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Leon Fleischer - Pianoforte - 45 FLAC album


Performer: Leon Fleischer
Genre: Other
Title: Pianoforte - 45
FLAC version ZIP size: 1364 mb
MP3 version ZIP size: 1843 mb
WMA version ZIP size: 1767 mb
Rating: 4.5
Votes: 204
Other Formats: AHX VOC FLAC MP1 MPC AA MOD

Matrix, Runout: DIDC-071638 1. SPARS Code: DDD. Other (CD Label): DIDC 071638.

Pianoforte - Grandi Compositori - Grandi Interpreti released: 1994. Beethoven: The 5 Piano Concertos, Mozart: Concerto No. 25 released: 1989. Beethoven: Piano Concerto no. 4, Mozart: Piano Concerto no. 25 released: 1988. Great Pianists of the 20th Century, Volume 27: Leon Fleisher released: All the Things You Are. Released 2014.

Piano Sonata in B minor, S. 178 (LW A179). 4. Lento assai - Allegro energico - Grandioso - Recitativo. 5. Andante sostenuto -. Leon Fleisher. 6. Allegro energico - Andante sostenuto - Lento assai. Barcarolles, pieces (3) for piano. 7. No. 1. 8. 2. 9. 3.

Bohm Album for the Pianoforte. Carl Bohm Album of Thirteen Pieces for the Pianoforte. I-Catalogue NumberI-Cat.

Leon Fleisher - The Journey - Студийный альбом от Leon Fleisher. Вышел 19 сентября 2006г. В альбом вошло 17 треков. Продолжительность альбома: 01:00:03. Bach: Capriccio in B-flat Ön the Departure of a Brother", BWV 992 - 5. Postilion's Aria. Bach: Capriccio in B-flat Ön the Departure of a Brother", BWV 992 - 3. Adagissimo. Mozart: Piano Sonata in E-flat, K282 - 3. Allegro. Bach: Capriccio in B-flat Ön the Departure of a Brother", BWV 992 - 6. Fugue in imitation of the pos. 02:14. Bach: Capriccio in B-flat Ön the Departure of a Brother", BWV 992 - 1. Arioso.

Leon Fleisher is considered a living legend among the coterie of distinguished American pianists who emerged in the late forties and early fifties. Students consider Fleisher the "Obi-Wan Kenobi of the piano," and travel from all over the globe come to work with him or even just sit on his master classes, just as pianists in the first half of the 20th century sought out Fleisher's youthful teacher and mentor Artur Schnabel. The various left-hand performances here are freer, more interesting, and have a greater variety of tonal color (although that may be, in part, a result of recording technology). Further, despite using only one hand, the dynamics are multi-layered in a way lacking in the earlier recordings. The separation of voices as heard in the solo album (particularly in the two Scriabin works) is astonishing.