NOVEDADES CD
+21
Kalikatre
Kandaules
Mahler de Mahler
monca
sátántangó
maigr3t
Hades
Paco Yáñez
Todtenfeier
El Reyes
Ludovyk
javier
gustavo
Psanquin
Ignorante
Robertino Bergamasco
José María
Moreno
carlos pareja obregon
Ritter
Ignacio
25 participantes
Foro MAHLER :: FORO :: MAHLER
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Re: NOVEDADES CD
Moreno 28/1/2013, 09:09
Hola Ritter, todo bien por aquí... la cajita de Furt sale a la venta el 12 de marzo, el mejor precio que he visto es el de Amazon España 67,98 (son 18 discos), la calidad de sonido de las ediciones de Orfeo suele ser superior a las de algunas ediciones “piratas”, la cuestión por lo que veo es que también incluye algunas versiones que en su día fueron editas de manera bastante potable por EMI (Brahms...) y DG (la Novena de Beethoven 30/05/53, Bruckner...) incluso Tahra el año antepasado editó la Heroica del 44’ con una calidad de sonido posiblemente insuperable, SACD. También, como comentas, hay cosas que ya fueron editadas por Orfeo en disco individual. Respecto a la Pasión bachiana de Furt no te puedo decir nada ya que no la he escuchado, personalmente dudo que me guste, si hay un compositor en el que realmente admiro y disfruto de las versiones HIP, e incluso mejor si es OVPP, es en Bach, mis pasiones preferidas son las de McCreesh, Kuijken, Herreweghe, Butt... pero bueno, nunca se sabe, de repente escucho la de Furt y puede que me encante.
Un abrazo,
Un abrazo,
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Re: NOVEDADES CD
Robertino Bergamasco 28/1/2013, 18:33
Con esa PsSM hay que tener cuidado, no se que fuentes manejará ORFEO -es de suponer que utilizará los originales-, pero es que cuando la editó EMI en su serie References guillotinaron las arias del bajo, curiosamente sellos piratas como Frequenz -es la que conozco- la editó completa, bueno, con los cortes de la época...
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Re: NOVEDADES CD
Moreno 28/1/2013, 19:05
De hecho, en esta caja de Orfeo constan dos versiones de la PsSM, según he podido leer en un foro francés:Robertino Bergamasco escribió:Con esa PsSM hay que tener cuidado, no se que fuentes manejará ORFEO -es de suponer que utilizará los originales-, pero es que cuando la editó EMI en su serie References guillotinaron las arias del bajo, curiosamente sellos piratas como Frequenz -es la que conozco- la editó completa, bueno, con los cortes de la época...
- 9 avril 1952
BACH: Passion selon Saint Matthieu (1ère partie seulement)
(A longtemps été rare mais est davantage accessible depuis la réédition Archipel de 2006)
- 15 avril 1954
BACH: Passion selon Saint Matthieu
(Peut-être une performance unique et inédite différente de la version publiée par EMI en CD ?)
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Re: NOVEDADES CD
Ritter 28/1/2013, 19:16
Moreno escribió:De hecho, en esta caja de Orfeo constan dos versiones de la PsSM, según he podido leer en un foro francés:
- 9 avril 1952
BACH: Passion selon Saint Matthieu (1ère partie seulement)
(A longtemps été rare mais est davantage accessible depuis la réédition Archipel de 2006)
- 15 avril 1954
BACH: Passion selon Saint Matthieu
(Peut-être une performance unique et inédite différente de la version publiée par EMI en CD ?)
Yo la primera vez que vi la PSM con Furtwängler fue en LP, en aquella serie "pirata" de la Cetra italiana ("Opera Live" y "Concerts Live"), que permitió acercarse a algunos registros legendarios o casi (mucho Callas en La Scala o en México--¡aquellos Puritanos!, el Tristán de Karajan en Bayreuth 1952
), con estándares de producción bastante altos para lo que era entonces habitual. No sé si lo que publicó EMI después era lo mismo o no..en cualquier caso, esta PSM es lo que, a priori, me parece menos atractivo de la cajita de Orfeo en cuestión...¿o me equivoco en mis prejuicios?
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Re: NOVEDADES CD
Robertino Bergamasco 28/1/2013, 19:52
...¿o me equivoco en mis prejuicios?
Todo depende del valor que le des a los mismos, a mi con ellos me pasa como con las gafas, no salgo de casa sin ellos...
