{"title":"Musique Classique","description":"\u003cp\u003eNotre sélection de \u003cstrong\u003emusique classique\u003c\/strong\u003e : enregistrements inédits remastérisés depuis les bandes analogiques originales. Opéra, concerto, sonate, récital – retrouvez les plus grands interprètes du XXe siècle.\u003c\/p\u003e\u003cp\u003eMaria Callas, Arturo Benedetti Michelangeli, Emil Gilels, David Oistrakh, Henryk Szeryng, André Navarra, Claudio Arrau, Alicia de Larrocha, Samson François, Karl Böhm, Lorin Maazel, Johanna Martzy, Julius Katchen, Jnos Starker. Disponibles en vinyle 180g, UHQCD audiophile, téléchargement HD et Sapphire Edition®.\u003c\/p\u003e","products":[{"product_id":"emil-gilels-the-unreleased-recital-at-the-concertgebouw-1976-double-vinyle","title":"EMIL GILELS - THE UNRELEASED RECITAL AT THE CONCERTGEBOUW 1976 - DOUBLE VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 2000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn October 26, 1976, he was on stage, alone, in a repertoire of rare complexity in front of \"people who are passionate about music\", says Kirill. Enthusiastic but demanding. We can imagine Emil both serene and tense, on the lookout for the slightest whisper, in harmony, as soon as the silence sets in, with these composers he reveres: Beethoven, Brahms, Schumann, Prokofiev. Gilels knows how to lead us with elegance towards the delicious final surprise. There are interpretations so profound, so sincere and so right that they leave a lasting impression. There is no doubt that Emil Gilels' performance on that winter evening in 1976 in the prestigious Concertgebouw in Amsterdam is one of them\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Emil Gilels, piano|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, 26.X.1976\u003cbr\u003e *Recorded at the Concertgebouw, 30.I.1979\u003cbr\u003e STEREO ℗ 1976 NOS\u003cbr\u003e *STEREO ℗ 1979 NOS\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2018 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: Kevin Gray\u003cbr\u003e 180g 2-vinyl album\u003cbr\u003e Masters \u0026amp; Mothers: Quality Record Pressings\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLimited number of copies\u003c\/span\u003e : 2000\u003cbr\u003e Printed \u0026amp; Pressed in Germany\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT ALBUM DOWNLOAD CARD IS INCLUDED WITH THE VINYL\u003c\/span\u003e.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225472602274,"sku":"TLRE-GILE76-32LP","price":68.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_849fe3b6-3ffd-4df6-9cbf-9aaffef9ec42.jpg?v=1715946890"},{"product_id":"emil-gilels-the-unreleased-recitals-at-the-concertgebouw-coffret-5-cd","title":"EMIL GILELS - THE UNRELEASED RECITALS AT THE CONCERTGEBOUW - 5 CD BOX SET","description":"\"\u003cspan data-mce-fragment=\"1\"\u003eIn June 2017, when I have to perform in Moscow, I meet Kirill Gilels, grandson of the famous pianist Emil Gilels. He has listened to what our Phoenix Mastering restoration process can accomplish and gives us a list of the years and locations of his grandfather's unpublished recordings. In Berlin, Moscow, St. Petersburg, we discover a heritage that amazes us with the quality and consistency of Emil Gilels' piano playing. We are undoubtedly facing one of the greatest musicians of the 20th century. It is finally in Amsterdam, thanks to the determination of Piet Tullenaar, that we manage to extract five recitals that the pianist gave between 1975 and 1980 at the Concertgebouw and which everyone had forgotten existed. As we audition the tapes one by one in the studio allocated to us, neither Piet Tullenaar, nor Michel Navarra, nor myself exchange a word. What a beauty!\" F. D'Oria-\u003c\/span\u003eNicolas \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Emil Gilels, piano|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Netherlands\u003cbr\u003e 19.I.1975\u003cbr\u003e 26.X.1976\u003cbr\u003e 29.III.1978\u003cbr\u003e 30.I.1979\u003cbr\u003e 15.IV.1980\u003cbr\u003e STEREO ℗ 1975 TROS\u003cbr\u003e STEREO ℗ 1976 NOS \u003cbr\u003eSTEREO ℗ 1978 KRO\u003cbr\u003e STEREO ℗ 1979 NOS\u003cbr\u003e STEREO ℗ 1980 NOS\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2018 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e 5CD boxset\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225473323170,"sku":"FON-1803032","price":35.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_7e0f0fac-8a91-4f78-bd08-d6f67eaba0c1.jpg?v=1715947269"},{"product_id":"emil-gilels-the-unreleased-recitals-at-the-concertgebouw-coffret-7-vinyles","title":"EMIL GILELS - THE UNRELEASED RECITALS AT THE CONCERTGEBOUW - 7 VINYL BOX SET","description":"\u003cp\u003e|STARTTITLEGOLD| 999 Copies |ENDTITLEGOLD|\u003c\/p\u003e\u003cbr\u003eIn June 2017, when I have to perform in Moscow, I meet Kirill Gilels, grandson of the famous pianist Emil Gilels. He has listened to what our Phoenix Mastering restoration process can accomplish and gives us a list of the years and locations of his grandfather's unpublished recordings. In Berlin, Moscow, St. Petersburg, we discover a heritage that amazes us with the quality and consistency of Emil Gilels' piano playing. We are undoubtedly facing one of the greatest musicians of the 20th century. It is finally in Amsterdam, thanks to the determination of Piet Tullenaar, that we manage to extract five recitals that the pianist gave between 1975 and 1980 at the Concertgebouw and which everyone had forgotten existed. As we audition the tapes one by one in the studio allocated to us, neither Piet Tullenaar, nor Michel Navarra, nor myself exchange a word. What a beauty!