succeeded Herbert von Karajan and became the artistic director of the Berlin Philharmoniker in 1990. Abbado unfortunately died on January 20 2014 at the age of 80 but during his 12-year tenure until 2002 the Berliner Philharmoniker was baroque with a transparent sound not found in the Karajan era. It has been vividly transformed into a functional ensemble that can flexibly respond to a variety of music from contemporary works to contemporary works. Many of his coding by this combination left by Deutsche Grammophon and Sony Classical are all regulars in this series boasting a high standard of orchestral art at the end of the 20th century. This time we will hybridize the world's first Super Audio CD with a special coupling of Tchaikovsky's masterpiece recorded by Abbado from 1994 to 1996.
■ Tchaikovsky loved by Abbado
It is well known that Abbado had a deep sympathy for Russian music and he showed an obsession with Mussorgsky in particular. The same was true for Tchaikovsky's work and the connection reminded us of the surprising affinity between Italy and Russia. In terms of recording in 1968 the earliest of his career when he was 35 years old he first recorded the young symphony No. 2 "Small Russia" with the New Philharmonia Orchestra. I am in charge of the main song Symphony Nos. 4-6. In the CD era from 1985 to 1991 the Chicago Symphony Orchestra and all symphonies and major orchestras were recorded in Sony Classical and the goodness of their compatibility is re-engraved as sound. Rather than expressing the darkness of Russia vividly the approach of drawing new beauty from Tchaikovsky's music with a clear and candid expression is one of the most attractive and narrative in the history of Tchaikovsky's recording in the latter half of the 20th century. The smoothness of is better than Karajan.
■ The essence of Tchaikovsky recording with the Berlin Philharmoniker
After taking office as Artistic Director of the Berlin Philharmoniker although the pace slowed down he has left an important performance in symphonies orchestras and concertos. In the symphony there is No. 5 (Sony Classical) in 1994 but in the orchestral music one piece released by Deutsche Grammophon in 1999 is noteworthy and this album couples three of them. doing. The great overtures "1812" and "Slavic Marche" which were recorded in a session in December 1995 are the second recordings for Abbado and the point that Abbado's elegant interpretation is added to the magnificent power of the Berlin Philharmoniker is heard. is. The 1812 cannon is probably an artificially remixed sound rather than a real sound but it's designed to have enough impact but not be too flashy so as not to break the musical flow. This is a place that is typical of Deutsche Grammophon. "Romeo and Juliet" in April 1996 is Abad's third recording and is a live recording at a concert with excerpts of Prokofiev's same "Romeo and Juliet" in the second half. Abad is programming concerts at the Berlin Philharmoniker with a theme for each season and is willing to present a comprehensive artistic culture including concerts by other conductors chamber music songs and reading concerts. It was piercing. The theme of the 1995/96 season was Shakespeare including Verdi's "Otello" and the 1995 Gilvester concert hybridized in this series featuring Mendelssohn's "Midsummer Night's Dream". "Juliet" was also played in that flow. Abbado's "Romeo and Juliet" is the heart of Abbado's "Romeo and Juliet".
■ Decisive board with Argerich
And the main part of this album is the live recording of Piano Concerto No. 1 with Martha Argerich in December 1994. Monteverdi's Madrigal "What a Sweet and Fragrant Lips" (Volume 7) at the Philharmonic Concerto on December 8th 9th and 10th of Stockhausen with three conductors It was an interesting programming that Tchaikovsky's Piano Concerto No. 1 was taken up after "Gruppen". Needless to say this concerto is Argerich's 18th played all over the world and recorded on both the 1970 Dutoit / Royal Philharmonic Orchestra (Deutsche Grammophon) and the 1980 Kondrashin / Bavarian Radio Symphony Orchestra (Philips). It is known as a masterpiece that determined the image of the work in the latter half of the 20th century. It is no exaggeration to say that this co-starring with Abbado / Berlin Philharmoniker which was realized to add more crown to his own board history is literally a decisive performance maximizing the various charms included in the work. A spectacular and detailed performance that does not disappoint such as the skill disclosed in Abbado the tremendous breadth of dynamics powerful keystrokes and a sense of speed. The improvised sound movements in the middle of the 2nd movement and the rather lightly restrained progression of the first half of the 3rd movement are also foreshadowing the explosive climax of the coda.
