Recorded in the fall of 1994, this DVD shows the band - David Gilmour, Nick Mason, and Richard Wright - in their highest form. The concert features songs from Wish You Were Here, The Wall, A Momentary Lapse of Reason, and Dark Side Of the Moon performed in its entirety. Also included are screen films that were projected during the concert, documentary, photo gallery, and even some bootlegs…
Nobody is better suited to undertake such a challenge than Valery Gergiev and his Mariinsky Orchestra. Over a period of a year all 15 Symphonies and 6 Concertos have been recorded at Salle Pleyel in Paris. What an adventure for the artists and the big production team! Never before in the history of television has something like this been undertaken including the very first “Ring” for television at Bayreuth…
This first complete studio recording of Wagner's Der Ring des Nibelungen, made between 1958 and 1966, was a groundbreaking technical and artistic achievement, the most ambitious and intricately involved opera recording project of the 20th century. Produced for Decca by John Culshaw, whose vision and untiring devotion brought the gargantuan project to completion, the 14 ½-hour release set a new standard for opera recordings. The details Culshaw lavished on the production, which included building new musical instruments, precisely calculating the placement and choreography of each singer to maximize the theatricality of each scene, and creating an array of fabulous special effects resulted in a landmark recording that has lost none of its power with the passage of time.
This first complete studio recording of Wagner's Der Ring des Nibelungen, made between 1958 and 1966, was a groundbreaking technical and artistic achievement, the most ambitious and intricately involved opera recording project of the 20th century. Produced for Decca by John Culshaw, whose vision and untiring devotion brought the gargantuan project to completion, the 14 ½-hour release set a new standard for opera recordings. The details Culshaw lavished on the production, which included building new musical instruments, precisely calculating the placement and choreography of each singer to maximize the theatricality of each scene, and creating an array of fabulous special effects resulted in a landmark recording that has lost none of its power with the passage of time.
Like Schubert, Dvorak turned to the string quartet early in his career, but in neither case is that a cue for lyrical flights on the subject of 'lifelong affinities'. Both had one sound practical reason for choosing this medium at the start of their careers: it was relatively easy to get quartet music played. The three complete quartets included in Vol. 1 (Nos. 1-3) show considerable facility in writing for strings (after all, Dvorak was a violinist), but it took him some time to arrive at a fully idiomatic quartet style: the first movement of No. 2 for instance wouldn't lose much by being orchestrated. Dvorak also had to learn to rein in his natural expansiveness: the Third Quartet spins out its modest material to an astonishing 70 minutes—the first movement alone is longer than the whole American Quartet! The outer movements of the No. 4 in E minor (Vol. 2) show him concentrating admirably, though the later shortened version of the central Andante religioso (popular as the Nocturne for strings) is a considerable improvement.