Apr 05

產品名稱: Sukie’s 聽聽SUKIE (DMM-CD/SACD) (限量編號版)
歌手名稱: 石 詠莉 (歌手)
推出日期: 2015-11-06
語言: 粵語
製作來源地: 中國香港
光碟格式: Super Audio CD

http://www.yesasia.com/global/sukies-%E8%81%BD%E8%81%BDsukie-dmm-cd-sacd-%E9%99%90%E9%87%8F%E7%B7%A8%E8%99%9F%E7%89%88/1046053257-0-0-0-zh_TW/info.html

內容簡介/曲目
銷量直迫一萬張<聽聽Sukie’s>最新完美制式
DMM-CD/SACD
以黑膠DMM銅盤直刻、絕美音色超越黑膠唱片
母帶經德國著名“老虎魚”工程重新編製

Made In Europe

首批1000張獨立號碼,極具珍藏!

01. 聽不到的說話
02. 最愛是誰
03. 如泣如訴
04. 一年愛你一個
05. 從不知
06. 爛泥
07. 結他低泣時
08. 心寒
09. 漣漪
10. 聽聽

Continue reading »

Apr 05

Tasting Loneliness for the First Time
SACD7234
演唱:黄红英

http://www.hugodisc.com/cpjs/disc.asp?id=59
http://www.sa-cd.net/showtitle/1752
http://www.5music.com.tw/CDList-C.asp?cdno=425425698624

唱片故事——黃紅英《初次嘗到寂寞》
鄧麗君是全球唯一公認華語甜歌天後,這是不可否認的!事實上,國內還有一位較少抛頭露面的甜歌手,她就是來自惠州的黃紅英女士!
2000年在一次香港音樂會上國內歌手黃紅英被香港發燒唱片制作人老易所發掘,于是此後從2002年開始由老易親自操刀爲她錄制多張CD包括LPCD45,其中我手裏的這張《初次嘗到寂寞》就是黃紅英與老易首次合作的第一張唱片,這也是老易首次嘗試與粵語客家女歌手的第一次合作!
07年4月重慶萬豪國際音響展,從此前的公告中得知在4月20日及21日當天雨果唱片的展位前有黃紅英的親筆簽名唱片出售。
21日八點多鍾我就從北碚坐車趕往位于解放碑的萬豪酒店,當坐電梯上11樓時,其實當天的展出還未開始,我來到雨果唱片的展位前拿起那張黃紅英的第一張錄音CD 《初次嘗到寂寞》,正好唱片公司的工作人員在場,于是便向工作人員打聽黃紅英的簽名唱片,工作人員告知我說:唱片選好後再由黃紅英簽名,不過她現在正忙估計沒辦法爲您的唱片簽字!正說著,黃紅英突然從裏間微笑著走了出來,拿過我手中的唱片看了一下說了一聲“很好”立即就從隨身的小挎包裏取出一枝金色的油彩筆【事後得知這是永不脫落專用于唱片簽名的一種簽字筆】動作麻利地撕開唱片塑封打開唱片盒子,然後流利地在唱片上寫下黃紅英以及簽名日期!
以前就知道黃紅英的聲線很甜,雖然個人認爲她不及鄧麗君那種甜的纏綿悱恻,但我認爲卻似一股山中氤氲流淌的清泉,清澈透底卻也沁人心脾,這就是我爲什麽也喜歡她的歌曲原因之一!
雖然她大部分是翻唱歌曲,其中最多的也是鄧麗君,但很多歌曲對于黃紅英來說演唱難度並不大,難的是當年鄧麗君紅遍半邊天,她的這些歌曲經各種渠道傳遍中國的大江南北,如今黃紅英的翻唱會給人先入爲主甚至差強人意的感覺。國內流行音樂圈內一直也來就有個難以啓齒的現象;一首歌只有第一位演唱者才會認爲是“原唱”,才是唱得好的“標准”其他的後來者則被認爲是翻唱“口水歌”,這就是爲什麽黃紅英在翻唱鄧麗君的歌曲時,有歌手認爲她的聲音“甜過了頭”或者不及鄧麗君聲音那種“淡淡的奶油味”其實這就是一種“原唱者”心裏作用占了上風的原因在作祟!