Work information
Martha Argerich (piano)
Berlin Philharmoniker Orchestra
Conductor: Claudio Abbado
Contents
Track Listing
Pyotr Ilyich Tchaikovsky
Piano Concerto No. 1 in B flat minor Op. 23 (Piano Concerto No. 1 in B flat minor Op. 23)
[1] 1st movement Allegro non troppo e molto maestoso --Allegro con spirito
[2] 2nd movement Andantino semplice --Prestissimo --Tempo I
[3] 3rd movement Allegro con fuoco
[4] Slavonic March Op.31 (Slavonic March Op.31)
[5] Romeo and Juliet --Fantasy Overture after Shakespeare (Fantasy Overture "Romeo and Juliet")
[6] Ouverture solennelle "1812" Op.49 (Great Overture "1812" Op. 49)
Martha Argerich (piano) 1-3
Berlin Philharmoniker Orchestra
Conductor: Claudio Abbado
[[Recording] December 1994 [Piano Concerto] December 1995 [Slavic March 1812] April 1996 [Romeo and Juliet] Berlin Philharmonic / [Piano Concerto Romeo and Juliet: Live recording〕
[First appearance] Piano Concerto: 449816 2 (1995 coupling with the suite "The Nutcracker") Orchestral music: 4534969 2 (1999 coupling with "Tempest" op. 18)
[First appearance in Japan] POCG9770 [Piano Concerto] (January 25 1996) POCG10183 [Orchestra] (July 23 1999)
[Original recording]
[Executive Producer] Christopher Older
[Producer] Wolfgang Stengel [Piano Concerto] Christopher Older [Orchestra]
[Balance Engineer] Gernot von Schulzendorf [Piano Concerto Slavic March 1812] Wolfgang Mittrainer [Romeo and Juliet]
[Recording Engineer] Jurgen Burglin / Lanhard Ragemann [Piano Concerto] Reinhard Ragemann [Slavic March 1812] Jurgen Burglin [Romeo and Juliet]
Flowing and dramatic Abbado's Tchaikovsky.
A masterpiece with a powerful tag team with Argerich and the Berlin Philharmoniker.
■ Three songs that make you realize the breadth of the repertoire of Abbado and the Berlin Philharmoniker
Claudio Abbado (1933-2014) who succeeded Herbert von Karajan and became the artistic director of the Berlin Philharmoniker in 1990. Abbado unfortunately died on January 20 2014 at the age of 80 but during his 12-year tenure until 2002 the Berliner Philharmoniker was baroque with a transparent sound not found in the Karajan era. It has been vividly transformed into a functional ensemble that can flexibly respond to a variety of music from contemporary works to contemporary works. Many of his coding by this combination left by Deutsche Grammophon and Sony Classical are all regulars in this series boasting a high standard of orchestral art at the end of the 20th century. This time we will hybridize the world's first Super Audio CD with a special coupling of Tchaikovsky's masterpiece recorded by Abbado from 1994 to 1996.
■ Tchaikovsky loved by Abbado
It is well known that Abbado had a deep sympathy for Russian music and he showed an obsession with Mussorgsky in particular. The same was true for Tchaikovsky's work and the connection reminded us of the surprising affinity between Italy and Russia. In terms of recording in 1968 the earliest of his career when he was 35 years old he first recorded the young symphony No. 2 "Small Russia" with the New Philharmonia Orchestra. I am in charge of the main song Symphony Nos. 4-6. In the CD era from 1985 to 1991 the Chicago Symphony Orchestra and all symphonies and major orchestras were recorded in Sony Classical and the goodness of their compatibility is re-engraved as sound. Rather than expressing the darkness of Russia vividly the approach of drawing new beauty from Tchaikovsky's music with a clear and candid expression is one of the most attractive and narrative in the history of Tchaikovsky's recording in the latter half of the 20th century. The smoothness of is better than Karajan.
