[TR24][OF] Bartok The 3 Piano Concertos; (Anda; Fricsay; BRSO) - 2013 (Classical)

Bartok The 3 Piano Concertos; Anda; Fricsay; BRSO
Жанр: Classical
Страна-производитель диска: France
Год издания: 2013
Дата записи: 1960
Издатель (лейбл): Pristine Classical
Номер по каталогу: PASC388
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks
Битрейт аудио: lossless 24bits/48.0Khz
Продолжительность: 78:46
Источник (релизер): http://www.pristineclassical.com/
Треклист:
Konzert Für Klavier Und Orchester Nr. 1
01. I. Allegro moderato – Allegro [9:14]
02. II. Andante [8:35]
03. III. Allegro molto [7:23]
Konzert Für Klavier Und Orchester Nr. 2
04. I. Allegro [9:50]
05. II. Adagio – Presto – Adagio [12:19]
06. III. Allegro molto [6:22]
Konzert Für Klavier Und Orchester Nr. 3
07. I. Allegretto [7:13]
08. II. Adagio religioso [10:17]
09. III. Allegro vivace [6:46]
Geza Anda piano
Berlin Radio Symphony Orchestra
Ferenc Fricsay conductor
Concerto No. 1
Recorded 17 October 1960
Jesus Christus-Kirche, Berlin
First issued as DGG SLPM 138708
Concertos No. 2 & No. 3
Recorded 10 September 1959
Jesus Christus-Kirche, Berlin
First issued as DGG SLPM 138111
Transfers from DGG 2539 061/62
#777Доп. информация:
Notes on the recording:
These recordings, drawn from a later DGG pressing which brought together Bartók's three piano concertos and the Piano Rhapsody in a 1970s double-LP, are still prized more than fifty years later as among the very finest interpretations of these works. Brilliant performances were captured very well in fine stereo by Deutsche Grammophon's engineers in the Jesus Christus-Kirche in Berlin.
As has previously been the case with the finest recordings of this era, I had to be certain there was more to be brought out of these recordings through XR remastering before committing fully to this project. A series of extensive transfer and listening tests convinced me that, indeed, there was. Careful pitch stabilisation has helped reduce or eliminate wow, flutter, pitch drift and a noticeable edit in the Third Concerto where the pitch drops from one take to the other. The overall sound is now fuller, richer and clearer, with a hint of the musically-sypatheric acoustic properties of Birmingham Symphony Hall filling out the rather artificially-dry original sound to great effect.
Andrew Rose