\" F. D'Oria-\u003c\/span\u003eNicolas\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Emil Gilels, piano|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Netherlands\u003cbr\u003e 19.I.1975\u003cbr\u003e 26.X.1976\u003cbr\u003e 29.III.1978\u003cbr\u003e 30.I.1979\u003cbr\u003e 15.IV.1980\u003cbr\u003e STEREO ℗ 1975 TROS\u003cbr\u003e STEREO ℗ 1976 NOS \u003cbr\u003eSTEREO ℗ 1978 KRO\u003cbr\u003e STEREO ℗ 1979 NOS\u003cbr\u003e STEREO ℗ 1980 NOS\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2018 FONDAMENTA\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: André Perriat\u003cbr\u003e 180g 7-vinyls boxset\u003cbr\u003e Limited number of copies: 999\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225474240674,"sku":"FON-1803032-7LP","price":189.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_a29ce918-7c18-4868-959a-9947c329d334.jpg?v=1715947156"},{"product_id":"emil-gilels-the-unreleased-recitals-at-the-concertgebouw","title":"EMIL GILELS - THE UNRELEASED RECITALS AT THE CONCERTGEBOUW - HD DOWNLOAD","description":"\"\u003cspan data-mce-fragment=\"1\"\u003eIn June 2017, when I have to perform in Moscow, I meet Kirill Gilels, grandson of the famous pianist Emil Gilels. He has listened to what our Phoenix Mastering restoration process can accomplish and gives us a list of the years and locations of his grandfather's unpublished recordings. In Berlin, Moscow, St. Petersburg, we discover a heritage that amazes us with the quality and consistency of Emil Gilels' piano playing. We are undoubtedly facing one of the greatest musicians of the 20th century. It is finally in Amsterdam, thanks to the determination of Piet Tullenaar, that we manage to extract five recitals that the pianist gave between 1975 and 1980 at the Concertgebouw and which everyone had forgotten existed. As we audition the tapes one by one in the studio allocated to us, neither Piet Tullenaar, nor Michel Navarra, nor myself exchange a word. What a beauty!\" F. D'Oria\u003c\/span\u003e-Nicolas \u003cp\u003e|STARTTITLEGOLD| 999 Exemplaires |ENDTITLEGOLD|\u003c\/p\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Netherlands\u003cbr\u003e 19.I.1975\u003cbr\u003e 26.X.1976\u003cbr\u003e 29.III.1978\u003cbr\u003e 30.I.1979\u003cbr\u003e 15.IV.1980\u003cbr\u003e STEREO ℗ 1975 TROS\u003cbr\u003e STEREO ℗ 1976 NOS\u003cbr\u003e STEREO ℗ 1978 KRO\u003cbr\u003e STEREO ℗ 1979 NOS\u003cbr\u003e STEREO ℗ 1980 NOS\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2018 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225474994338,"sku":"TLRE-GILEBX-32DI","price":35.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-GILELS-2.jpg?v=1715947235"},{"product_id":"henryk-szeryng-the-unreleased-berlin-studio-recordings-double-cd","title":"HENRYK SZERYNG - THE UNRELEASED BERLIN STUDIO RECORDINGS - DOUBLE CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis production is exceptional in more ways than one. It is the first time that we have found recordings not of a concert, but made in a studio. And it is more than likely that the studios intended to release them. The RBB engineers have achieved a true miracle in terms of acoustics: never before,\u0026nbsp;at any time,\u0026nbsp;has the sound of a violin been restored to us with so much detail and authenticity.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo bring you the artistic and technological prowess of the engineers, we were determined to render all the dynamics and details of this landmark interpretation of Bach’s Partita No. 2 and Franck’s Sonata. A challenge indeed, because the tracks of the movements were divided over the four sides of a double album in 45-rpm format! This exploit marks another first in the history of The Lost Recordings label.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll the other versions (CD, HD download, and the download card of the vinyl edition) include the entirety of the recordings we found.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHenryk Szeryng - in majesty in Berlin\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eApril 1962 and April 1963, a year apart, Berlin acousticians, among the most experienced in the world, adjusted the removable panels of the walls of studio No. 3 of the Berlin Radio House. A technical marvel based on revolutionary, though totally traditional, methods, this hall was designed in 1929 by the architect Hans Poelzig with a unique and rarely equalled concern: to allow for high fidelity acoustics whatever the frequencies emitted, with a reverberation that can be modulated at will. Henryk Szeryng has the reputation of a scrupulous, uncompromising and authentic master who ranks alongside a Milstein or a Grumiaux. In April 1963, he was 44 years old. At the peak of his art, he meticulously took out of his box his Guarnerius del Gesu, known as \"the Duke\", with which he would make violin history that day.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"The work of Johann Sebastian Bach is a Bible. Bach is the ultimate goal, where everything begins and everything ends. His music brings you closer to your soul.\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;Henryk Szeryng.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Partita No. 2 is a monumental work in terms of the richness and variety of its writing, employing an unusual polyphony for solo violin. Bach seems to want a single theme that 'haunts' the first four movements, culminating in the majestic chaconne, which is constructed as a work in itself. At 15 minutes long, it presents a theme that will be varied sixty-three times in order to evoke, within a highly constructed whole, a universe of infinitely rich emotions, from anguish and sorrow to joy and hope. To capture the growing strength of this progression, Henryk Szeryng wanted to perform the entire partita in one go. Only two takes are needed to produce a performance of unique density, emotion and purity, the subtlety of which we were lucky enough to be able to capture.