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Beethoven: Complete Symphonies & Overtures conducted by Riccardo Chailly

2012-01-08T09:05:00.003-06:00

Hoy compartimos un Box set de cinco CD`s, en el que Riccardo Chailly dirige a la Gewandhausorchester de Leipzig en una ejecucion tan singular de la Sinfonias completas de Beethoven, que ha generado un debate intenso que continua creciendo desde el momento de su lanzamiento el ultimo mes de 2011.

5CD-Flac-1.69 GB.-scans & Booklet

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NOVEMBER: 51 New Music Books

2011-12-02T15:32:00.000-06:00

Table of Contents
Title Page
Copyright Page
Dedication
Introduction
I - Macbeth
Chapter 1 - Macbeth’s First Performers
Chapter 2 - Diabolisms, Old and New
Chapter 3 - Psychological Depth
Chapter 4 - Lady November 2011-83new music books II - Otello
Chapter 5 - Rossini’s Otello
Chapter 6 - Boito
Chapter 7 - Othello’s and Otello’s First Performers
Chapter 8 - Cosmic Reach
Chapter 9 - Cosmic Ruin
Chapter 10 - Between Cultures III - Falstaff
Chapter 11 - Musical Falstaffs
Chapter 12 - Falstaff’s First Performers
Chapter 13 - Inflation
Chapter 14 - Deflation
Chapter 15 - Levitation
Acknowledgements
Index

During the past month we gathered 51 new book titles in our Music specialized library.

Look for AAA-New Books.Novedades-November 2011
51 new titles-51 nuevos titulos

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Liszt: Piano Concertos, Daniel Barenboim & Pierre Boulez (2011)

2011-11-18T20:00:00.004-06:00

En esta entrega los conciertos para piano S. 124, 125, 172:3, 215:1 de Franz Liszt, en la ejecución de Daniel Barenboim, el sonido de la Staatskapelle Berlin y la dirección de Pierre Boulez. Un registro de Deutsche Grammophon que acaba de salir y aun no llega a las tiendas.

As a young firebrand, Boulez found Stravinsky superficial, so what was Liszt, a bunko artist? they make an odd couple, without a doubt, all the more because the orchestral parts to the two Liszt concertos are generally tossed out with minimal rehearsal as so much rum-tum. Yet lingering in the back of my mind I've always wondered f someone could make something special out of the moody blue opening to Concerto no. 2. Whether it attracted Boulez in particular or not, this work is placed first, and he conducts it with splendid feeling and refinement. Aided by excellent sound form DG, we get to savor the score in detail. for his part,Barenboim strikes a good balance between the keyboard showmanship built into the piano part and a refined musician's desire to match Boulez's level of artistry. The result is a surprising triumph in which nothing is turned into brassy vulgarity. Only the unredeemable finale is allowed to kick its heels. If you prefer to see red meat thrown to the lions, this reading may be too sober, halting, and sensitive, yet Barenboim's technique is up ot the challenge, and he plays a good instrument that is well captured. Concerto no. 1 is about as subtle as Barnum and Bailey's but just as crowd-pleasing, so there's not much reason to refine it into something it isn't. Barenboim and Boulez may veer too far in that direction, but on the whole they are as effective as in the Second. Liszt put his heart into bombast, and the performance reflects it. Again, the huge, powerful piano sound that the engineers have captured is a major asset. The Scherzo is delightful in the interplay of keyboard filigree and the triangle. (It's a small detail, but the exquisite way in which the triangle's overtones are perfectly caught shows how good digital recordings can be.) The finale could be a touch more triumphant as martial, as the score directs, but no one will doubt Barenboim's powerful playing. As encores we get him alone in the third Consolation and first Valse oubliee, both nicely done, although memories of Horowitz in the waltz are not remotely challenged.

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