Itzhak Perlman, Carlo Maria Giulini, Philharmonia

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Itzhak Perlman, Carlo Maria Giulini, Philharmonia

Itzhak Perlman Beethoven: Violinkonzert mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Beethoven: Violinkonzert Country: Germany Released: 1981 Style: Classical MP3 version RAR size: 1970 mb FLAC version RAR size: 1236 mb WMA version RAR size: 1399 mb Rating: 4.7 Votes: 881 Other Formats: DXD AA TTA APE AHX RA DTS Tracklist Konzert Für Violine Und Orchester D-dur Op. 61 A1 Allegro Ma Non Troppo (Kadenz Kreisler) 24:19 B1 Larghetto B2 Rondo (Allegro) (Kadenz Kreisler) 19:28 Credits Conductor – Carlo Maria Giulini Cover – Christian Steiner Engineer – Michael Gray Executive-Producer – Suvi Raj Grubb Orchestra – Philharmonia Orchestra Violin – Itzhak Perlman Notes (P) 1981 EMI Records Ltd. EMI Electrola GmbH, Köln, Germany Digital Recording Other versions Category Artist Title (Format) Label Category Country Year Beethoven* - Beethoven* - Itzhak Itzhak Perlman, Perlman, Carlo Maria His Carlo Maria ASD 4059 Giulini, Philharmonia Master's ASD 4059 UK 1981 Giulini, Orchestra - Violin Voice Philharmonia Concerto (LP) Orchestra Ludwig Van Ludwig Van Beethoven * Itzhak Beethoven * Itzhak Perlman * Carlo Perlman * Carlo Maria Giulini * Angel HCD-2040 HCD-2040 Japan Unknown Maria Giulini * Philharmonia Records Philharmonia Orchestra - Orchestra Beethoven : Violin Concerto (CD) Itzhak Perlman, His 1 C 067-43 Itzhak Perlman, Philharmonia Master's 1 C 067-43 063 T, ASD Philharmonia Orchestra - Voice, His 063 T, ASD Germany 1981 4059 Orchestra Beethoven : Master's 4059 Violinkonzert (LP) Voice Beethoven* / Beethoven* / Itzhak CDC Itzhak Perlman, Perlman, Carlo Maria EMI CDC 556210, Carlo Maria Giulini, Philharmonia Classics, 556210, US 1997 7243 5 Giulini, Orchestra - Violin EMI 7243 5 56210 2 3 Philharmonia Concerto (CD, Album, Classics 56210 2 3 Orchestra Club, RE) Beethoven* - Beethoven* - Itzhak Itzhak Perlman, Perlman, Carlo Maria Carlo Maria Angel DS-37471 Giulini, Philharmonia DS-37471 US 1981 Giulini, Records Orchestra - Violin Philharmonia Concerto (LP) Orchestra Related Music albums to Beethoven: Violinkonzert by Itzhak Perlman Beethoven, Carlo Maria Giulini, New Philharmonia Chorus, London Philharmonic Orchestra - Missa Solemnis Op. 123 Beethoven - Chicago Symphony Orchestra - Carlo Maria Giulini - Sinfonie Nr.7 Beethoven, Elly Ameling, Janet Baker, Theo Altmeyer, Marius Rintzler, New Philharmonia Chorus London, New Philharmonia Orchestra, Carlo Maria Giulini - Messe C-dur Op. 86 Beethoven / Itzhak Perlman, Carlo Maria Giulini, Philharmonia Orchestra - Violin Concerto Rossini, Philharmonia Orchestra London, Carlo Maria Giulini - Ouvertüren Brahms – Itzhak Perlman, Carlo Maria Giulini, Chicago Symphony Orchestra - Violin Concerto Wieniawski, Itzhak Perlman, Seiji Ozawa, The London Philharmonic Orchestra - The Two Violin Concertos Brahms, Claudio Arrau, Philharmonia Orchestra, Carlo Maria Giulini - Piano Concerto N°1 In D Minor.