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJust a year earlier, Szeryng was in the same Studio 3 recording the Franck sonata. There is an obvious relationship between Bach and César Franck: the sense of construction, the desire for unity, the control of time. The violin sonata, composed in 1886, is based on the same intense writing as Bach's Partita. After the triumph of its first performance, its aura quickly extended beyond the musical realm. It is said to have inspired Marcel Proust to write the love story of Charles Swann and Odette de Crécy in 'Du côté de chez Swann'. As with the Partita No. 2, Henryk Szeryng and the pianist Günther Ludwig have achieved a real alchemy here and have delivered one of the most unforgettable interpretations of this work\u003c\/span\u003e.\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Henryk Szering, violin\u003cbr\u003e*Marinus Flipse, piano\u003cbr\u003e**Günther Ludwig, piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded\u0026nbsp;in Studio III, RBB, Berlin, 19.IV.1963\u003cbr\u003e MONO ℗ 1963 RBB\u003cbr\u003e Marinus Flipse, piano\u003cbr\u003e **Recorded at Studio III, RBB, Berlin, 27.IV.1962\u003cbr\u003e MONO ℗ 1962 RBB\u003cbr\u003e Günther Ludwig, piano\u003cbr\u003e ***Recorded in concert at Studio I, RBB, Berlin, 08.II.1982\u003cbr\u003e STEREO ℗ 1982 RBB\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225476042914,"sku":"TLRE-SZER62-40CD","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_f56e92c7-106a-4d06-9725-7459b9fd3535.jpg?v=1715947952"},{"product_id":"henryk-szeryng-the-unreleased-berlin-studio-recordings-double-vinyle","title":"HENRYK SZERYNG - THE UNRELEASED BERLIN STUDIO RECORDINGS - DOUBLE VINYL","description":"\u003cp\u003e|STARTTITLEGOLD|1000 Copies|ENDTITLEGOLD|\u003c\/p\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eThis production is exceptional in more ways than one. It is the first time that we have found recordings not of a concert, but made in a studio. And it is more than likely that the studios intended to release them. The RBB engineers have achieved a true miracle in terms of acoustics: never before,\u0026nbsp;at any time,\u0026nbsp;has the sound of a violin been restored to us with so much detail and authenticity.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo bring you the artistic and technological prowess of the engineers, we were determined to render all the dynamics and details of this landmark interpretation of Bach’s Partita No. 2 and Franck’s Sonata. A challenge indeed, because the tracks of the movements were divided over the four sides of a double album in 45-rpm format! This exploit marks another first in the history of The Lost Recordings label.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll the other versions (CD, HD download, and the download card of the vinyl edition) include the entirety of the recordings we found.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHenryk Szeryng - in majesty in Berlin\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eApril 1962 and April 1963, a year apart, Berlin acousticians, among the most experienced in the world, adjusted the removable panels of the walls of studio No. 3 of the Berlin Radio House. A technical marvel based on revolutionary, though totally traditional, methods, this hall was designed in 1929 by the architect Hans Poelzig with a unique and rarely equalled concern: to allow for high fidelity acoustics whatever the frequencies emitted, with a reverberation that can be modulated at will. Henryk Szeryng has the reputation of a scrupulous, uncompromising and authentic master who ranks alongside a Milstein or a Grumiaux. In April 1963, he was 44 years old. At the peak of his art, he meticulously took out of his box his Guarnerius del Gesu, known as \"the Duke\", with which he would make violin history that day.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"The work of Johann Sebastian Bach is a Bible. Bach is the ultimate goal, where everything begins and everything ends. His music brings you closer to your soul.\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;Henryk Szeryng.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Partita No. 2 is a monumental work in terms of the richness and variety of its writing, employing an unusual polyphony for solo violin. Bach seems to want a single theme that 'haunts' the first four movements, culminating in the majestic chaconne, which is constructed as a work in itself. At 15 minutes long, it presents a theme that will be varied sixty-three times in order to evoke, within a highly constructed whole, a universe of infinitely rich emotions, from anguish and sorrow to joy and hope. To capture the growing strength of this progression, Henryk Szeryng wanted to perform the entire partita in one go. Only two takes are needed to produce a performance of unique density, emotion and purity, the subtlety of which we were lucky enough to be able to capture.