Nochnoy Dozor - Nochnoy Dozor - VINYL LP

Soojin - Rizz - Jewel Case Version - incl. 16pg Booklet, Folding Poster, Mini Poster, Photocard + ID Photo [COMPACT DISCS] With Booklet, Photos, Poster, Asia - Import date 05/31/2024

Lauded with critical acclaim in the Audiophile market, Retrospective is the magnum opus of Rebecca Pidgeon's songs. The album attests to Chesky's commitment to detailed, clear, high-quality sound and perfectly introduces the tag's unique approach to record production, which let's her vocals take center stage.Thirty-five years after the tag's debut , Chesky Records has maintained it's original ethos of creating Inchthe illusion of live musicians in a real three-dimensional space.Inch It achieves that by focusing on presenting an immersive listening experience for it's customers that is unique in the music industry. The SACD- Hybrid Multi-Channel and 180g Black Vinyl will be released on the 5th July 2024.

A unique recital on record of complementary bagatelles and sonatas from two distinct periods in Beethoven's life, in a new recording by a modern master pianist.Wolfram Schmitt-Leonardy is 'a storyteller', remarked Jeremy Nicholas in his Gramophone review of the Chopin sonatas on Piano Classics. He went on to praise 'nigh-on ideal' playing in the Second Sonata 'unforced, rhythmically buoyant [and] texturally translucent'. The German pianist now illuminates four works of Beethoven with the same qualities. The Sonata Op.31 No.3 and Bagatelles Op.33 both date from what would prove to be a transitional point in Beethoven's career, around the year 1802, as he was stretching his wings and his capabilities. They achieve striking and often sudden contrasts of expression within both expansive sonata-form structures and the miniature sketch-form of the bagatelle, which Beethoven effectively invented from scratch with this set. 'Schmitt-Leonardy's superb technical and musical command holds unflagging interest' through the variation sets of Brahms, according to Jed Distler in another Gramophone review. Such command is a prerequisite for addressing the late masterpieces of Beethoven, so often recorded, and to which Wolfram Schmitt-Leonardy brings his own, individual musical intelligence. Twenty years elapsed between those earlier pieces and the Sonata Op.110, during which time Beethoven's thinking inevitably underwent a sea-change. By this point he was striving ever more keenly to achieve the expression of transcendence in music, and the Sonata's ineffable opening phrase seems to distil that search into an unforgettable gesture. The Sonata is also marked by the composer's intensifying preoccupation with Baroque-era counterpoint, which gives the most haunting life to the finale's semi-autobiographical narrative of vitality lost and regained. The Bagatelles Op.126 are trifles in nam