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Re: NOVEDADES CD
Robertino Bergamasco 1/2/2013, 19:56
Mahler:
Symphony No. 1 in D major 'Titan'
Concertgebouw Amsterdam, 20 November 1999 (Live)
Netherlands Philharmonic Orchestra
Symphony No. 8 in E flat major 'Symphony of the Thousand'
Concertgebouw Amsterdam, 10 September 2002 (Live)
Rita Cullis, Angela Maria Blasi, Ofelia Sala (soprano), Reinhild Runkel, Catherine Keen (mezzo-soprano), Glenn Winslade (tenor), John Bröcheler (baritone) & Kurt Rydl (Bass)
National Choir of the Ukraine ‘Dumka’, Ukrainian Radio Choir & Dresden Philharmonic Children’s Choir
Netherlands Philharmonic Orchestra, Hartmut Haenchen
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Re: NOVEDADES CD
Moreno 1/2/2013, 20:55
Ya no le basta con el DVD, ahora también en disco... ¡qué pesao el Pierino este!
Bueno, ya tengo disco para echarme la siesta.
Bueno, ya tengo disco para echarme la siesta.
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Re: NOVEDADES CD
Ritter 1/2/2013, 21:27
Pues te deseo dulces sueños...Moreno escribió:Bueno, ya tengo disco para echarme la siesta.
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Re: NOVEDADES CD
Psanquin 2/2/2013, 01:01
¡La tan esperada portada!Moreno escribió:
Pero no decían que iba a salir en Decca 
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Re: NOVEDADES CD
Moreno 2/2/2013, 08:17
Ni idea, Psanquin, lo curioso es que sale el mismo día que lo que yo pensaba sería la integral del Mahler de Boulez (http://www.amazon.co.uk/Boulez-Conducts-Mahler-Gustav/dp/B004NO5HLG/ref=sr_1_2?s=music&ie=UTF8&qid=1359788143&sr=1-2), en este caso si que dice que será Decca y además apunta Number of Discs: 1, por lo que aparentemente de integral nada, de momento. Y como te digo, lo ponen en venta el mismo día que DKL (http://www.amazon.co.uk/Mahler-klagende-Lied-Berg-Lulu-Suite/dp/B005F23JV0/ref=sr_1_3?s=music&ie=UTF8&qid=1359788389&sr=1-3) que, aunque la portada sea de DG, en la descripción del producto apuntan: Decca. En el fondo son lo que son, Universal Music Group International....Pero no decían que iba a salir en Decca
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Re: NOVEDADES CD
Psanquin 2/2/2013, 10:45
Sí, al ser el mismo grupo bien podían hacerlo, pero realmente sonaba de lo más extravagante. Afortunadamente no ha sido así y así queda el ciclo:
Uno más en el católogo de la DG tras Kubelik, Bernstein, Sinopoli, Abbado ¿El siguiente Dudamel?
Uno más en el católogo de la DG tras Kubelik, Bernstein, Sinopoli, Abbado ¿El siguiente Dudamel?
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Re: NOVEDADES CD
sátántangó 3/2/2013, 13:03
¿Pero este Das Klagende Lied de Boulez no había salido ya a la venta?...Moreno escribió:
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Re: NOVEDADES CD
sátántangó 3/2/2013, 13:24
Uno más con matices. Este ciclo de Pierre Boulez es el primero verdaderamente completo. Rafael Kubelik no grabó para el sello amarillo el Todtenfeier, Des Knaben Wunderhorn, Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde y Das Klagende Lied. Leonard Bernstein se dejó el Todtenfeier y el DKL. A Giuseppe Sinopoli la faltó el susodicho Todtenfeier, parte de los DKW y los Rückert-Lieder. Y por último a Claudio Abbado, que todavía podría seguir grabando para el sello amarillo, no tiene registrado el Todtenfeier, LEFG, Kindertotenlieder, Das Lied von der Erde y Das KLagende Lied.Psanquin escribió:Uno más en el católogo de la DG tras Kubelik, Bernstein, Sinopoli, Abbado ¿El siguiente Dudamel?