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJust a year earlier, Szeryng was in the same Studio 3 recording the Franck sonata. There is an obvious relationship between Bach and César Franck: the sense of construction, the desire for unity, the control of time. The violin sonata, composed in 1886, is based on the same intense writing as Bach's Partita. After the triumph of its first performance, its aura quickly extended beyond the musical realm. It is said to have inspired Marcel Proust to write the love story of Charles Swann and Odette de Crécy in 'Du côté de chez Swann'. As with the Partita No. 2, Henryk Szeryng and the pianist Günther Ludwig have achieved a real alchemy here and have delivered one of the most unforgettable interpretations of this work\u003c\/span\u003e. \n\u003cp class=\"subdescription\"\u003e*Recorded\u0026nbsp;in Studio III, RBB, Berlin, 19.IV.1963\u003cbr\u003e MONO ℗ 1963 RBB\u003cbr\u003e Marinus Flipse, piano\u003cbr\u003e **Recorded at Studio III, RBB, Berlin, 27.IV.1962\u003cbr\u003e MONO ℗ 1962 RBB\u003cbr\u003e Günther Ludwig, piano\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Henryk Szering, violin\u003cbr\u003e**Günther Ludwig, piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: Kevin Gray\u003cbr\u003e 180g 2-vinyl album\u003cbr\u003e Masters \u0026amp; Mothers: Quality Record Pressings\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e1st edition, numbered to\u003c\/span\u003e 1000 copies\u003cbr\u003e Printed \u0026amp; Pressed in Germany\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT ALBUM DOWNLOAD CARD IS INCLUDED WITH THE VINYL.\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225476370594,"sku":"TLR-2203040V","price":68.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_2a43c30a-d7a8-4882-ab89-4c8efd7094e3.jpg?v=1715947917"},{"product_id":"henryk-szeryng-the-unreleased-berlin-studio-recordings","title":"HENRYK SZERYNG - THE UNRELEASED BERLIN STUDIO RECORDINGS - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThis production is exceptional in more ways than one. It is the first time that we have found recordings not of a concert, but made in a studio. And it is more than likely that the studios intended to release them. The RBB engineers have achieved a true miracle in terms of acoustics: never before,\u0026nbsp;at any time,\u0026nbsp;has the sound of a violin been restored to us with so much detail and authenticity.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo bring you the artistic and technological prowess of the engineers, we were determined to render all the dynamics and details of this landmark interpretation of Bach’s Partita No. 2 and Franck’s Sonata. A challenge indeed, because the tracks of the movements were divided over the four sides of a double album in 45-rpm format! This exploit marks another first in the history of The Lost Recordings label.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAll the other versions (CD, HD download, and the download card of the vinyl edition) include the entirety of the recordings we found.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eHenryk Szeryng - in majesty in Berlin\u003c\/strong\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eApril 1962 and April 1963, a year apart, Berlin acousticians, among the most experienced in the world, adjusted the removable panels of the walls of studio No. 3 of the Berlin Radio House. A technical marvel based on revolutionary, though totally traditional, methods, this hall was designed in 1929 by the architect Hans Poelzig with a unique and rarely equalled concern: to allow for high fidelity acoustics whatever the frequencies emitted, with a reverberation that can be modulated at will. Henryk Szeryng has the reputation of a scrupulous, uncompromising and authentic master who ranks alongside a Milstein or a Grumiaux. In April 1963, he was 44 years old. At the peak of his art, he meticulously took out of his box his Guarnerius del Gesu, known as \"the Duke\", with which he would make violin history that day.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cem data-mce-fragment=\"1\"\u003e\"The work of Johann Sebastian Bach is a Bible. Bach is the ultimate goal, where everything begins and everything ends. His music brings you closer to your soul.\u003c\/em\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u0026nbsp;Henryk Szeryng.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Partita No. 2 is a monumental work in terms of the richness and variety of its writing, employing an unusual polyphony for solo violin. Bach seems to want a single theme that 'haunts' the first four movements, culminating in the majestic chaconne, which is constructed as a work in itself. At 15 minutes long, it presents a theme that will be varied sixty-three times in order to evoke, within a highly constructed whole, a universe of infinitely rich emotions, from anguish and sorrow to joy and hope. To capture the growing strength of this progression, Henryk Szeryng wanted to perform the entire partita in one go. Only two takes are needed to produce a performance of unique density, emotion and purity, the subtlety of which we were lucky enough to be able to capture.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJust a year earlier, Szeryng was in the same Studio 3 recording the Franck sonata. There is an obvious relationship between Bach and César Franck: the sense of construction, the desire for unity, the control of time. The violin sonata, composed in 1886, is based on the same intense writing as Bach's Partita. After the triumph of its first performance, its aura quickly extended beyond the musical realm. It is said to have inspired Marcel Proust to write the love story of Charles Swann and Odette de Crécy in 'Du côté de chez Swann'. As with the Partita No. 2, Henryk Szeryng and the pianist Günther Ludwig have achieved a real alchemy here and have delivered one of the most unforgettable interpretations of this work\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Henryk Szering, violin\u003cbr\u003e*Marinus Flipse, piano\u003cbr\u003e**Günther Ludwig, piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded\u0026nbsp;in Studio III, RBB, Berlin, 19.IV.1963\u003cbr\u003e MONO ℗ 1963 RBB\u003cbr\u003e Marinus Flipse, piano\u003cbr\u003e **Recorded at Studio III, RBB, Berlin, 27.IV.1962\u003cbr\u003e MONO ℗ 1962 RBB\u003cbr\u003e