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A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
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Journal September 1980
r rhe Elgar Society JOURNAL ► SEPTEMBER 1980 r The Elgar Society Journal 104 CRESCENT ROAD, NEW BARNET, 01-440 2651 HERTS. EDITORIAL Vol.l, no. 6 During the last few months the Society seems to have been very active.__ _ More ambitious programmes from> the branches are also in evidence, and all these activities are reported in the following pages. The Elgar Foundation series of concerts is reported, but we must also mention the brave series of performances at Hereford, when there was a great deal of music-making and much less-familiar Elgar was perform ed. Our thanks and congratulations to all concerned. We gather that financial results were disappointing, but the organisers should not be too disheartened, These are difficult times all over the country. and many organisations and commercial ventures meet problems which were not in evidence two or three years ago. However, the history of music shows that it usually triumphs over economic problems in the end, and the Society, we are glad to say, is in good heart, and is still growing. Music is a vital part of our lives, and Elgar's music in par ticular is a constant source of strength as well as a marvellous source of relaxation. Amateur and professional music-makers all help to enrich our lives, and just now it seems to me we could all do with some enrichment; RONALD TAYLOR Editor ********************************************************************** Contents Editorial page 2 Concert Diary page 16 Elgar Foundation Concerts 3 Record Reviews 17 News, S Record Launch 4 Branch Reports 21
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LUDWIG VAN BEETHOVEN 1770–1827 Violin Concerto in D major, Op.61 1 I Allegro ma non troppo 24.20 (Cadenza: Kreisler) 2 II Larghetto 9.01 3 III Rondo: Allegro 10.05 (Cadenza: Kreisler) 43.53 ITZHAK PERLMAN violin Philharmonia Orchestra/Carlo Maria Giulini 2 Itzhak Perlman Photo: © Christian Steiner 3 Beethoven: violin ConCerto A cornerstone of the repertoire, Beethoven’s Violin Concerto in D major, Op.61 is, as far as performers are concerned, the most perfect work of its genre. Neither showy nor demonstrative, it seeks instead to express the noblest aspirations of the human soul. It’s the ideal blueprint, a model of majesty, serenity and grandeur, its beauty never-ending. It’s also the most tranquil and poetic of all violin concertos. The slightest lapse in taste would disfigure it, the slightest hint of ostentation would be an insult. There’s nowhere for a soloist to hide: this is a work that reveals your true nature. If you manage to convey its full nobility, you join the gods on Mount Olympus; if you succeed in making a memorable recording of it, your immortality is more or less guaranteed. Itzhak Perlman is among the very select number to have achieved both. He didn’t rush into recording the noblest works in the repertoire — this concerto and Bach’s Solo Sonatas and Partitas (see volume 41) — being wise enough to wait until he had reached full maturity, in terms of both his intellect and his technical mastery of the instrument. He has recorded the Beethoven twice, and both versions are among the greatest ever set down on disc.
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Fauré, Daniel Barenboim, Sheila Armstrong
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Jacqueline Du Pré Favourite Cello Concertos Mp3, Flac, Wma
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ANTONÍN DVO RˇÁK 1841–1904 Violin Concerto in A minor, Op.53 1 I Allegro ma non troppo 11.19 2 II Adagio ma non troppo 10.41 3 III Finale: Allegro giocoso 10.00 4 Romance in F minor, Op.11 13.11 45.12 ITZHAK PERLMAN violin London Philharmonic Orchestra/Daniel Barenboim 2 Producer Suvi Raj Grubb, Itzhak Perlman and Daniel Barenboim Photo: © Gérard Neuvecelle 3 Dvořák: Violin Concerto Antonín Dvo rˇák had about as much luck with the dedicatee of his violin concerto, the great Joseph Joachim, as Tchaikovsky had with his, the no less illustrious Leopold Auer. Although Joachim agreed to do a critical analysis of the first draft — resulting in a radical reworking of the piece – he did not give the premiere of the finished article, that privilege instead falling to the young Czech violinist Franti šek Ond rˇícˇek (1857–1922), in Prague on 14 October 1883. Acclaimed from the outset by both performers and audiences, the work soon took a place of honour among the great Romantic concertos, if without achieving quite the same level of celebrity as the Brahms or the Tchaikovsky. That said, there are today more than fifty official recordings available: before Perlman, all the stars of the violin world, with the exception of Heifetz, who never recorded it, had left their stamp on it. Yehudi Menuhin recorded the concerto as early as 1936, and was followed by Georg Kulenkampff (1941), Vá ša P rˇíhoda (1943), David Oistrakh (1949), Nathan Milstein (who became the work’s champion, with three versions, in 1951, 1957 and 1966), Johanna Martzy (1953) and Isaac Stern (1965).
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