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Re: NOVEDADES CD
Ritter 4/2/2013, 15:07
Crítica muy elogiosa, publicada hoy en www.musicweb-intrenational.com, y firmada por John Quinn, sobre la reciente Sexta dirigida por Simone Young y publicada en el sello Oehms (y que nos anunció Roebrtino en septiembre pasado en este mismo hilo)
Gustav MAHLER (1860-1911)
Symphony No. 6 in A minor (1903-05) [85:10]
Philharmoniker Hamburg/Simone Young
rec. live, 22-23 April 2007, Laeiszhalle, Hamburg DDD
OEHMS CLASSICS OC413 [40:59 + 44:11]
I’ve heard one or two discs by Simone Young and her Hamburg orchestra before and I’ve been impressed. Those were of Bruckner symphonies - the Second (review) and the Fourth (review) - but I’ve not previously heard her in Mahler (my colleague Dan Morgan was very impressed with her Resurrection symphony - see review). I was a little surprised to fine Oehms issuing this set when they’re in the middle of a complete cycle of the symphonies with Markus Stenz but then I saw that the recording was made over five years ago. I wonder why such a fine performance has been ‘in the can’ for so long.
Over the years there has been quite a debate about the ordering of the middle two movements of this symphony. Most, though not all, performances I’ve heard have placed the scherzo second but Simone Young is one of those who plays that movement after the Andante moderato. In so doing she follows the ordering which, it seems, Mahler himself came to prefer; even though he originally intended the scherzo to come second he changed his mind prior to giving the first performance, at which he placed the slow movement second. This is not the time or place to go into this question; the arguments are rehearsed by Tony Duggan in his survey of recordings of the work. Like Tony I prefer to hear the scherzo second but I recognise and respect the views of those who think to the contrary and, as Tony said, it has to be left to each conductor to make the choice.
The recording is from concert performances, though there’s no audience noise - would that British audiences were so silent! - and there’s no applause at the end. The performance gripped - and held - my attention from the outset. I like Simone Young’s basic tempo in I: it’s expertly judged and neither too fast nor too slow. That of itself makes an immediately favourable impression. The orchestra makes a good sound, which is well reported by the engineers. The exposition repeat is taken, as most conductors do nowadays, and the performance is characterised by good energy and rhythmic definition. There’s one small thing that puzzles me. At 12:08, just before the cowbells interlude, the violins seem to drop out of the picture momentarily. It’s over and gone in a second and I wonder if something went slightly awry in the editing. The nostalgic cowbells passage that follows is very atmospheric, though perhaps taken just a fraction too slowly. However, the relaxed pacing gives us the chance to admire some excellent solo woodwind work. The principal horn also excels hereabouts and in many other solo passages during the work. Indeed, the whole horn section, so crucial in this symphony, is on tip-top form throughout. After this dreamy passage, when the tempo picks up again (15:47) the music fairly bounds along and from here until the end the performance is thrusting and dramatic.
The Andante moderato is beautifully sung. The passages of lyrical nostalgia come over very well but later on so, too, do the moments of ardour. The playing is excellent; the string tone is consistently pleasing and there is much fine woodwind work. I find Simone Young’s way with this movement very persuasive: there’s lots of gentle calm but when the temperature of the music rises (for example from 11:56) she brings out the passion - and the insecurity? - that Mahler put into those pages.
She invests the scherzo with just the right amount of weight; sufficient to bring out the dark side of the music but not so much as to compromise the sparkiness of the sardonic side of things. As in the first movement, there’s excellent rhythmic definition and good use is made of accents to characterise the music. One advantage of hearing the scherzo third is that as it reaches its end the music dissolves into fragments and eventually stutters to a halt in the depths. Thus it bridges to the sepulchral stirrings at the start of the finale.
In this last, massive movement Simone Young may not quite plumb the emotional depths that, say, Klaus Tennstedt explores (review) but, then, his reading is wholly exceptional and may not be to all tastes. As it is, I think Ms. Young hands the enormous span of this movement very well indeed. Her tempi are well judged and she inspires the orchestra to play with huge commitment - and precision. The brass, in particular, seem tireless in the face of Mahler’s huge demands on them. The first two hammer blows (12:01 and 17:45) are the occasion of massive climaxes, as they should be, and the way in which the ground is prepared for each of them is very impressive. In the four or five minutes that lead up to the third hammer blow (27:54) the music seethes and boils yet the conductor clearly retains tight control. Yes, I did refer to a third hammer blow. Mahler excised that from the score after conducting the first performance, slightly re-orchestrating at that point. In the booklet it says that “like other Mahler interpreters” Simone Young restores the third blow. There’s a clear implication in that phraseology that this is common practice but in my experience not many conductors do include the third blow. I have no strong feelings on the matter, though I would just observe in passing that it seems a little inconsistent to observe Mahler’s last thoughts in respect of the ordering of the middle movement but not to do so in respect of this hammer blow. The coda (from 28:37) is bleak and gaunt, bringing to an end a very convincing reading of the finale and a very fine performance of the symphony as a whole.