Günther Ludwig, piano\u003cbr\u003e ***Recorded in concert at Studio I, RBB, Berlin, 08.II.1982\u003cbr\u003e STEREO ℗ 1982 RBB\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e\n","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225476599970,"sku":"TLRE-HZ62-40DI","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-SZERYNG.jpg?v=1715947987"},{"product_id":"emil-gilels-the-unreleased-recital-at-the-concertgebouw-1976-telechargement-hd","title":"EMIL GILELS - THE UNRELEASED RECITAL AT THE CONCERTGEBOUW 1976 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eOn October 26, 1976, he was on stage, alone, in a repertoire of rare complexity in front of \"people who are passionate about music\", says Kirill. Enthusiastic but demanding. We can imagine Emil both serene and tense, on the lookout for the slightest whisper, in harmony, as soon as the silence sets in, with these composers he reveres: Beethoven, Brahms, Schumann, Prokofiev. Gilels knows how to lead us with elegance towards the delicious final surprise. There are interpretations so profound, so sincere and so right that they leave a lasting impression. There is no doubt that Emil Gilels' performance on that winter evening in 1976 in the prestigious Concertgebouw in Amsterdam is one of them\u003c\/span\u003e.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Emil Gilels, piano|ENDGOLD|\u003cbr\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, 26.X.1976\u003cbr\u003e *Recorded at the Concertgebouw, 30.I.1979\u003cbr\u003e STEREO ℗ 1976 NOS\u003cbr\u003e *STEREO ℗ 1979 NOS\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2018 FONDAMENTA from the original analog tapes\u003c\/span\u003e\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42225761779874,"sku":"TLRE-GILE76-32DI","price":16.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-GILELS.jpg?v=1715946965"},{"product_id":"ravel-concerto-for-piano-and-orchestra-in-g-major-m-83","title":"ARTURO BENEDETTI MICHELANGELI - RAVEL: PIANO CONCERTO IN G MAJOR, M. 83 - VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 2000 Copies |ENDTITLEGOLD|\u003c\/p\u003eFor decades now pianists and other musicians have acclaimed the recording of this concert, only available on video. It was of utmost importance to us to publish it as a record. While we were looking for the video recording in the BBC archives, we stumbled upon the analog stereo tape that had fallen into oblivion. We used it to bring this emotion-filled, historical evening back to life.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLondon, 11 April 1982. The expectant audience in front of the Royal Festival Hall was hoping that the extraordinary Arturo Benedetti Michelangeli – the pianist who would cancel his concerts at the last minute if he considered that neither of the two pianos he travelled with could render the colours that his mind and fingers would paint – would play that evening. The BBC sound engineers were wondering if they would be allowed to set up their microphones and cameras. Conductor Sergiu Celibidache intensely disliked any recording, maintaining that music is an art of the moment. In his opinion, microphones could not render all the harmonic richness, nor enable listeners to understand his choice of tempi, which he determined according to the acoustic parameters of any given moment.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt would take not one, but several miracles for the concert to come off. They all took place that evening. The utmost rigour, the vision of the music, and the mutual confidence and understanding between these two legendary figures since late in the 1960s all played a part.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe pianist walked regally onto the stage. In his hands, he was clutching a small black handkerchief. Maestro Celibidache followed him. That evening, they were performing Maurice Ravel’s last work for orchestra – the Concerto in G that the composer had planned to perform himself on “the five continents” until his delicate health meant he had to renounce the project.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Adagio assai, as Ravel wrote, is a tribute to scholasticism. “How I worked over it bar by bar. It nearly killed me.” In this section, he literally suspends time. And is this not the essential function of Art: to allow man to triumph over passing time and to grasp at the constellations to seize an alternative to his sad fate?\u003c\/span\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nArturo Benedetti Michelangeli, piano\u003cbr\u003e\nSergiu Celibidache, direction\u003cbr\u003e\nLondon Symphony Orchestra|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Royal Festival Hall, London, 8.IV.1982\u003cbr\u003e STEREO ℗ 1982 BBC\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRemastered by ℗ \u0026amp; © 2022 The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Germany\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered from the original analog tapes\u003cbr\u003e Lacquer-cuts: Kevin Gray\u003cbr\u003e Masters \u0026amp; Mothers: Quality Record Pressings\u003cbr\u003e 180g Single 45rpm vinyl album\u003cbr\u003e 1st Edition\u003cbr\u003e Limited number of copies, \u003cspan data-mce-fragment=\"1\"\u003ehand-numbered\u0026nbsp;\u003c\/span\u003e: 2000\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT ALBUM DOWNLOAD CARD IS INCLUDED WITH THE VINYL\u003c\/span\u003e.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42433345388706,"sku":"TLR-2203042V","price":52.