曲目

[1] 初次嘗到寂寞 4:20
[2] 船歌 4:41
[3] 忘記他 3:15
[4] 往事如昨 3:32
[5] 山茶花 4:58
[6] 海戀 3:52
[7] 但願人長久 5:05
[8] 小城故事 3:08
[9] 獨上西樓 3:20
[10] 月亮代表我的心 4:07
[11] 在水一方 5:03
[12] 海韻 3:45
[13] 雪中蓮 4:23
[14] 小城故事(二) 4:14

Continue reading »

Apr 05

產品名稱: 譚詠麟’84演唱會 (SACD) (限量編號版)
歌手名稱: 譚詠麟 (歌手)
推出日期: 2015-08-07
語言: 粵語
製作來源地: 中國香港
光碟格式: Super Audio CD

http://www.yesasia.com/global/alan-tam-in-concert-84-sacd-limited-edition/1044814352-0-0-0-zh_TW/info.html

內容簡介/曲目
萬眾期待.十款中文流行錄音巨著SACD.強勢列陣
限量獨立1000張編號
原裝封面、底式樣
終極聲效.質高量限

01. 夏日寒風
02. 捕風的漢子
03. 愛是這樣甜
04. 誰可改變
05. 愛的根源
06. Medley:(a)少爺威威/(b)愛人.女神/(c)天邊一隻雁/(d)相識非偶然/ (e)柔柔河畔/ (f)小風波/ (g)風中勁草/(h小生怕怕
07. 遲來的春天
08. 幻影
09. 忘不了您
10. 霧之戀
11. 傲骨
12. 愛在深秋

Continue reading »

Apr 05

產品名稱: 徐小鳳新曲與精選 (SACD) (首批限量版)
歌手名稱: 徐小鳳 (歌手)
推出日期: 2014-06-23
語言: 粵語
製作來源地: 中國香港
光碟格式: Super Audio CD

http://www.yesasia.com/us/%E5%BE%90%E5%B0%8F%E9%B3%B3%E6%96%B0%E6%9B%B2%E8%88%87%E7%B2%BE%E9%81%B8-sacd-%E9%A6%96%E6%89%B9%E9%99%90%E9%87%8F%E7%89%88/1035901853-0-0-0-zh_TW/info.html

內容簡介/曲目
徇眾要求, Sony Music精挑5款經典作品以Hybrid SACD盤再度發行,
每款首批1,000張均付獨立編號,
全部原裝歐洲壓碟! 樂迷必要收藏!

01. 風的季節
02. 漫漫前路
03. 人生滿希望
04. 人似浪花
05. 喜氣洋洋
06. 漫天風雨
07. 每日懷念你
08. 無奈
09. 春夏秋冬
10. 風雨同路
11. 黃沙萬里
12. 夏威夷情歌
13. 歌聲暖我心
14. 夜風中

Continue reading »

Apr 05

She Is We – War (2016)
FLAC (tracks) 24-bit/44,1 kHz | Time – 00:39:29 minutes | 853 MB | Genre: Alternative
Studio Master, Official Digital Download – Source: HDTracks | Digital Booklet | © Vanguard Records

She Is We, fronted by alternative singer-songwriter-force of nature Rachel Taylor (formerly of the duo He Is We) has a tremendously loyal and active fan base well-primed for this much-anticipated new studio album, buoyed by lead single and video “Boomerang.”

Tracklist:
1. Boomerang 03:53
2. Monster 03:51
3. Better Now 04:15
4. Crazy Heart 02:59
5. Flatlining 03:49
6. Blue 03:20
7. War 04:22
8. Fight For Me 03:22
9. Heartstrings 02:52
10. Runaways 03:27
11. Lead The Fight On 03:49

Continue reading »

Apr 05

Robert Schumann – Scenen aus Goethes Faust, WoO 3 – Royal Concertgebouw Orchestra, Nikolaus Harnoncourt (2009)
FLAC (tracks) 24-bit/88,2 kHz | Time – 01:57:48 minutes | 1,85 GB | Genre: Classical
Studio Master, Official Digital Download – Source: Qobuz | © RCO Live
Recorded live at Concertgebouw Amsterdam on 18, 20, 21, 23 and 24 April 2008

In April 2008 Nikolaus Harnoncourt and the Royal Concertgebouw Orchestra executed a series of performances of Schumann’s rarely heard masterpiece Szenen aus Goethes Faust.These successful performances were recorded live and edited into the release that you have before you. Nikolaus Harnoncourt made his debut with the Royal Concertgebouw Orchestra in 1975, where his St John and St Matthew Passions opened a whole new chapter in the Amsterdam tradition of performing these works. With the RCO, he directed a number of impressive opera productions, including the Mozart operas by librettist Da Ponte and Strauss’ Die Fledermaus, and a great number of symphonic concerts, including symphonies by Haydn, Mozart, Schubert and Dvorák. Much of the repertoire Harnoncourt conducted with the Concertgebouw Orchestra has been recorded and has also received many awards. He was made a Knight of the Order of the Dutch Lion in 2006. Nikolaus Harnoncourt was appointed honorary guest conductor in October 2000.