The recording reproduced very well on my equipment and seemed to me to convey the orchestra’s sound with clarity, impact and atmosphere. I’ve had some reservations about the recorded sound on a couple of Oehms’ Mahler recordings for Markus Stenz, notably those of the First (review) and Fourth symphonies (review), where I felt that for all the excellent clarity of the sound there was occasionally an insufficiently realistic concert hall perspective and the listener was placed a bit too close to the orchestra. There are no such issues here. The sound has punch, when required, and presence; I felt as if I had a very good seat in the hall. Yet, interestingly, the same technical team of producer Jens Schünemann and engineer Christian Feldgen is responsible both for this recording and for the Stenz series. Perhaps the Hamburg Laeiszhalle offers a more sympathetic acoustic than the Kölner Philharmonie or perhaps the presence of an audience, which changes the sound properties of a hall, has made a difference.
Simone Young’s Mahler Sixth enters a crowded field - in the booklet we learn that, according to one discography 42 recordings of the piece were issued between 2000 and 2012, which is exactly the same number that were issued in the thirty years following the symphony’s first recording in 1952, which, by the way, was made by Charles Adler. Not only is the field crowded, but also there are some exceptionally fine recordings in the catalogue already. It would be well-nigh impossible to nominate a “best” and I’m not even going to try but this Simone Young recording can stand comparison with most. It’s a distinguished issue.
Read more: http://musicweb-international.com/classrev/2013/Feb13/Mahler_sy6_OC413.htm#ixzz2JwGU9vNP
Gustav MAHLER (1860-1911)
Symphony No. 6 in A minor (1903-05) [85:10]
Philharmoniker Hamburg/Simone Young
rec. live, 22-23 April 2007, Laeiszhalle, Hamburg DDD
OEHMS CLASSICS OC413 [40:59 + 44:11]
I’ve heard one or two discs by Simone Young and her Hamburg orchestra before and I’ve been impressed. Those were of Bruckner symphonies - the Second (review) and the Fourth (review) - but I’ve not previously heard her in Mahler (my colleague Dan Morgan was very impressed with her Resurrection symphony - see review). I was a little surprised to fine Oehms issuing this set when they’re in the middle of a complete cycle of the symphonies with Markus Stenz but then I saw that the recording was made over five years ago. I wonder why such a fine performance has been ‘in the can’ for so long.
Over the years there has been quite a debate about the ordering of the middle two movements of this symphony. Most, though not all, performances I’ve heard have placed the scherzo second but Simone Young is one of those who plays that movement after the Andante moderato. In so doing she follows the ordering which, it seems, Mahler himself came to prefer; even though he originally intended the scherzo to come second he changed his mind prior to giving the first performance, at which he placed the slow movement second. This is not the time or place to go into this question; the arguments are rehearsed by Tony Duggan in his survey of recordings of the work. Like Tony I prefer to hear the scherzo second but I recognise and respect the views of those who think to the contrary and, as Tony said, it has to be left to each conductor to make the choice.
The recording is from concert performances, though there’s no audience noise - would that British audiences were so silent! - and there’s no applause at the end. The performance gripped - and held - my attention from the outset. I like Simone Young’s basic tempo in I: it’s expertly judged and neither too fast nor too slow. That of itself makes an immediately favourable impression. The orchestra makes a good sound, which is well reported by the engineers. The exposition repeat is taken, as most conductors do nowadays, and the performance is characterised by good energy and rhythmic definition. There’s one small thing that puzzles me. At 12:08, just before the cowbells interlude, the violins seem to drop out of the picture momentarily. It’s over and gone in a second and I wonder if something went slightly awry in the editing. The nostalgic cowbells passage that follows is very atmospheric, though perhaps taken just a fraction too slowly. However, the relaxed pacing gives us the chance to admire some excellent solo woodwind work. The principal horn also excels hereabouts and in many other solo passages during the work. Indeed, the whole horn section, so crucial in this symphony, is on tip-top form throughout. After this dreamy passage, when the tempo picks up again (15:47) the music fairly bounds along and from here until the end the performance is thrusting and dramatic.
