Signature Grand Piano

The world's most revered pianos are based on the award-winning and extremely powerful Native Instruments sampling engine, guaranteeing a completely realistic and reliable reproduction of the originals. The keys, including the full sustain and release phases, were sampled at ten different velocities. A specially designed recording technique ensured that the different velocities remained uniform throughout the recording process, delivering exceptionally linear results. High-end microphones and audio equipment delivered the best possible quality of recorded material while the Layer Morphing Technology generates a seamless dynamic gradient across the different velocity layers.

Our flagship piano – a world-class concert grand captured in stunning detail in a concert hall, with all the nuance and detail Fracture Sounds is known for. This piano will feel right at home in your template, whether as a workhorse piano for scoring and sketching, or as your go-to tool for those tender and emotive musical moments.

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The ‘Hammerklavier’ sonata is by far Beethoven’s longest piano sonata, and in his view it was also his finest. It was begun in or just before December 1817, after a fallow period of over a year in which he had composed next to nothing, hindered by the after-effects of an infection in October the previous year, according to his own account. He seems to have intended from the outset to dedicate the sonata to Archduke Rudolph of Austria (1788-1831), who had been his pupil, friend, patron and chief supporter for nearly ten years. Its nickname derives from Beethoven’s search for a German word for the piano. The word used today, ‘Klavier’, could in those days mean either piano or harpsichord, and so after asking for advice he decided on ‘Hammerklavier’ for the instrument. He then used this term in his preceding sonata (Op 101 in A major), the present one, and the one after (Op 109 in E major). These other two sonatas, however, begin gently, whereas the hammer-like blows at the start of Op 106 suggest ‘Hammerklavier’ as an appropriate nickname. It was issued as a ‘grand sonata’, a term reserved by Beethoven for large-scale sonatas written and published separately.

New music is often enough hermetic and aloof? Not at all - when you see on Dorrit Bauerecker's new CD how the Cologne-based pianist, accordionist and performer creates clever dramaturgies. The look of the cover already suggests this impression: Your tools are accordion and concert grand piano, which is often "taken apart" - and where playful or tonal possibilities are questioned, what happens here on the toy piano and melodica.

00.04 Review by Ken Dryden
The Dutch quintet Ekseption, led by keyboardist Rick van der Linden, was always an uneven mix of progressive rock, at times burdened by excessive special effects, along with some catchy original compositions by the leader. This studio release has the usual overdone arrangements of classical music, including a tedious "Ave Maria" that incorporates excerpts of several works by Johann Sebastian Bach, along with a very distracting and disappointing treatment of Bach's "Partita No. 2 in C Minor." The most intriguing piece is the leader's "Piccadilly Sweet," in which the group is augmented by the Royal Philharmonic Orchestra. This extended work finds van der Linden on organ, grand piano, and even a bit of a majestic pipe organ, while Rein van der Broek's trumpet solo and a fine effort on tenor sax by Dick Remelink add to the appeal of this compelling suite. Unfortunately, the rest of his compositions and arrangements on this long unavailable LP have not stood the test of time very well.

Voyage' is the debut album by super group led by pianist Jan Gunnar, a quartet with guitarist Nguyen Le, bassist Per Mathisen, and drummer Gary Husband. The album crosses many different landscapes and is both electric and acoustic, with elements from jazz and jazz-rock, classical, prog rock, world music and folklore.