Nikolaus Harnoncourt on Schumann’s Faust-Szenen :: ‘When I think of Schumann, I picture him at the cafe in Dresden where he would meet Wagner and Mendelssohn every week. They were about the same age, and all three were from Saxony. Luckily for Wagner’s reputation, both the others died young; had they lived longer, simultaneously with Wagner, music history would have been very different indeed. I consider Schumann the greatest genius of the three – Wagner’s genius was not primarily musical, but theatrical. Except for Genoveva, Schumann wrote no operas. He did compose a number of half-oratorio works, including the Faust-Szenen. But it’s not an opera, and I believe it should never be staged. As far as what an oratorio actually is – whether it’s spiritual or secular – listeners should make up their own minds and not have someone else’s view forced on them.’

‘Schumann wanted to focus on one specific aspect of Faust – Verklärung (redemption or glorification) and chose the scenes he set based on that aim. And he didn’t change a single word of the text he set. Each is Goethe’s own.’
‘Schumann was definitely a pessimist. In terms of psychological approach, he’s a kind of brother to Freud. One of the things that make Faust so incredible is Schumann’s ability to select precisely those scenes from such a huge drama which illustrate that one aspect of redemption. In music, there are two or three famous sunrises – in Die Schöpfung (The Creation) and Die Jahreszeiten (The Seasons) by Haydn, and in Schumann’s Faust-Szenen: Faust finds himself in a deep cavern. Day breaks, and Faust awakens to see how the sun shines upon the highest mountain tops. He himself still lies in darkness. Once the sunlight reaches him, he says, ‘So bleibe denn die Sonne mir im Rücken!’ (So let the sun remain behind me!) because his eyes cannot bear the light. I think this sunrise with its oscillating changes of colour is one of the most beautiful moments in the history of music.’

Tracklist:
Robert Schumann (1810-1856)
Scenen aus Goethes Faust, WoO 3 (1844-53)
1. Ouvertüre 08:17
Part I: I. Szene im Garten
2. Du kantest mich, o kleiner Engel, wieder 05:07
Part I: II. Gretchen vor dem Bild der Mater Dolorosa
3. Ach neige, Du Schmerzensreiche 04:40
Part I: III. Szene im Dom
4. Wie anders, Gretchen, war dir’s 07:15
Part II: IV. Sonnenaufgang
5. Die ihr dies Haupt umschwebt im luft’gen Kreise 07:26
6. Taler grünen, Hügel schwellen 04:03
7. Des Lebens Pulse schlagen frisch-lebendig 04:08
8. So ist es also, wenn ein sehnend Hoffen 04:11
Part II: V. Mitternacht
9. Ich heisse der Mangel 02:12
10. Vier sah ich kommen, drei nur gehn 08:59
11. Die Nacht scheint tiefer tief hereinzudringen 02:32
Part II: VI. Fausts Tod
12. Herbei, herbei! Herein, herein! 13:57
Part III: VII. Fausts Verklärung
13. Waldung, sie schwankt heran 03:35
14. Ewiger Wonnebrand 01:45
15. Wie Felsenabgrund mir zu Füssen 03:10
16. Welch ein Morgenwölkchen schwebet 03:03
17. Gerettet ist das edle Glied 06:33
18. Gerettet ist das edle Glied 03:57
19. Hier ist die Aussicht frei 05:02
20. Dir, der Unberührbaren 09:01
21. Alles Vergängliche ist nur ein Gleichnis 09:25

Personnel:
Christian Gerhaher, baritone
Christiane Iven, soprano
Alastair Miles, bass
Werner Güra, tenor
Mojca Erdmann, soprano
Birgit Remmert, alto
Elisabeth von Magnus, alto
Franz-Josef Selig, bass
Anitra Jellema, soprano
Anjolet Rotteveel, alto
Kevin Doss, tenor (chorus soloists)
Netherlands Radio Choir
Netherlands Children’s Choir
Royal Concertgebouw Orchestra
Nikolaus Harnoncourt, conductor