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_4e0d6470-4dfe-43a9-8326-095e2b3abb9b.jpg?v=1715900778"},{"product_id":"arturo-benedetti-michelangeli-the-london-recordings-vol-1-double-cd","title":"ARTURO BENEDETTI MICHELANGELI - THE LONDON RECORDINGS VOL. 1 - DOUBLE CD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThese recordings were unearthed from the BBC archives. All the restoration work has been done from the original analog tapes. The works presented here are from a historic session in the London studios on June 30, 1959.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor decades, pianists and musicians around the world have revered this recording, which was previously known only on video. It was important to us to finally release it on disc. While searching for the videotape in the BBC archives, we discovered the forgotten analog stereo tape from which we were able to restore this incredibly emotional moment in history.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLondon, April 8, 1982. The public is waiting in front of the Royal Festival Hall and hopes that the immense Arturo Benedetti Michelangeli will play - he who used to cancel his concerts at the last moment when he judged that neither of the two pianos accompanying him were able to render the colors that his mind and fingers had to sculpt. As for the BBC engineers, they wonder if they will be able to put their microphones and their cameras: Sergiu Celibidache has a deep aversion to recording, defending that music is an \"Art of the moment\" and that microphones are incapable of rendering all the harmonic richness and allow to understand his choices of tempi, determined by the acoustic parameters of the moment.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt will take not one but several miracles. They will take place that evening. The extreme demands, the vision of the music, the trust and the understanding that these two legends have shared since the end of the 1960s contribute to this.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe pianist's approach is that of a Prince. He shakes a discreet black handkerchief with both hands. Maestro Celibidache follows suit. Tonight, they perform Maurice Ravel's last orchestral work - his Concerto in G, which the composer planned to perform himself on \"the five continents\" before his frail health persuaded him to give it up.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo succeed in expressing beauty with such obviousness and simplicity is the prerogative of geniuses whose ability to suspend time is felt by the listener. How can one not remember these words of André Malraux when listening to the second movement?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Art has the function of removing something from time, of suggesting the world of truths, with regard to which all human reality is only an appearance... to bring an answer to the questioning that poses to man his share of eternity\"\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nArturo Benedetti Michelangeli, piano\u003cbr\u003e\n*Sergiu Celibidache, direction\u003cbr\u003e\n*London Symphony Orchestra|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded at the Royal Festival Hall (London, UK), 8.IV.1982\u003cbr\u003e STEREO ℗ 1982 BBC\u003cbr\u003e Recorded at BBC Studios on 30.VI.1959\u003cbr\u003e MONO ℗ 1959 BBC\u003cbr\u003e Remastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42916426645666,"sku":"TLR-2203042","price":18.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MockupFront_d44f6a79-d76f-4032-9c5d-7da558f38fdb.jpg?v=1715926841"},{"product_id":"arturo-benedetti-michelangeli-the-london-recordings-vol-1-telechargement-hd","title":"ARTURO BENEDETTI MICHELANGELI - THE LONDON RECORDINGS VOL. 1 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eThese recordings were unearthed from the BBC archives. All the restoration work has been done from the original analog tapes. The works presented here are from a historic session in the London studios on June 30, 1959.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFor decades, pianists and musicians around the world have revered this recording, which was previously known only on video. It was important to us to finally release it on disc. While searching for the videotape in the BBC archives, we discovered the forgotten analog stereo tape from which we were able to restore this incredibly emotional moment in history.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eLondon, April 8, 1982. The public is waiting in front of the Royal Festival Hall and hopes that the immense Arturo Benedetti Michelangeli will play - he who used to cancel his concerts at the last moment when he judged that neither of the two pianos accompanying him were able to render the colors that his mind and fingers had to sculpt. As for the BBC engineers, they wonder if they will be able to put their microphones and their cameras: Sergiu Celibidache has a deep aversion to recording, defending that music is an \"Art of the moment\" and that microphones are incapable of rendering all the harmonic richness and allow to understand his choices of tempi, determined by the acoustic parameters of the moment.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt will take not one but several miracles. They will take place that evening. The extreme demands, the vision of the music, the trust and the understanding that these two legends have shared since the end of the 1960s contribute to this.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe pianist's approach is that of a Prince. He shakes a discreet black handkerchief with both hands. Maestro Celibidache follows suit. Tonight, they perform Maurice Ravel's last orchestral work - his Concerto in G, which the composer planned to perform himself on \"the five continents\" before his frail health persuaded him to give it up.