Classical
| MP3 320 Kbps 166 MB + APE 263 MB EMI Records Ltd 2008
01. Prokofiev - Violin Concerto N in D major Op.19 - I.
Andantino [Lovro von Matacic, London Sym.Orch; 1954]
02. Prokofiev - Violin Concerto N in D major Op.19 - II.
Scherzo
03. Prokofiev - Violin Concerto N in D major Op.19 - III.
Moderato
04. Prokofiev - Violin Concerto N in G minor Op.63 - I.
Allegro moderato [Alceo Gailliera, Philharmonia Orch;
1958]
05. Prokofiev - Violin Concerto N in G minor Op.63 - II.
Andante assai
06. Prokofiev - Violin Concerto N in G minor Op.63 - III.
Allegro, ben moderatoto
07. Prokofiev - Violin Sonata N in D major Op.94 - I.
Moderato [Vladimir Yampolsky, piano; 1955]
08. Prokofiev - Violin Sonata N in D major Op.94 - II.
Presto
09. Prokofiev - Violin Sonata N in D major Op.94 - III.
Andante
10. Prokofiev - Violin Sonata N in D major Op.94 - IV.
Allegro con brio
Prokofiev - Violin Concerto N in D major Op.19 David Oistrakh Violin Conductor Lovro von Matacic Orchestra London Symphony Orchestra
Recorded 18 & 21 November 1954, Abbey Road, London
Prokofiev - Violin Concerto N in G minor Op.63 David Oistrakh Violin Conductor Alceo Galliera Orchestra Philharmonia Orchestra
Recorded 14 & 19 May 1958, Abbey Road, London
Prokofiev - Violin Sonata N in D major Op.94 David Oistrakh Violin Vladimir Yampolsky piano
Classical
| Easy CD-DA, APE tracks, No CUE, No Log | 1 CD, Cover LQ | 336 MB CD Date: 1 May 1994 | Russian Disc
Include: nz Schubert Rondo for
violin & strings in A major, D. 438 Franz Joseph Haydn Cello Concerto No. 1 in C
major, H. 7b/1 (Finale - Allegro molto) Antonio Vivaldi The Four Seasons (Il
quattro stagione), concertos (4) for violin, strings & continuo ("Il cimento"
Nos. 1-4) , Op. 8/1 - 4
Composer:
Franz Joseph Haydn, Franz Schubert, Antonio Vivaldi
1 : F. Schubert : Adagio and Rondo in A major ( D438 ) par José-Luis Garcia
2 : J. Haydn : Cello Concerto in C major Finale - Allegro molto par Robert
Cohen
3 : Vivaldi : The Four Seasons : SPRING par Manoug Parikian a ) Allegro
4 : b ) Largo E Pianissimo Sempre
5 : c ) Allegro
6 : SUMMER par Maurice Hasson a ) Allegro non molto
7 : b ) Adagio
8 : c ) Presto - Tempo Impetuoso D'Estate
9 : AUTUMN par José-Luis Garcia a ) Allegro
10 : b ) Adagio
11 : c ) Allegro - La Caccia
12 : WINTER par Daniel Philips a ) Allegro non molto
13 : b ) Largo
14 : c ) Allegro
Agrell, Johan Joachim
(b Löth, Östergötland, 1 Feb 1701; d Nuremberg, 19 Jan 1765). Swedish
composer,violinist and harpsichordist. His father was a priest. He went to
school in Linköping and studied at Uppsala University from 1721 to 1722 or 1723,
where he played in the university orchestra, then led by the director musices
Eric Burman. Early biographers said that Prince Maximilian of Hesse heard
Agrell's violin playing in 1723 and called him to Kassel. irm evidence of
Agrell's activity there is, however, found only from 1734, when F. Chelleri was
Kapellmeister. He was still working in Kassel between 1737 and 1742 during the
reign of Count Wilhelm VIII and the court long owed him payment for service, as
well as ‘ale and food money’, for the years 1743 to 1746. During his time at
Kassel Agrell is reported to have made several journeys, visiting England,
France, Italy and elsewhere. Uncertain economic circumstances seem to have
driven Agrell to seek the post of Kapellmeister in Nuremberg, a post which he
obtained in 1746 (succeeding M. Zeitler); he combined this with duties as
director musices, leader of the town musicians and holder of the position of
‘chief wedding and funeral inviter’, which gave him the right to compose music
for weddings and other festivities. One of his duties was to direct music in the
town's main churches, in particular the Frauenkirche. Of his work in the
Musikalische Kirchen-Andachten only the text survives. On 3 September 1749
Agrell married the daughter of an organist, the singer Margaretha Förtsch (d
1752). Practically none of Agrell's output from his youth in Sweden survives,
though a polonaise from a collection entitled En notbok printed in 1746 (which
may actually date from his early years) survived as a reel in the tradition of
Swedish fiddlers throughout the 19th century. Another sign of contact with his
homeland is the dedication to Adolf Fredrik of Holstein-Gottorp, successor to
the Swedish throne, of his Sei sonate per il cembalo solo (1748), in which he
referred to his ‘dear homeland, Sweden’, and remarked that ‘fate had so far
forced him to live abroad’; in addition, Agrell's published works were sent to
the Swedish royal chapel at the request of J.H. Roman and others. Agrell's works
divide into two categories: the vocal music, occasional and commissioned, much
appreciated in his day, but now lost; and his many instrumental works, most of