Continue reading »

Apr 05

Dmitri Shostakovich – The Execution of Stepan Razin, Zoya Suite & Suite on Finnish Themes – Helsinki Philharmonic Orchestra, Vladimir Ashkenazy (2013)
FLAC (tracks) 24-bit/44,1 kHz | Time – 01:05:37 minutes | 598 MB | Genre: Classical
Studio Master, Official Digital Download – Source: eClassical | © Ondine Oy, Helsinki
Recorded: 2013, Helsinki Music Centre, Finland

Shostakovich’s cantata The Execution of Stepan Razin is a moving and exciting late work audibly related to the Thirteenth Symphony, “Babi Yar”. Both use texts by Yevtushenko, and yet the cantata never has enjoyed the same degree of popularity and critical regard. The reason may be that it’s too long to serve as a coupling with the symphony, and Shostakovich never wrote anything else like it. His previous Socialist Realist choral works, like The Song of the Forests, are too obviously ideological in content, but Razin would make a terrific piece coupled to, say, Prokofiev’s Alexander Nevsky.

In any case, Vladimir Ashkenazy has chosen a different route and assembled a very smart program. Zoya is a wartime film that tells the story of a young girl who dies fighting the Germans. The suite has five substantial movements, one of which, the battle scene, bears a striking thematic resemblance to the “Stalin Scherzo” of the Tenth Symphony. Like the cantata, the work employs a choir, and it contains some rousing and very effective music. The recently discovered, brief Suite on Finnish Themes was given its recording premiere on BIS a few years ago, and fills out the program nicely.

On the whole, these are excellent performances. Bass-baritone Shenyang is a very impressive soloist, comfortable with the language, and he delivers the text of Stepan Razin with a firm tone and total conviction. The choir sings with clarity and bite, and the orchestra plays powerfully, if perhaps without the last degree of sheer volume at the climaxes. Soloists Mari Palo and Tuomas Katajala handle their roles in the Finnish Suite with warmth and easy style. The engineering is well-balanced and natural. This release is a valuable addition to the Shostakovich discography. –David Hurwitz, ClassicsToday.com

Tracklist:

Dmitri Shostakovich (1906-1975)

1 The Execution of Stepan Razin. Poem for bass, chorus and symphony orchestra, Op. 119 (1964) 25:34

Zoya Suite, Op. 64a (1944)
2 I Introduction (Song about Zoya) 8:10
3 II Scene (Combat Mission) 5:03
4 III Prelude (Tragedy of a Loss) 5:22
5 IV March (Hero’s Victory) 4:24
6 V Finale (The Heroine’s Immortality) 5:47

Suite on Finnish Themes
7 I Energico 0:52
8 II The Sky is Blue and White (Taivas on sininen ja valkoinen) 1:13
9 III Lento non troppo 1:49
10 IV The Girls of this Village (Tämän kylän tytöt) 1:56
11 V The Strawberry is a Red Berry (Mansikka on punanen marja) 1:06
12 VI If I could be at Leisure (Jos mie saisin jouten olla) 2:24
13 VII My Beloved is Beautiful (Minun kultani kaunis on) 1:57

Personnel:
Shenyang, bass-baritone
Mari Palo, soprano
Tuomas Katajala, tenor
State Choir “Latvija”
Helsinki Philharmonic Orchestra
Vladimir Ashkenazy, conductor

Continue reading »

Apr 05

Domenico Scarlatti – 18 Keyboard Sonatas – Yevgeny Sudbin (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:14:30 minutes | 1,12 GB | Genre: Classical
Studio Master, Official Digital Download – Source: eClassical | © BIS Records
Recorded: July 2014 (K 9, 141, 159, 213), February 2015 (K 12, 29, 32, 69, 99, 119, 125, 417) and July 2015 (K 56, 208, 318, 373, 425, 479) at St George’s Bristol, England

