Jennifer Pike, Petr Limonov – The Polish Violin, Vol. 2 (2021) [Official Digital Download 24bit/96kHz]

Jennifer Pike, Petr Limonov - The Polish Violin, Vol. 2 (2021) [Official Digital Download 24bit/96kHz] Download

Jennifer Pike, Petr Limonov – The Polish Violin, Vol. 2 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:15:28 minutes | 1,20 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Chandos

As a successor to the first volume, released in 2019, this album continues to explore a breadth of repertoire that includes some rarely heard gems. The Violin Sonata, one of Szymanowski’s earlier compositions, is a work brimming with late-romantic intensity. His Trois Caprices are a tribute to Paganini, and the famous themes are here reinvented in a visionary way: the treatment of them is not only virtuosic in nature, for both violin and piano, but also displays extremes of contemporary technique, texture, and mood that take us a world away from the concept of the originals.
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Hideko Udagawa & Petr Limonov – Nostalgic Russia (2021) [Official Digital Download 24bit/96kHz]

Hideko Udagawa & Petr Limonov – Nostalgic Russia (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:12:18 minutes | 1,24 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Northern Flowers

Hideko Udagawa’s latest album for Russian label Northern Flowers celebrates rich legacy of Russian music with world premieres and rare works for violin and piano. Recording includes first recordings of new transcriptions of Rachmaninov’s Elégie and Tchaikovsky’s Romance.

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Corinne Morris & Petr Limonov – Belle Époque 1886 (2021) [Official Digital Download 24bit/96kHz]

Corinne Morris & Petr Limonov – Belle Époque 1886 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:04:22 minutes | 1,01 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © SOMM Recordings

SOMM RECORDINGS: Belle Époque 1886 celebrates a golden age of French chamber music, uniquely coupling Cello Sonatas by César Franck and Benjamin Godard. Francks A major and Godards D minor Sonatas were both composed in 1886 when French composers were replacing Austro-German dominance with a native, vernacular style. Making their debuts on SOMM are cellist Corinne Morris and pianist Petr Limonov. Of Anglo-French heritage, Morris continues to reveal herself a formidable musician. She made a triumphant comeback after a shoulder injury forced her to withdraw from the concert platform for more than five years. She has been hailed by Mstislav Rostropovich as Corinotchka, my colleague while Paul Tortelier wrote My warmest wishes are for Corinne and her art. With a burgeoning profile at the keyboard and conductors podium, Russian-British pianist Petr Limonov has been described as an extremely multi-faceted, phenomenal musician who has an endless array of abilities (Classical Music magazine). Francks Cello Sonata an arrangement by cellist Jules Delsart of his Violin Sonata, originally composed for violinist Eugène Ysaÿes wedding and the only alternative version sanctioned by the composer is notable for the lyrical, singing quality of its cello writing while boasting complex harmonies and sophisticated thematic devices throughout. A prolific composer, versatile musician and close associate of Francks, Godards Cello Sonata, says Gavin Dixon in his booklet notes, demonstrates an innate knowledge of the instrument, especially of the varied expressive potential of its different ranges. It is shot through with vivid coloring of the cellos voice in shifting registers and Godards penchant for the operatic.

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Leonard Elschenbroich, Petr Limonov – Schnittke: Musica Nostalgica (2017) [Official Digital Download 24bit/48kHz]

Leonard Elschenbroich, Petr Limonov – Schnittke: Musica Nostalgica (2017)
FLAC (tracks) 24 bit/48 kHz | Time – 59:13 minutes | 506 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Onyx Classics

Though born in Engels on 24 November 1934, in the Volga-German Republic of the Soviet Union, Alfred Schnittke spent much of his formative childhood in Vienna, where his father had been posted to work for a German-language newspaper published by the Soviet army. ‘Every moment there,’ Schnittke recalled, ‘I felt I was a link in the historical chain: all was multi-dimensional; the past represented a world of ever-present ghosts, and I was not a barbarian without any connections, but the conscious bearer of my task in life.’

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