which were published during Agrell's lifetime, sometimes on their own, sometimes
in anthologies. Among the most important instrumental works are his symphonies,
chiefly from the period 1735–50, and his numerous harpsichord concertos from the
1750s and 60s. The symphonies, like the work of his compatriot, Roman,
constitute an interesting early experiment in this genre with the beginnings of
thematic contrast. The instrumentation is often on a large scale, with brilliant
parts for woodwind and brass. Agrell's reputation as one of the leading
proponents of the emerging symphony led Antonio Vivaldi to ask him to contribute
to a concert of ‘modern music’ in Amsterdam in 1739. He was evidently influenced
from many directions, at first by Chelleri and Roman, among others, later by the
more up-to-date Italian composers of his time and by German music of the milieu
in which he worked. He had a sound technique, and was fluent in the new forms of
his time. His style has clear galant tendencies, but even if Agrell (as one
might suppose) harboured aesthetic ideals like those of Mattheson, he was not
really a gifted melodist, a fact which occasioned Schubart's oft-cited judgment
(Ästhetik der Tonkunst, Vienna, 1806): ‘A true artist, but a cold nature’.--Grove
Tracks:
01 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert A-Dur Für Flöte, Cembalo Obligato Und
Streicher: I. Allegro (05:47)
02 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert A-Dur Für Flöte, Cembalo Obligato Und
Streicher: II. Andante (06:02)
03 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert A-Dur Für Flöte, Cembalo Obligato Und
Streicher: III. Allegro Assai (05:54)
04 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert h-Moll Für Flöte, Cembalo Obligato Und
Streicher: I. Allegro (05:39)
05 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert h-Moll Für Flöte, Cembalo Obligato Und
Streicher: II. Andante (06:11)
06 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert h-Moll Für Flöte, Cembalo Obligato Und
Streicher: III. Allegro (05:09)
07 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert G-Dur Für Flöte, Hammerklavier Und Streicher:
I. Allegro (06:59)
08 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert G-Dur Für Flöte, Hammerklavier Und Streicher:
II. Andantino (05:40)
09 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert G-Dur Für Flöte, Hammerklavier Und Streicher:
III. Allegro Assai (05:30)
10 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert A-Dur Für Cembalo Und Streicher: I. Allegro
(05:12)
11 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert A-Dur Für Cembalo Und Streicher: II. Un Poco
Andante (04:56)
12 - Wilbert Hazelzet, Transv. Flute; Matthew Halls, Piano; Margaret Faultless &
Alida Schat, Violins; Ka - Konzert A-Dur Für Cembalo Und Streicher: III. Allegro
Assai (03:39)
Gustav Mahler: Symphony No. 4
Edith Mathis (sop); Berliner Philharmoniker; Herbert von Karajan
Classical
| 1 CD | EAC Rip | 226 Mb | FLAC+LOG+M3U+Cue | Full scans | 2 RS links Publisher: Deutsche Grammophon DG (E) 415 323-2GH
Unaccountably, I hadn't
previously heard this Karajan performance of Mahler's Fourth even though it's
been available on LP since 1979. Now it comes as the seventh CD version of this
symphony, and it has bowled me over. Such playing (though if I'm to be
hyper-critical I don't care for some of the solo-violin playing), such excellent
recording balance and, above all, such conducting, Karajan at his most relaxed
and winning, making all the humorous and fantastic points in the score with such
affection. Such moments, too, as the coda of the slow movement leave one
openmouthed at the sheer beauty of execution and interpretation. Edith Mathis
enters perfectly into the spirit of the music and the performance. Yet any of
the recordings I have listed above has comparable virtues: Kathleen Battle's
singing of the finale with Maazek(CBS) is a delight which we are privileged to
be able to recall at the turn of a switch and both 1--laitink (Philips) and
Tennstedt (EMI) penetrate to the heart of this adorable work as unerringly as
does Karajan. For a warm CD sound, I think the Karajan has it. M. K. The Gramophone
Rapidshare links:
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PART 2
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Shostakovich Edition -
Brilliant Classics (27CD)
A: rar+8%, F:
APE+cue, no log, S: ~7.6Gb, Cover: all covers incl.
Classical
| MP3 320 Kbps 166 MB + APE 263 MB
Classical
| Easy CD-DA, APE tracks, No CUE, No Log | 1 CD, Cover LQ | 336 MB 
Baroque
| Eac, flac, cue | no log, cover | 1 CD, 326 MB
Classical
| 1 CD | EAC Rip | 226 Mb | FLAC+LOG+M3U+Cue | Full scans | 2 RS links