András Schiff Complete Decca Recordings

When it came time for Johann Sebastian Bach to publish his Opus 1, what work do you think he picked? One of the sacred cantatas? One of the Brandenburg Concertos? One of the cello suites? No, none of the above. In 1726, Bach chose his B flat major Partita to start his publishing career – and once a year for the next five years, he published five more partitas, then collected them under the title Clavier-Übung in 1731. When it came time for Hungarian pianist András Schiff to make his major-label debut, what work do you think he picked? Yes, that's right. In 1985, Schiff released his recording of the complete partitas – and followed it with many more Bach recordings over the next few years until he'd released nearly the complete canonical works by 1996. And yes, Schiff's partitas are wonderful.

Decca celebrates one of the world’s most prolific conductor-orchestra partnerships with a deluxe 108-CD box set marking both the 20th Anniversary of the passing of Sir Georg Solti and the 125th Anniversary of the founding of the Chicago Symphony Orchestra. 108 CDs presenting Solti’s and the CSO’s complete recorded legacy together: from their very first recording at Medinah Temple in March 1970 of Mahler’s Fifth Symphony to their last at Orchestra Hall, Chicago in March 1997 of Shostakovich’ Symphony No.15.

Schubert - Piano Sonatas, Impromptus - Andras Schiff (2011) {9CD Set Decca 478 3018 rec 1990-1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.75 Gb | MP3 @320 -> 1.47 Gb
Full Artwork @ 300 dpi (png) -> 94 Mb | 5% repair rar
© 1990-95, 2011 Decca Music | 478 3018
Classical / Romantic / Piano

When András Schiff completed the recording of all of Schubert's piano sonatas in the 1990s, Decca released a box set containing all of the individual discs from the series. For this 2011 reissue, Decca goes one step further and includes Schiff's recordings of the Impromptus, the Moments musicaux, and several other shorter works. Schubert's music, along with that of Bach and Mozart, is one of the cornerstones upon which Schiff built his reputation as a thoughtful and intelligent performer. Anyone looking for a complete set of the Schubert sonatas could do much worse than to choose this one by one of the foremost Schubert interpreters of his generation.

A luxurious and authoritative 64CD orchestral and concerto set, celebrating one of the world’s great orchestras and their 64-year relationship with Decca Classics. Few labels can claim to be so associated with a city as inextricably as Decca is with Vienna. No history of classical recordings would be complete without a chapter documenting how both Decca and the WP worked to perfect the art of recording in the city’s great concert halls, most notably in the famous Sofiensaal.

A 50 CD Original Jackets Collection celebrating the greatest Classical and early romantic recordings from Decca’s pioneering early music label L’Oiseau-Lyre. The box features orchestral, vocal, chamber and solo piano music from Christopher Hogwood and the Academy of Ancient Music, Malcolm Binns, Andras Schiff, the Music Party, the Esterhazy Quartet among others.

The Iranian pianist, Ramin Bahrami, studied with Piero Rattalino at the conservatory “G. Verdi” in Milan, at the Accademia Pianistica “Incontri col Maestro” in Imola and with Wolfgang Bloser at the Hochschule für Musik in Stuttgart. He participated in master-courses with Alexis Weissenberg, András Schiff, Robert Levin and, in particular, with Rosalyn Tureck, the artist who, more than any other in the 20th century, popularized Bach’s works through her research and performances.

Originally recorded for the small Music Masters label in the early '90s, this set of Bach's keyboard concertos was among a series of choice Music Masters items reissued by Nimbus late in the first decade of the 21st century. The Russians have never been known for Bach, but this is a solid traversal that can be recommended to anyone wanting to hear these concertos on a piano accompanied by modern instruments. Despite these forces, there is a good deal of influence from the British historical-instrument movement apparent here; the crisp string playing avoids any hint of Romantic sheen, and Feltsman is very subtle in his introduction of purely pianistic elements. The long notes in the slow movements tend to be just a bit more extended than would be possible on a harpsichord, and Feltsman thus creates a smooth, pearly texture that's quite lyrical. In several of the finales he pushes the tempo to high speeds, creating an entirely different effect on a piano that the music would have on a harpsichord.