■ The essence of Tchaikovsky recording with the Berlin Philharmoniker
After taking office as Artistic Director of the Berlin Philharmoniker although the pace slowed down he has left an important performance in symphonies orchestras and concertos. In the symphony there is No. 5 (Sony Classical) in 1994 but in the orchestral music one piece released by Deutsche Grammophon in 1999 is noteworthy and this album couples three of them. doing. The great overtures "1812" and "Slavic Marche" which were recorded in a session in December 1995 are the second recordings for Abbado and the point that Abbado's elegant interpretation is added to the magnificent power of the Berlin Philharmoniker is heard. is. The 1812 cannon is probably an artificially remixed sound rather than a real sound but it's designed to have enough impact but not be too flashy so as not to break the musical flow. This is a place that is typical of Deutsche Grammophon. "Romeo and Juliet" in April 1996 is Abad's third recording and is a live recording at a concert with excerpts of Prokofiev's same "Romeo and Juliet" in the second half. Abad is programming concerts at the Berlin Philharmoniker with a theme for each season and is willing to present a comprehensive artistic culture including concerts by other conductors chamber music songs and reading concerts. It was piercing. The theme of the 1995/96 season was Shakespeare including Verdi's "Otello" and the 1995 Gilvester concert hybridized in this series featuring Mendelssohn's "Midsummer Night's Dream". "Juliet" was also played in that flow. Abbado's "Romeo and Juliet" is the heart of Abbado's "Romeo and Juliet".
■ Decisive board with Argerich
And the main part of this album is the live recording of Piano Concerto No. 1 with Martha Argerich in December 1994. Monteverdi's Madrigal "What a Sweet and Fragrant Lips" (Volume 7) at the Philharmonic Concerto on December 8th 9th and 10th of Stockhausen with three conductors It was an interesting programming that Tchaikovsky's Piano Concerto No. 1 was taken up after "Gruppen". Needless to say this concerto is Argerich's 18th played all over the world and recorded on both the 1970 Dutoit / Royal Philharmonic Orchestra (Deutsche Grammophon) and the 1980 Kondrashin / Bavarian Radio Symphony Orchestra (Philips). It is known as a masterpiece that determined the image of the work in the latter half of the 20th century. It is no exaggeration to say that this co-starring with Abbado / Berlin Philharmoniker which was realized to add more crown to his own board history is literally a decisive performance maximizing the various charms included in the work. A spectacular and detailed performance that does not disappoint such as the skill disclosed in Abbado the tremendous breadth of dynamics powerful keystrokes and a sense of speed. The improvised sound movements in the middle of the 2nd movement and the rather lightly restrained progression of the first half of the 3rd movement are also foreshadowing the explosive climax of the coda.
Work information
Martha Argerich (piano)
Berlin Philharmoniker Orchestra
Conductor: Claudio Abbado
Contents
Track Listing
Pyotr Ilyich Tchaikovsky
Piano Concerto No. 1 in B flat minor Op. 23 (Piano Concerto No. 1 in B flat minor Op. 23)
[1] 1st movement Allegro non troppo e molto maestoso --Allegro con spirito
[2] 2nd movement Andantino semplice --Prestissimo --Tempo I
[3] 3rd movement Allegro con fuoco
[4] Slavonic March Op.31 (Slavonic March Op.31)
[5] Romeo and Juliet --Fantasy Overture after Shakespeare (Fantasy Overture "Romeo and Juliet")
[6] Ouverture solennelle "1812" Op.49 (Great Overture "1812" Op. 49)
Martha Argerich (piano) 1-3
Berlin Philharmoniker Orchestra
Conductor: Claudio Abbado
[[Recording] December 1994 [Piano Concerto] December 1995 [Slavic March 1812] April 1996 [Romeo and Juliet] Berlin Philharmonic / [Piano Concerto Romeo and Juliet: Live recording〕
[First appearance] Piano Concerto: 449816 2 (1995 coupling with the suite "The Nutcracker") Orchestral music: 4534969 2 (1999 coupling with "Tempest" op. 18)
[First appearance in Japan] POCG9770 [Piano Concerto] (January 25 1996) POCG10183 [Orchestra] (July 23 1999)
[Original recording]
[Executive Producer] Christopher Older
[Producer] Wolfgang Stengel [Piano Concerto] Christopher Older [Orchestra]
[Balance Engineer] Gernot von Schulzendorf [Piano Concerto Slavic March 1812] Wolfgang Mittrainer [Romeo and Juliet]
[Recording Engineer] Jurgen Burglin / Lanhard Ragemann [Piano Concerto] Reinhard Ragemann [Slavic March 1812] Jurgen Burglin [Romeo and Juliet]