The Decca Sound

The Decca Sound

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Post Date : May 07, 2012 09:16:41
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A limited-edition 50-CD set of legendary recordings celebrating the world-renowned DECCA sound.

Classic-status pioneering stereo recordings from the past 55 years and starring a galaxy of internationally-acclaimed artistic talent. Each CD is presented in a sleeve with original cover art, along with a short review of the main work. Where an original release may have been of short duration due to limitations of the LP a bonus work featuring the same artists has been added. Also included is a 200-page booklet documenting the development of stereo recording as it developed in the 1950s through to modern digital recordings. Full recording information on each disc is included and there are numerous photographs. Truly a must-have collection for any audiophile.

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Complete Duo Recordings

Complete Duo Recordings

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Post Date : May 01, 2012 12:21:13 | Usually ships in 24 hours

Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.

Any discussion of Beethoven's violin sonatas (CDs 1, 4, 9 & 10) must address the fact that the composer did not designate these works as being "for violin and piano". For example, the first published edition of the "Spring" Sonata op. 24 from October 1801 reads "Sonate pour le Piano Forte," in large letters, followed in smaller print by "avec un Violon." Similarly, the title-page of the first edition of the "Kreutzer" Sonata op. 47 from April 1805 reads "Sonata per il Piano-forte ed un Violino obligato." None of this should be taken to mean that the violin writing plays "second fiddle" to the piano part, so to speak, but rather that both instruments carry equal weight within the musical discourse.

Argerich and Kremer understood this from the start of their recorded Beethoven encounters, originally intended as part of a series encompassing all the violin sonatas, the music for cello and piano with Maisky, plus the five piano concerti with Giuseppe Sinopoli and the Philharmonia Orchestra (in the end, Argerich and Sinopoli recorded only the First and Second Concertos). Initially Argerich expressed apprehension about recording Beethoven, lest her readings might sound self-conscious under the microphone's objective, unforgiving scrutiny. Yet, during an interview conducted prior to the cycle's final sessions, both Argerich and Kremer spoke of using the recording process to look for the unexpected. "It was an inspired idea to match (Argerich) against a violinist so unpredictable as she is herself," wrote Edward Greenfield in Gramophone, "for though there is nothing `safe' about these interpretations, and not everyone will respond to their sparkling, volatile qualities, the liveness of the experience is undeniable."

Disclaimer : This site/page does not included in any the parts with amazon.com but it is participant in the amazon services LLC associates program by advertising and linking to amazon.com , Certain content that appears on this site comes from amazon services LLC. This content is provided 'as is' and is subject to change or removal at any time.