With the 2005 release of his first recording for BIS Records, Yevgeny Sudbin catapulted into the pages of the international music press. The disc was a Scarlatti recital that prompted reviewers worldwide to compare the then 24-year old pianist in the most flattering terms to Scarlatti experts such as Horowitz and Pletnev. It went on to receive a long list of distinctions, including an Editor’s Choice in Gramophone, where the accompanying review described it as ‘among the finest, certainly most enjoyable of all Scarlatti recitals’. Since then, Sudbin and BIS have enjoyed a highly successful collaboration, resulting in numerous acclaimed recordings of both solo programmes and concertos. To celebrate the past 10 years, a new Scarlatti recording seemed the obvious choice for an anniversary present – to ourselves, and of course to all Sudbin fans and Scarlatti lovers. Said and done: Sudbin met up with Marion Schwebel, the recording producer with whom he has collaborated from the very beginning, for recording sessions in the silken acoustics of St George’s in Bristol. The results can be heard on this new disc: 18 sonatas selected from the total of 555 – a collection of a striking, even bewildering, variety. Through it all, Sudbin guides us with authority but also obvious relish as he brings to life elements which his own liner notes describes as ‘church bells and gunshots (K119), howls in the streets (K479), trumpets appearing on the horizon (K159), head-spinning dances (K425) but also a wonderful sense of humour (K125) – as well scenes as melancholic, lean and desiccated as a sun-baked Mediterranean landscape (K99).

The pianist Yevgeny Sudbin here returns to the music of Domenico Scarlatti, ten years after his first Scarlatti recording in 2005 (which was also his first recording for Sweden’s BIS label). Once again he offers heavily pianistic re-imaginations of the music, akin to the approach pioneered by the pianist who first popularized these sonatas, Vladimir Horowitz. There is little concession to the sound the music would have had if it were played on a harpsichord, and in fact, here in his booklet notes, which are just about worth the price of admission by themselves, Sudbin even likens playing the sonatas on the piano to the act of transcribing them. Indeed, the capabilities of one instrument are substituted for those of another. The slow minor-key sonatas, with their tempo rubato and their pedal usage, are in a Chopin mode, and Sudbin takes a good deal of liberty with tempo and ornamentation in the repeats. Sample the Keyboard Sonata in D minor, K. 213 (track 5), or any of the other minor-key sonatas for a taste. Sudbin balances these with brilliant, fast contrapuntal pieces that take the curves quickly; the relationship between harpsichord and guitar is lost, but there’s no question that he’s exciting to hear at high speeds and keeps everything clear. If you’re in the market for extremely pianistic Scarlatti, Sudbin’s unpacks the remarkable dissonances and idiosyncratic structures of the slow sonatas especially well. ~~AllMusic Review by James Manheim

Tracklist:
Domenico Scarlatti (1685-1757)
1. Sonata in D minor, K417, ‘Fuga’ 3’37
2. Sonata in A major, K208 3’53
3. Sonata in C major, K159 2’29
4. Sonata in C minor, K56 3’36
5. Sonata in D minor, K213 7’11
6. Sonata in G major, K125 2’12
7. Sonata in G minor, K373 2’12
8. Sonata in D major, K119 5’16
9. Sonata in F minor, K69 5’09
10. Sonata in G major, K425 2’46
11. Sonata in D major, K29 5’03
12. Sonata in C minor, K99 7’02
13. Sonata in G minor, K12 3’05
14. Sonata in D major, K479 4’32
15. Sonata in D minor, K9 2’43
16. Sonata in F sharp major, K318 6’06
17. Sonata in D minor, K141 3’08
18. Sonata in D minor, K32, ‘Aria’ 2’29

Personnel:
Yevgeny Sudbin, piano

Continue reading »

Apr 05

9Bach – Anian (2016)
FLAC (tracks) 24-bit/88,2 kHz | Time – 50:27 minutes | 880 MB | Genre: Folk
Studio Master, Official Digital Download – Source: B&W | Digital Booklet | © Real World Records

Anian is the third release from Welsh artists 9Bach, and the most interesting to date from Lisa Jên, Martin Hoyland and company.

While Wales has been producing musical innovators for some time now, the image of miners’ choirs hasn’t faded. (I had to mention them again!) Welsh-language folk and pop rock also suffers from an image problem, compared to say Ireland, that of not being known — and when known, thought to be somewhat derivative of either Irish ‘Celtic’ music or UK pop. The innovators haven’t often made their voice heard outside of Wales.

With 9Bach, and Anian in particular, it becomes more and more difficult for the listening public to write off Welsh language music as parochial and predictable. On the contrary, this record manages to stay rooted in Bethesda, North Wales, while breaking into new global territory. Lisa Jên is certainly possessed of fine vocal talents, a wide range and expressive voice, which at times is reminiscent of Siân James (for instance, on the lovely “Ambell Hiraeth”), the great Welsh singer and harpist who receives an acknowledgement on the disc.

