Le soliste témoigne d'un naturel et d'une simplicité qui ne subvertissent jamais le texte, ne perdant jamais de vue l'arc tendu de la tragédie derrière le sourire (Sonate, D.960). Soucieux de la narration, de la qualité de la palette sonore, du dosage du timbre (Impromptu n°3), il délivre une exécution très construite, aérée, respectueuse de la notion du temps schubertien. On subodore derrière la poésie et la tension dramatique toute la générosité et le don de soi qui rapprochent Sodi Braide de l'insondable errance du Wanderer avec une émotion pudique toujours relayée par une pulsation qui semble couler de source. Une telle conception soutient sans cesse l'intérêt et apporte assurément une pierre supplémentaire à la connaissance de l'interprétation des ultimes opus de Schubert.
Krystian Zimerman - the youngest ever winner of the prestigious Chopin Piano Competition in Warsaw at the age of eighteen – giving his Homage to Chopin and Schubert. As a brilliant musician, a renown specialist in Romantic music Krystian Zimerman combines all the prerequisites for an authorative interpretation of Chopin´s works.
The two DVDs last for 161 minutes. The picture is digitally remastered, the sound in PCM stereo and DTS 5.1 crisp and clear. The films are quite well done, utilizing concert footage as well as discrete studio closeups. Karajan's Brahms performances are exemplary and are most strongly recommended.
Although best remembered for his devotion to the core Austro-Germanic repertoire, Austrian conductor Herbert von Karajan did flirt with the English repertoire in the '50s and early '60s.
In light of the "chill-out" trend of the 1990s, major labels released many albums of slow, meditative pieces to appeal to listeners who wanted relaxing or reflective background music. Deutsche Grammophon's vaults are full of exceptional recordings of classical orchestral music, and the performances by Herbert von Karajan and the Berlin Philharmonic are prominent in the label's catalog. The slow selections on Karajan: Adagio are in most cases drawn from larger compositions, though these movements are frequently anthologized as if they were free-standing works. Indeed, many have come to think of the Adagietto from Gustav Mahler's Symphony No. 5 as a separate piece in its own right, largely because of its evocative use in the film Death in Venice. Furthermore, the famous Canon by Johann Pachelbel is seldom played with its original companion piece, the Gigue in D major, let alone in its original version for three violins and continuo; it most often appears in an arrangement for strings.
A definitive documentary about legendary conductor Herbert Von Karajan to mark 100 years since his birth. First release in any format! Not just a biographical film, Karajan uncovers the true, personal essence of the unique artist behind the public figure, a portrait of a man who was full of contradictions and remained a mystery until his death.
Over twenty-five years after his death in July 1989, the controversial Austrian conductor Herbert von Karajan remains an enigma. He was the most successful conductor in the history of classical music. Many of those recordings - of Italian opera, of Wagner and Richard Strauss, of Sibelius, Beethoven and Brahms - are treasured by music lovers around the world. Yet, even at the peak of his fame, his performances were variously criticised for being too opulent, too manicured, lacking warmth or spiritual depth.
For fans of Sviatoslav Richter, it does not much matter if the sound is not all that great and it does not much matter if the repertoire is the same repertoire as always. It does not even matter much if the performances are not the greatest Richter ever recorded. For fans of Sviatoslav Richter, the only thing that matters is that there are new Richter recordings because that all by itself means that they will be some of the greatest performances of the greatest repertoire ever recorded. And this five-disc set of Sonatas by Beethoven, Schubert, and Liszt does not disappoint. With recordings dates from 1961 through 1975 and recording venues all in the USSR and its empire, the sound is hard and harsh. But with repertoire ranging from the last three Beethoven Sonatas through Schubert's last Sonata to Liszt's only Sonata, the music has the supreme masterpieces of the Romantic repertoire. And while there are Richter performances here and there that may arguably exceed these, Richter's performances here are as virtuosic, as expressive, as profound, and as transcendent as any he ever recorded.