Kimiko Kasai With Gil Evans Orchestra Sacd

This 1970 concert, recorded live in Tokyo by NHK radio engineers, is the stuff of which legends are made…

Recorded exactly fifty years after the premiere, this masterpiece was the first recording of a major orchestra by Pouleze, which at a stretch raised the bar for Spring Festival. This work, which has been categorized as barbarism music, is irradiated with X-rays, and based on his own papers that have a perfect perspective on the entire structure, he breathed life into fine sound cells as a revolutionary performer, This is why Bouraz is a genius who has succeeded in sympathizing organically. This 1963 recording it was a time when French instruments, including woodwinds, still existed, adding to the value of this record. It may be said that it is a sound closer to the premiere. The sound of the basson at the beginning and the tone of the horn are also faithfully captured. The latest mastering has been applied carefully from the analog master upon the recurrence.

Following his acclaimed recording of solo sonatas by contemporaries of Beethoven, Jean-Efflam Bavouzet releases the complete Beethoven Piano Concertos as pianist and director with the Swedish Chamber Orchestra. Directing the Swedish Chamber Orchestra from the keyboard, Jean-Efflam writes: ​"For the pianist there is also the delight of appearing face to face with the entire orchestra, in direct visual communication, the musicians perhaps more likely to take personal initiatives, thus multiplying the pleasure of a genuine participation, dialogue, and musical exchange". The cadenzas used in this recording are all Beethoven’s, from the set that he wrote out in 1809, and so are contemporaneous with the Fifth Concerto. The recording includes the Quintet for Piano and Winds, Op. 16.

Arguably the greatest opera ever written, the Mozart/Da Ponte depiction of the last twenty-four hours of the legendary libertine is performed here in the standard version combining the two versions Mozart prepared. Abbado offers modern instruments with certain nods to period performance practice–many appoggiaturas, comparatively fleet tempos, and some modest ornamentation.

Recorded exactly fifty years after the premiere, this masterpiece was the first recording of a major orchestra by Pouleze, which at a stretch raised the bar for Spring Festival. This work, which has been categorized as barbarism music, is irradiated with X-rays, and based on his own papers that have a perfect perspective on the entire structure, he breathed life into fine sound cells as a revolutionary performer, This is why Bouraz is a genius who has succeeded in sympathizing organically. This 1963 recording it was a time when French instruments, including woodwinds, still existed, adding to the value of this record. It may be said that it is a sound closer to the premiere. The sound of the basson at the beginning and the tone of the horn are also faithfully captured. The latest mastering has been applied carefully from the analog master upon the recurrence.

Just like the other three Bruno Walter releases in Sony Classical’s current crop of SACD reissues, this classic Beethoven/Schubert coupling benefits from the DSD transfer, which reproduces as faithfully as possible the musical content of the original reel-to-reel master tapes.

Following his acclaimed recording of solo sonatas by contemporaries of Beethoven, Jean-Efflam Bavouzet releases the complete Beethoven Piano Concertos as pianist and director with the Swedish Chamber Orchestra. Directing the Swedish Chamber Orchestra from the keyboard, Jean-Efflam writes: ​"For the pianist there is also the delight of appearing face to face with the entire orchestra, in direct visual communication, the musicians perhaps more likely to take personal initiatives, thus multiplying the pleasure of a genuine participation, dialogue, and musical exchange". The cadenzas used in this recording are all Beethoven’s, from the set that he wrote out in 1809, and so are contemporaneous with the Fifth Concerto. The recording includes the Quintet for Piano and Winds, Op. 16.

Arguably the greatest opera ever written, the Mozart/Da Ponte depiction of the last twenty-four hours of the legendary libertine is performed here in the standard version combining the two versions Mozart prepared. Abbado offers modern instruments with certain nods to period performance practice–many appoggiaturas, comparatively fleet tempos, and some modest ornamentation.

“Emil Gilels stands out as giant among giants”, wrote Gramophone when the Odessa-born pianist died in 1985. “In terms of virtuosity he was second to none, yet his leonine power was tempered by a delicacy and poetry that few have matched and none has surpassed”. Ludwig van Beethoven was at the heart of Gilels’ repertoire and in 1968 he recorded this complete cycle of the composer’s piano concerto with the Cleveland Orchestra and its long-standing maestro, another musical titan of the era, George Szell.