Hoyland is a guitar innovator who sometimes pushes too hard to get a sound (a little scrappy on the otherwise flawless “Breuddwyd y Bardd”) but generally makes full use of his instrument. Ali Byworth (drums and percussion), and Dan Swain (bass) provide a solid foundation (and some lovely, rumbling moments from Swain), while Esyllt Glyn Jones (harp), and Mirain Haf Roberts (voice and hammer dulcimer) complete the sound.

This is a pensive, sometimes mysterious disc, with a sound all its own, and starts in the depths of “Llyn Du” the black lake of Caradog Pritchard’s novel “Un Nos ala Lleuad” (One Moonlit Night). “Ifan” about a boy raised in the wild by wolves, is another strange tale. For comparison, we have to reach back many years to Loreena McKennitt, the Canadian singer and harpist who recorded “Parallel Dreams” with the late Oliver Schroer in the late 80s. The trancelike, repetitive Celtic-Med fusion of that album came to my mind, at least, and so did Elena Ledda, when I listened here to the Greek-influenced “Cyfaddefa.”

Play this disc when you can really listen: there is more than meets the ear first time round. Memorable moments include Byworth and Swain grooving along with the vocals leading “Cyfaddedfa” to a stunning conclusion; Lisa Jen’s rippling piano riff combines with the vocals and the dulcimer on “Ifan” ; “Anian” with its funky intro, and “Yr Olaf” with its rolling bass line. The disc concludes with the gorgeous melody of “Breuddwyd y Bardd” where Lisa Jên’s evocative singing brings the poet’s dream to life.

The second disc, In Your Voice, is an interpretive aid and a work of art in itself, a series of English-language interpretations of the songs, read by such as actor Rhys Ifans and Real World’s Peter Gabriel. At times the text approach the poetics of Dylan Thomas, as in Ifans’s reading of “Anian” (which means nature or temperament). A nice note is the dedication to Welsh folklorist Meredydd Evans (Mêred) and his immense influence on the recovery of national traditions in Wales.

The eleven music tracks, plus twelve on In Your Voice and interpretive booklet make a nice CD package; the only thing missing is the Welsh-language song lyrics. – David Cox

Tracklist:
1. Llyn Du 3’47
2. Anian 4’19
3. Yr Olaf 4’29
4. Ifan 4’53
5. Si Hwi Hwi 7’03
6. Cyfaddefa 5’31
7. Brain 4’27
8. Heno 3’52
9. Deryn 5’10
10. Ambell Hiraeth 3’23
11. Breuddwyd Y Bardd 3’33

Personnel:
Ali Byworth, drums, percussion
Dan Swain, bass guitar & double bass
Esyllt Glyn Jones, harp, vocals
Lisa Jên, vocals
Martin Hoyland, guitars & hammer dulcimer
Mirain Haf Roberts, vocals, piano & hammer dulcimer

Continue reading »

Apr 05

Sibelius, Glazunov – Violin Concertos – Esther Yoo, Philharmonia Orchestra, Vladimir Ashkenazy (2016)
FLAC (tracks) 24-bit/96 kHz | Time – 01:07:02 minutes | 1,14 GB | Genre: Classical
Studio Master, Official Digital Download – Source: HighResAudio | © Deutsche Grammophon

Vladimir Ashkenazy collaborates with Esther Yoo in a new recording of Sibelius and Glazunov Violin Concertos with the Philharmonia Orchestra. Yoo first came to international attention in 2010 when, aged 16, she became the youngest prize-winner of the 10th International Sibelius Violin Competition. She made her London debut in 2014, performing Mozart’s Violin Concerto No. 3 under the late Lorin Maazel at Royal Festival Hall. That same year, she was a soloist on the Philharmonia’s South America tour under Ashkenazy.

Tracklist:

Alexander Glazunov (1865-1936)
1. Violin Concerto in A minor, Op.82 20:09

Jean Sibelius (1865-1957)
Violin Concerto in D minor, Op. 47
2. 1. Allegro moderato 17:03
3. 2. Adagio di molto 09:00
4. 3. Allegro, ma non tanto 07:59
Suite For Violin And String Orchestra, Op.117
5. 1. Country Scenery 02:14
6. 2. Evening in Spring 03:41
7. 3. In the Summer 02:00

Alexander Glazunov (1865-1936)
8. Grand Adagio 04:56

Personnel:
Esther Yoo, Violin
Philharmonia Orchestra
Vladimir Ashkenazy, Conductor

Continue reading »

Page 1 of 3123