Sacd 5.1 Dsf

In a career spanning more than five decades, Robert Silverman has climbed every peak of serious pianism: lauded performances of the complete sonata cycles by Beethoven and Mozart; concerts in prestigious halls across the globe; orchestral appearances with many of the world's greatest conductors; and award-winning recordings distributed internationally. Recognized as one of Canada's premiere pianists, Robert Silverman has reached a level of musical and technical authority that can only be accomplished after years of deep commitment to the instrument and its vast literature.

Without a doubt, this is the quisessential SACD for all music lovers. The sound on this disc is mindblowing and the warmth and clarity of the recording is flawless in all aspects.

Arthur Rubinstein was a Polish-American pianist. His first recording was made in 1910, but his major recording career was between 1928 and 1976. This Dutton Vocalion's reissue features his performance of Ludvig van Beethoven's "Emperor" (fifth) Piano Concerto with London Philharmonic Orchestra, conducted by Daniel Barenboim, recorded in 1975 and originally released as separate LP's in 1976. In addition to SACD has added Sonata No. 18 in E flat, originally released as part of "Beethoven's Concerto No. 2" LP in the same year. All recordings were digiatally remastered from the original master tapes.

This four-disc hybrid SACD set presents the complete works for piano and violin of Ludwig van Beethoven. The performers are the critically-acclaimed Dutch violinist Isabelle van Keuelen and the talented young compatriot, pianist Hannes Minnaar. This is very enjoyable performances and recording by two outstanding young artists.

Gene Clarks 1974 masterpiece gets the reappraisal its long overdue. One of the greatest albums ever made. Initially celebrated for its obscurity, No Other is now celebrated for its magnificence. It was in every way a magnum opus: epic, sprawling, poetic, choral, rococo. 45 years on and recently remastered at Abbey Road, 4AD are giving No Other the reappraisal it deserves. As stated on 4AD's website, the original tapes were remastered at Abbey Road Studios, featuring a 5.1 surround mix of the album created for the first time. All the studio tapes were forensically worked on and mixed by the duo of Gene Clark aficionado Sid Griffin and producer John Wood; the extra tracks have not been edited or composited in any way, "allowing for everything to be heard exactly as it went down in the studio and before any overdubbing took place".

La Barca Leyden is a Baroque Ensemble, based in Leiden, The Netherlands, was formed in 2007 by flutist Raymond Honing and consists of musicians who specialize in historical performance practice. La Barca Leyden is finding ways to blow new life into the rich musical history of Leiden. The ensemble performs in large and small formations and its repertoire starts where Cornelis Schuyt finished: with the early baroque. The first recording “Italian masterpieces” with music by Vivaldi, Veracini, Geminiani, Corelli and Platti has been very well received by press and audience.

Despite giving titles to the majority of his symphonies, Danish composer Carl Nielsen was often vague about what influenced each work. Nevertheless he was a master symphonist and his music is mesmerising, combining propulsive energy with lyrical invention. These recordings, made during Sir Colin Davis’ ‘Indian summer’ with the orchestra, are acknowledged to be amongst the finest recordings ever made of this repertoire, receiving numerous awards.

When Sir Colin Davis was asked to select a composer to write a new work for his 80th birthday he chose James MacMillan, about to celebrate his own 50th birthday. MacMillan had previously considered writing a passion and used the opportunity of the commission to produce a setting based on the Gospel of St John.The result is a highly dramatic passion, fusing MacMillan's own Catholic faith, compositional style and musical influences with the long tradition of settings for the passion of Christ in both the Catholic and Lutheran faiths. In addition to the choir and orchestra, MacMillan uses a small choir of professional singers to provide the narration and a solitary baritone soloist to portray Christus.

This is an intriguing programme. The title refers to the Austrian call to dance Alles Walzer, a nod to the standard waltz repertoire, whilst the second part, einmal anders (once in a different way) reflects the more radical approaches to waltz rhythm employed by Ligeti and Bartók. One might add Ravel to this category too, though perhaps his choreographic poem La Valse, played here in the composer's own transcription, stands more on the border between these two camps. I have heard the work described as a requiem for a waltz rather than a celebration; ghosts of the rhythm flit back and forth, seldom lingering, and these shifting sands rhythm and harmony place it some distance from the waltzes of Schubert and Strauss.