The Andante moderato is beautifully sung. The passages of lyrical nostalgia come over very well but later on so, too, do the moments of ardour. The playing is excellent; the string tone is consistently pleasing and there is much fine woodwind work. I find Simone Young’s way with this movement very persuasive: there’s lots of gentle calm but when the temperature of the music rises (for example from 11:56) she brings out the passion - and the insecurity? - that Mahler put into those pages.
She invests the scherzo with just the right amount of weight; sufficient to bring out the dark side of the music but not so much as to compromise the sparkiness of the sardonic side of things. As in the first movement, there’s excellent rhythmic definition and good use is made of accents to characterise the music. One advantage of hearing the scherzo third is that as it reaches its end the music dissolves into fragments and eventually stutters to a halt in the depths. Thus it bridges to the sepulchral stirrings at the start of the finale.
In this last, massive movement Simone Young may not quite plumb the emotional depths that, say, Klaus Tennstedt explores (review) but, then, his reading is wholly exceptional and may not be to all tastes. As it is, I think Ms. Young hands the enormous span of this movement very well indeed. Her tempi are well judged and she inspires the orchestra to play with huge commitment - and precision. The brass, in particular, seem tireless in the face of Mahler’s huge demands on them. The first two hammer blows (12:01 and 17:45) are the occasion of massive climaxes, as they should be, and the way in which the ground is prepared for each of them is very impressive. In the four or five minutes that lead up to the third hammer blow (27:54) the music seethes and boils yet the conductor clearly retains tight control. Yes, I did refer to a third hammer blow. Mahler excised that from the score after conducting the first performance, slightly re-orchestrating at that point. In the booklet it says that “like other Mahler interpreters” Simone Young restores the third blow. There’s a clear implication in that phraseology that this is common practice but in my experience not many conductors do include the third blow. I have no strong feelings on the matter, though I would just observe in passing that it seems a little inconsistent to observe Mahler’s last thoughts in respect of the ordering of the middle movement but not to do so in respect of this hammer blow. The coda (from 28:37) is bleak and gaunt, bringing to an end a very convincing reading of the finale and a very fine performance of the symphony as a whole.
The recording reproduced very well on my equipment and seemed to me to convey the orchestra’s sound with clarity, impact and atmosphere. I’ve had some reservations about the recorded sound on a couple of Oehms’ Mahler recordings for Markus Stenz, notably those of the First (review) and Fourth symphonies (review), where I felt that for all the excellent clarity of the sound there was occasionally an insufficiently realistic concert hall perspective and the listener was placed a bit too close to the orchestra. There are no such issues here. The sound has punch, when required, and presence; I felt as if I had a very good seat in the hall. Yet, interestingly, the same technical team of producer Jens Schünemann and engineer Christian Feldgen is responsible both for this recording and for the Stenz series. Perhaps the Hamburg Laeiszhalle offers a more sympathetic acoustic than the Kölner Philharmonie or perhaps the presence of an audience, which changes the sound properties of a hall, has made a difference.
Simone Young’s Mahler Sixth enters a crowded field - in the booklet we learn that, according to one discography 42 recordings of the piece were issued between 2000 and 2012, which is exactly the same number that were issued in the thirty years following the symphony’s first recording in 1952, which, by the way, was made by Charles Adler. Not only is the field crowded, but also there are some exceptionally fine recordings in the catalogue already. It would be well-nigh impossible to nominate a “best” and I’m not even going to try but this Simone Young recording can stand comparison with most. It’s a distinguished issue.
Read more: http://musicweb-international.com/classrev/2013/Feb13/Mahler_sy6_OC413.htm#ixzz2JwGU9vNP
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Re: NOVEDADES CD
Moreno 4/2/2013, 19:47
... y de la que yo en su día también hablé, mucho antes que el Quinn este ¡qué se habrá creído este tal John!... no, no, no, que sepa que aquí, en este foro, somos los primeros, hombreeeeeee!!!Ritter escribió:Crítica muy elogiosa, publicada hoy en www.musicweb-intrenational.com, y firmada por John Quinn, sobre la reciente Sexta dirigida por Simone Young y publicada en el sello Oehms (y que nos anunció Roebrtino en septiembre pasado en este mismo hilo)
¿No me habrás copiado caro Quinn? 