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTo succeed in expressing beauty with such obviousness and simplicity is the prerogative of geniuses whose ability to suspend time is felt by the listener. How can one not remember these words of André Malraux when listening to the second movement?\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"Art has the function of removing something from time, of suggesting the world of truths, with regard to which all human reality is only an appearance... to bring an answer to the questioning that poses to man his share of eternity\"\u003c\/span\u003e. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n|STARTGOLD|\nArturo Benedetti Michelangeli, piano\u003cbr\u003e\n*Sergiu Celibidache, direction\u003cbr\u003e\n*London Symphony Orchestra|ENDGOLD|\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e*Recorded at the Royal Festival Hall (London, UK), 8.IV.1982\u003cbr\u003e STEREO ℗ 1982 BBC\u003cbr\u003e Recorded at BBC Studios on 30.VI.1959\u003cbr\u003e MONO ℗ 1959 BBC\u003cbr\u003e Remastered by ℗ \u0026amp; © 2022 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42922935451810,"sku":"TLRE-MI82-42DI","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-MICHELANGELI.jpg?v=1715926872"},{"product_id":"johanna-martzy-the-unreleased-rare-recordings-double-vinyl","title":"JOHANNA MARTZY - THE UNRELEASED \u0026 RARE RECORDINGS - DOUBLE VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 2000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\n\u003cstrong\u003eJohanna Martzy - A Sparkling Meteor\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e \"\u003cspan data-mce-fragment=\"1\"\u003eGod has given you all that you need … You must play as one of the first ten, not as the first fifty violinists”. These were the words of Jenő Hubay, Johanna Martzy’s teacher at the Liszt Academy of Budapest, when she was thirteen years old. She could not guess that she was fated to lead the life of a comet traversing an unremitting succession of light and shadowThe professional career of the young girl took off to a meteoric start. In 1943, she made her first performance in Budapest, playing the Tchaikovsky concerto under the baton of the great Willem Mengelberg. But the Nazi occupation of Nazis of Hungary, still part of the Axis, put a halt to the career of the young Jewish artist. She and her husband were sent to an Austrian internment camp, where they remained until the end of the war.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePerhaps it was the recollection of her teacher’s prediction that made her take up her violin again. In October 1947, she won the first prize of the Geneva Competition. Success was close at hand, and touring commenced: Amsterdam in 1949, New York in 1957 and then 1958, with young Leonard Bernstein conducting. However, personal setbacks began: she had to face permanent machinations concerning alleged questionable political affinities with Regent Mikklos Horthy in Hungary during world war two. In Edinburgh, in 1959, the Czech Philharmonic Orchestra refused to perform with her. As a result of her stormy relationships with record companies, she made few recordings. Musical critics, too, did not spare their harsh words, with some saying that her talent was deceptive. Her career took on a chaotic path, as it alternated between resounding praise and ignorance. Johanna remained proud and steadfast through the turmoil, determined to maintain her authenticity. It was a line from which she never wavered.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Lost Recordings has been fortunate to be able to revive hitherto unpublished studio and concert recordings from Berlin and Amsterdam, made between 1955 and 1965. They testify to the outstanding talent of Martzy, the comet of the musical world. Because these recordings are so old, they required significant restoration to bring the depth and brilliance of her playing back to life.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1955, in the Jesus-Christus church of Berlin, Martzy recorded Handel’s Sonata for Violin and Basso Continuo with pianist Jean Antonietti, as well as Mozart’s Sonata in B Major. Each tempo is rigorous and there are none of the mannerisms so common at the time, expressing her striving to achieve the most colourful musical sounds. Each phrase is a world that is rich in itself.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn 25 November 1961, she performed at the Concertgebouw in Amsterdam, where Willem van Otterloo was conducting the Radio Filharmonisch Orkest, the Dutch radio orchestra. Performing this concerto often exhausted Martzy, even though she was particularly fond of it. The recording here illustrates just how unfounded were the criticisms made of her. So uncompromising was she that no pretence was possible; she lived the work from its interior. Her limpid playing is in luminous harmony with the orchestra, which, at several points, she draws to the highest peaks of music. The emotion is all-encompassing.\u0026nbsp;It was often believed that Martzy dared not play the works of twentieth century composers. But her interpretation of Ravel displays vivacity and a sense of rhythm that pay apposite tribute him. Her vision of his sonata for violin, recorded in January 1965 at the Hilversum studio with pianist Franz-Paul Decker, is both dynamic and intimate. But that same year, her career began to fade. She chose to gradually leave the stage and took refuge in Switzerland. There, she died, unknown to almost all, in 1979 aged fifty-five.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhat injustice! The great Glenn Gould considered that she was the most underestimated of the major violinists of her time. Today, the error is remedied\u003c\/span\u003e. \u003c!