![Nektar - Remember The Future (Deluxe Edition) (1973/2023) [High Fidelity Pure Audio Blu-Ray Disc]](https://imghd.xyz/images/2024/05/01/NjktMTk3MS5qcGVn.jpg)
Istvan Kertesz, Bamberg Symphony Orchestra & Vienna Symphony Orchestra – Haydn & Mozart Symphonies (Japan 2016)
PS3 Rip | 2x SACD ISO | DSD64 2.0 Stereo > 1-bit/2.8224 MHz | 129:12 min | Front/Rear Covers | 5,23 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 5,11 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Rear Covers | 2,72 GB
Denon/Nippon Columbia / Tower Records Japan # TWSA-1033~34
Japanese double-disc compilation of Istvan Kertesz’s 60s recordings for Eurodisk label. Features Joseph Haydn’s and Wolfgang Amadeus Mozart’s Symphonies performed with Bamberg Symphony Orchestra & Mozart’s “Coronation Mass” performed with Vienna Symphony Orchestra. Remastered in 2016 at High Definition 96kHz/24bit from the original analog master of home country.
Read more
István Kertész, Vienna Philharmonic Orchestra – Brahms: The Four Symphonies & Haydn: Variations (2016) [Japan]
SACD Rip | 3x SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 186:09 minutes | Front/Rear covers | 7,47 GB
or DSD64 2.0 (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 7,35 GB
or FLAC (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Rear covers | 3,9 GB
There have been many recordings of the Brahms’ symphonies but few have the passion, vitality and drive of István Kertész’s Vienna Philharmonic cycle. This collection brings together all of Kertész’s Brahms recordings for Decca. His Wiener Philharmoniker Brahms cycle began in May 1964 with a recording of the Second Symphony and continued in 1972-73 with the remaining symphonies and the Variations on a theme of Haydn. Recording of the Variations commenced on March 1, 1972 and upon Kertész’s passing (April 16, 1973), the orchestra completed the recording on May 14, 1973, conductor-less, in his memory.
Read more
Pierre Fournier, Matthias Bamert, Istvan Kertesz – Lucerne Festival Historic Performances Vol. VII – Pierre Fournier plays Dvořák, Saint-Saëns and Casals (2015)
FLAC (tracks) 24 bit/48 kHz | Time – 01:00:51 minutes | 551 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Audite Musikproduktion
Pierre Fournier (1906-1986) was one of the most eminent cellists of the generation after Pablo Casals. Praised as an “aristocrat of cello playing”, he was admired for his soulful, singing tone, his uncomplicated elegance and his refined sound. This disc presents three live recordings from this legacy, recorded at Lucerne Festival and all of them released for the first time.
Together with István Kertész, Fournier performed a piece of his core repertoire in the summer of 1967: Dvorák’s Cello Concerto in B minor – a particularly noteworthy archive discovery since the conductor’s tragically early death had prevented him from making a studio recording of the concerto. This live recording preserves the unpredictable emotional value of the concert situation: Fournier and Kertész take many risks, preferring the high definition of separate sounds as well as fresh tempi, without any temptation to fall for folklore frenzy or sentimental melancholy. Camille Saint-Saëns’ First Cello Concerto in A minor was held in low esteem for decades, despite composers such as Rachmaninov and Shostakovich declaring it “the greatest of all cello concertos”. It was not revived until the 1950s, not least thanks to its advocacy by Pierre Fournier. In 1962, alongside Jean Martinon and the Orchestre Philharmonique de la RTF, he presented a passionate reading of the work, permitting a telling comparison to his previous studio recording. A new item in Fournier’s discography, however, is the ‘Cant dels ocells’ which he played in 1976 at a memorial concert on the centenary of Pablo Casals’ birthday: this was also his last appearance at Lucerne Festival. Fournier’s brief announcement before this work has been included here: in it he pays tribute both to Pablo Casals – whose cello version of the old Catalan Christmas carol became an obligatory constituent of his concerts and a secret hymn for all refugees and emigrants longing for home – and also to the cellist and composer Enrico Mainardi, who had died only a few months previously, on 10 April 1976.
Read more![István Kertész - Dvorák: Symphonies,Tone Poems, Requiem... (2016/2022) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/05/11/0002894830760_600.jpg?resize=500%2C500&ssl=1)
István Kertész – Dvorák: Symphonies,Tone Poems, Requiem… (2016/2022)
FLAC (tracks) 24 bit/96 kHz | Time – 11:03:11 minutes | 12,67 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Decca
“Among the finest discographic achievements of the tragically short-lived Hungarian conductor István Kertész was his landmark stereo cycle of the Dvořák symphonies with the London Symphony. For anyone who loves this composer’s music, the Kertész compilation is self-recommending; it is still the best traversal of the symphonies, with not a single performance or recording that is less than outstanding.”
– The NPR Guide to Building a Classical CD Collection
(more…)
London Symphony Orchestra, István Kertész – Dvořák: Complete Symphonies, Tone Poems, Overtures & Requiem (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 11:03:11 minutes | 12,64 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Decca
It took just two days before the microphones for István Kertész to imprint his name in the minds of Decca’s senior executives. The Budapest-born conductor’s debut recording for the label, made with the Vienna Philharmonic Orchestra in March 1961, projected his high artistry and deep imagination into a bold and individual reading of Dvořák’s “New World” Symphony. Producer Ray Minshull and sound engineer James Brown liked what they heard at Vienna’s Sofiensaal. They recognised Kertész as a conductor for the new stereo age: he was young and handsome — eternally marketable qualities — yet owned the charismatic power, mature musicianship and personal warmth required to draw the best from the best. Minshull’s post-session report opened the door to Kertész’s productive relationship with the label, one that lasted until he fell victim to a tragic drowning accident in the sea near the Israeli city of Herzliya in 1973.
Read more