Por cierto, que luego de meses no me arrepiento de nada, tremenda Sexta, ¡¡¡Aprende Boulez!!!... por aquí mi pequeña impresión en el hilo correspondiente: https://gustav-mahler.foroactivo.com.es/t99p840-que-estamos-escuchando
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Re: NOVEDADES CD
Ritter 4/2/2013, 20:27
Moreno escribió:... y de la que yo en su día también hablé, mucho antes que el Quinn este ¡qué se habrá creído este tal John!... no, no, no, que sepa que aquí, en este foro, somos los primeros, hombreeeeeee!!!
https://gustav-mahler.foroactivo.com.es/t99p840-que-estamos-escuchando
Tienes toda la razón, Moreno...con tres meses y medio de antelación, este nuestro foro, siempre el trendsetter, marcaba el camino...y ese mensaje tuyo (¡interesantísimo, por cierto!
--perdona que no me acordase de él 
) también incluía la preceptiva puyita contra Boulez...¿esto significa algo? 
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Re: NOVEDADES CD
Moreno 4/2/2013, 21:14
Nooooo...Ritter escribió:... también incluía la preceptiva puyita contra Boulez...¿esto significa algo?
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Re: NOVEDADES CD
Robertino Bergamasco 4/2/2013, 21:19
...si se decide a grabar El Cascanueces, ya tiene portada 
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Re: NOVEDADES CD
Ritter 4/2/2013, 22:06
Alguno pensará que nunca hubiera debido pasar de ser el que da los martillzos en la Sexta..ni pensar en dirigirlas, por no hablar de componer...de todo hay en la viña del Señor...Robertino Bergamasco escribió:...si se decide a grabar El Cascanueces, ya tiene portada
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Re: NOVEDADES CD
Robertino Bergamasco 4/2/2013, 22:23
Pobre Ritter, desde luego, ¡¡cuánta maldad!!... ya os vale.
Es una alegoría Ritter, es el dueño del marteau, como El carro de Manolo Escobar...
Alguno pensará que nunca hubiera debido pasar de ser el que da los martillzos en la Sexta
Es una alegoría Ritter, es el dueño del marteau, como El carro de Manolo Escobar...
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Re: NOVEDADES CD
Ritter 6/2/2013, 15:58
Creo que se anunció hace poco esta 7ª bajo Rosbaud en otra edición (pero no encuentro el post , quizás esté confundido). Ahora aparece a precio de saldo, junto con la 82 de Haydn y la 39 y 41 de Mozart en este sello Monograph, que desconozo....anunciado para la semana que viene en prestoclassical.co.uk...
Y jpc.de anuncia (en álbumes sueltos, ahora bajo el sello Decca) el ciclo de Ozawa con la Sinfónica de Boston--para finales de marzo--. Ala, ya podéis dormir tranquilos...
, quizás esté confundido). Ahora aparece a precio de saldo, junto con la 82 de Haydn y la 39 y 41 de Mozart en este sello Monograph, que desconozo....anunciado para la semana que viene en prestoclassical.co.uk...Y jpc.de anuncia (en álbumes sueltos, ahora bajo el sello Decca) el ciclo de Ozawa con la Sinfónica de Boston--para finales de marzo--. Ala, ya podéis dormir tranquilos...
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Re: NOVEDADES CD
Ritter 6/2/2013, 19:20
...o como La Tómbola de Marisol.....Robertino Bergamasco escribió:
Es una alegoría Ritter, es el dueño del marteau, como El carro de Manolo Escobar...
Pero una cosa buena tiene esa foto....desmiente rotundamente el bon mot del señor aquel llamado John Adams
sobre Boulez: "a master who worked with a very little hammer"
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Re: NOVEDADES CD
Psanquin 6/2/2013, 22:50
Ritter escribió:Creo que se anunció hace poco esta 7ª bajo Rosbaud en otra edición (pero no encuentro el post
De Rosbaud se comentó hace poco esta novedad:
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Re: NOVEDADES CD
Ritter 7/2/2013, 15:23
Gracais, Psanquin. Sí, esa 5ª sí la vi cuando nos la anunció Robertino....anyway, haced caso omiso a mi anuncio de la 7ª de Rosbaud (que creo en cualquier caso estaba disponible en el sello Wergo desde el año de la polka ). La edición de Monograph que anuncia prestoclassical como "scheduled for release on 11 February 2013", está disponible en jpc.de desde el año 2006
Saludos,
). La edición de Monograph que anuncia prestoclassical como "scheduled for release on 11 February 2013", está disponible en jpc.de desde el año 2006 Saludos,
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