Esoteric
Martha Argerich - Tchaikovsky: Piano Concerto No. 1 - Japan Vinyl LP Record
Martha Argerich - Tchaikovsky: Piano Concerto No. 1 - Japan Vinyl LP Record
Vinyl Record
Classical Music
Concerto
28 de noviembre de 2024
Album
Will usually ship within 1~5 business days of receiving cleared payment.
No se pudo cargar la disponibilidad de retiro
Catalog No.: ESLD10007
JAN/ISBN: 4907034225613
Number of Discs: 1
Record Size: 12”
Country/Region of Manufacture: Japan
Credits:
Martha Argerich
Description:
Limited availability at ESOTERIC dealers only. Limited number of units in stock. *In the case of pre-orders received just before the product goes on sale, there may be a significant delay in securing the product. Also, limited production items may not be secured. When the number of pre-orders reaches the expected number of items in stock, we will stop accepting pre-orders even before the release of the product. *Please note that if delivery is made in installments due to reasons of the distributor, the products will be shipped in the order in which they are received, and depending on the timing of your pre-order, delivery may be delayed significantly beyond the release date. *The release date, jacket design, and included songs may be subject to change due to production reasons. *Shipments from the web will be made after the date of arrival. *We apologize in advance in case the production company is sold out. Then the piano caught fire! --- Argerich & Kondrashin once in a lifetime, incandescent live! First analog release in 40 years! A tremendous live performance that heralds a new era of Argerich! Claudio Arrau, Nelson Freire, Daniel Barenboim, Bruno Leonardo Gerber, and many others are famous pianists from South America. Among them, Martha Argerich (born June 5, 1941 in Buenos Aires) is probably the most famous for her unrestrained and passionate playing. She studied with the famous teacher Scaramuzza from the age of five, and made her debut at the age of eight playing Mozart and Beethoven piano concertos. 14 years old, she went to Europe to study with famous pianists such as Goulda, Askenazé, Benedetti Michelangeli, and Magaloff. Argerich made his name in the piano world in 1957, when at the age of 16 he won two international competitions in Busoni and Geneva. In 1960, he released his debut album on the prestigious Deutsche Grammophon label, and five years later, in 1965, he won the 7th International Chopin Piano Competition, which made Argerich's name and his beautiful, dark-haired, keyboard maiden-like appearance instantly famous throughout the world. After winning the Chopin Competition, Argerich literally went on an international tour, recording works by Liszt, Schumann, Chopin, and Ravel, as well as concertos by Abbado with the Berlin Philharmonic, the London Symphony Orchestra, and Dutoit with the Royal Philharmonic Orchestra, He recorded a series of concertos with the Abbado/Berlin Philharmonic, the London Symphony Orchestra, and the Dutoit/Royal Philharmonic Orchestra, and each recording was a masterful performance stamped with his unique pianism, and he gained immense popularity.Building on the breakthroughs and achievements of the two decades of the 1960s and 1970s, Tchaikovsky's Piano Concerto No. 1, recorded live in 1980, appeared as if staring into a new era. Argerich's Tchaikovsky, the ideal of the work In her solo repertoire other than chamber music, Argerich has a tendency to repeatedly perform a very limited number of works. The concertos she loves to play are all suited to Argerich's temperament, but Tchaikovsky's No. 1 is at the top of the list. Argerich has a rich tone that can compete with the thick sound of the orchestra, the agility to perfectly translate sudden changes in musical ideas, and the sharpness to strike the keys. Argerich's sharp and penetrating keyboard work. Argerich's 1970 session recording with the Dutoit/Royal Philharmonic Orchestra for Deutsche Grammophon was the embodiment of this ideal, and it quickly became the standard for this work. Exactly ten years later, in February 1980, Argerich surpassed his own milestones with a live recording made at a subscription concert of the Symphonieorchester des Bayerischen Rundfunks in Munich and released by Philips. The live recording from 1980 reflects the tremendous energy of the performance in front of the audience, with the Dunamik swinging to the limit, the tone changes in extreme colors, and the improvisation is full of unpredictability. In particular, the explosive keyboard blasts at the climax of the third movement and the overwhelming sense of speed in the coda create a palpable excitement, and the applause of the audience in response is also captured. It is typical of Argerich to emphasize the character of the work more than ever, while maintaining a sophisticated flavor that is never muddy. Perfect Backup by Master Kondrashin Another contributor to the success of this live recording by Argerich is the Russian master conductor Kirill Kondrashin (1914-1981). Kondrashin was a pioneer of Mahler performance in the Soviet Union, conducting the world premieres of two of Shostakovich's most controversial works (Symphony No. 13 and Symphony No. 4) as principal conductor of the Moscow Philharmonic Orchestra from 1960 after a career at the Bolshoi Theater.In 1978, fed up with the interference and restrictions on the arts by the regime in the Soviet Union, Kondrashin defected to the Netherlands while a guest with the Amsterdam Concertgebouw Orchestra, and began his conducting career in the West from his base in Amsterdam. This concert with the Bavarian Radio Symphony Orchestra in February 1980 (the 6th subscription of the 1979/80 season) was also the first meeting with the orchestra. The orchestra members were so impressed with Kondrashin's meticulous rehearsals, in which every detail was worked out over and over again, that the management was satisfied with the artistic result. Kondrashin was nominated to replace Rafael Kubelík, who was stepping down as chief conductor due to health reasons, and he was chosen as the orchestra's third chief conductor for the 1982/83 season. At a rehearsal, the orchestra asked Kondrashin for one more rehearsal of the Tchaikovsky, to which he replied, "I have conducted this concerto a thousand times, so I would rather not have another rehearsal, but if you want, I will do it," much to the amazement of the orchestra members. Kondrashin's rigorous control of the Bavarian Radio Symphony Orchestra and his ability to match Argerich's unrestrained solos were nothing short of brilliant. The performance is rather light and unobtrusive, but it is effective enough for what it needs to be. Kondrashin died suddenly of a heart attack in March 1981, a year after this performance, shortly after conducting Mahler's First Symphony in Amsterdam, and this Tchaikovsky was released as a memorial to him. Hommage à Kirill Kondrashin" on the jacket of the first release. ■Analog record in the best condition conceivable today. The concert was held at the Herkulessaal, a venue in the Residenz in the center of Munich that is known for its excellent acoustics. Built in 1953 after World War II, the 1,270-seat shoebox-shaped concert hall was home to the Bavarian Radio Symphony Orchestra for many years and was Munich's most important concert venue until 1985, when the Gasthaig Philharmonic Orchestra was established. It has been used as a recording venue in Munich since the 1950s, and many of Argerich's solo recordings for Deutsche Grammophon were made there.There is no recording staff credit for this Tchaikovsky recording, and it is assumed that Philips made the recordings from a live broadcast recording by the Bavarian Broadcasting Company (at a time when digital recordings by record companies were increasing, but this live performance was recorded in analog). The sound is well-balanced, as is typical of this broadcaster, with a bird's-eye view of the entire orchestra, and Argerich's solo is captured with enthusiasm in a moderate concert presence. Since this was the last analog recording, it was first released on analog in 1982, and the CD was released six months later as one of the first CDs by Philips. It has been remastered twice by Japanese initiatives: a 24-bit remastering as part of Philips' "Super Remastering Collection" in 1999 and the first release of Tower Records' "VINTAGE SA-CD COLLECTION" in 2016. Super Audio CD Hybrid Edition as the first release of Tower Records' "VINTAGE SA-CD COLLECTION" in 2016. This is the first domestic release on analog vinyl in almost 40 years, since 1984. The original master was newly mastered exclusively for analog records by "Esoteric Mastering". The master was carefully tuned using ESOTERIC's top-of-the-line Master Sound Discrete DAC, Master Sound Discrete Clock, and MEXCEL cables, and was created with the aim of achieving the highest sound quality possible. Analog cutting was performed at Mixer's Lab using a Neumann VMS80 cutting race, a famous machine from the heyday of analog. This machine was manufactured in West Germany, and currently only two units are in operation in Japan. With the cooperation of Mixer's Lab, we brought the Esoteric Mastering equipment into the cutting room and connected the output directly to a Neumann SP79C cutting console. The output is directly connected to a Neumann SP79C cutting console. The Esoteric Mastering sound is sent directly to the cutting process without using the console's equalizer. Cutting is performed by Mr. Katsutoshi Kitamura, a cutting engineer at Mixer's Lab. He put his mastering skills into the mastering process. Nowadays, master discs are only cut for record pressings, and it is rare for a lacquer disc to be cut just for listening purposes.The multiple lacquer discs created are brought back to the ESOTERIC Mastering Center, where they are auditioned and sound quality checked on ESOTERIC's Grandioso T1 analog turntable to determine the optimal transmission method. The recordings were created with thorough attention to analog sound, and the information contained in the original masters was successfully transferred to analog vinyl records with a stretched sound. (ESOTERIC Corporation) Contents Pyotr Tchaikovsky: Piano Concerto No. 1 in B-flat minor, Op. 23 Side 1 Allegro non troppo e molto maestoso - Allegro con spirit Side 2 Second movement Andantino semplice - Prestissimo - Tempo primo 2. 3rd movement Allegro con fuoco Performers Martha Argerich (Piano) Bavarian Radio Symphony Orchestra Conductor: Kirill Kondrashin [Recorded live at Herkulessaal, Munich, February 7 & 8, 1980 [Analog recording] [Original recording] [Producer] unknown [Recording engineer] unknown [LP first issue] Philips 6514 118 (1982) [Japanese LP first issue] Philips Records 20PC2001 (Jun. 1, 1982) [Analog record] [Produced by] Motoaki Omachi (Esoteric Mastering Center) [Associate Producer] Minoru Yoshida (ESOTERIC Mastering Center) [Remastering Engineer] Shinya Higashino (ESOTERIC Mastering Center) [Remastering] June 2024, Esoteric Mastering Center, "Esoteric Mastering" system [Analog record cutting] Katsutoshi Kitamura (Mixer's Lab Inc.) [Commentary] Kozo Asazato [Planning and sales] TEAC Corporation [Planning and Cooperation] Tokyo Denka Co.
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