-- MARTZY: THE UNRELEASED AND RARE RECORDINGS--\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Johanna Martzy, violin\u003cbr\u003e\nJean Antonietti, piano\u003cbr\u003e\n**Willem von Otterloo, conductor\u003cbr\u003e\n**Radio Filharmonisch Orkest|ENDGOLD|\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e*Registered at the Jesus-Christus Kirche, Berlin, 14.XI.1955\u003cbr\u003e MONO ℗ 1955 RBB\u003cbr\u003e Jean Antonietti, piano\u003cbr\u003e\u003cbr\u003e **Registered at the\u0026nbsp; Concertgebouw, Amsterdam, 25.XI.1961\u003cbr\u003e MONO ℗ 1961 VARA\u003cbr\u003e William van Otterloo, conductor \u0026amp; the Radio Filharmonisch Orkest\u003cbr\u003e\u003cbr\u003e *** Recorded at VARA studio, Hilversum, Netherland, 27.I.1965\u003cbr\u003e MONO ℗ 1965 VARA\u003cbr\u003e Jean Antonietti, piano\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by © 2023 THE LOST RECORDINGS from the tapes original analogs\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e33rpm Lacquer-cuts: Kevin Gray\u003c\/span\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e180g Double-vinyl album\u003c\/span\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eElectroplating: United-Kingdom\u003c\/span\u003e\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e1st edition, hand numbered: 2000 copies\u003cbr\u003e New Tip-on gatefold printed in Italy\u003cbr\u003e Pressed by Marciac Workshop Pressings, France\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e \u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT DOWNLOAD CARD FOR THE ALBUM IS INCLUDED WITH THE VINYL\u003c\/span\u003e.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":42969405882530,"sku":"TLR-2303046V","price":68.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Martzy-MockupFront.jpg?v=1715898253"},{"product_id":"lucia-di-lammermoor-berlin-1955","title":"MARIA CALLAS - LUCIA DI LAMMERMOOR • BERLIN 1955 - 3-VINYL BOX SET","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e|STARTTITLEGOLD|5000 copies|ENDTITLEGOLD|\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn May 2022, while we were working in the archives of the Rundfunk Berlin-Brandenburg (RBB), we came across the original tapes of this mythical recording made in 1955. It was certainly one of the most significant testimonies of the lyric art of the twentieth century:\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLucia di Lammermoor\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, recorded during the performance of 29 September 1955 at the Städtische Oper Berlin, with a cast that included Di Stefano, Panerai, Karajan and Callas.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eDespite the fact that the first forty seconds of the first tape had deteriorated, when we listened to the minutes of the recording that followed, we heard timbres with a richness and a dynamic that bore no comparison to other recordings that have been known until the present.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIt took four months of painstaking work to restore all the brilliance to the orchestra, to the Scala choir and to the legendary voices of this poignant slice of history and of music.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe wanted to be able to release our first vinyl edition of the opera in a limited number of 5,000 on the occasion of the centenary of the birth of Maria Callas.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eKevin Gray made the cutting and the three records were pressed in our very own workshop in the south of France, MWP, to our usual stringent standards.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe are very grateful to the RBB for their trust in us. We would also like to thank the Callas Foundation, which safeguards and promotes Callas’s legacy, and especially Tom Volf, for their help, as well as for the photographs they provided.\u0026nbsp;\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFrédéric D'Oria-Nicolas\u003cbr data-mce-fragment=\"1\"\u003eFounder and Director of The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eI have a very personal connection with Callas’s Lucia, for it is the first recording I heard of hers, more precisely the mad scene; hearing Callas’s voice and interpretation was like falling in love at first sight. This live recording is a wonderful example of what it felt like to hear Callas on stage, in a performance that became legendary.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMaria Callas said she “hated” recording for commercial (studio) releases and used to say that only live performances could convey her artistry in its full spectrum. In the later years of her life, she would collect her own pirate recordings and would often listen to performances such as this one. The best account of that comes from Robert Sutherland, her pianist during the last tour of concerts in 1973-74, who recalled the evenings spent at Callas’s apartment at Avenue Georges Mandel:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e“We listened to a pirate recording of the Berlin Lucia. She remembered how Karajan angered the soloists by repeating the sextet without warning them. As we listened to the encore she said ‘You can hear how angry I was! And I still had the mad scene to sing! I told him afterwards at dinner that he dare not do that again on me or there would be trouble!’ We listened to the mad scene, an amazing performance. She was visibly impressed. ‘I don’t now how I did it. I just don’t know how - and to think that I wept after that performance because I thought I was so far off my aim.’ I had difficulty in expressing my reaction. Such a combination of controlled technical brilliance and artistic imagination was astounding. I attempted it with, ‘It’s marvellous singing…’ ‘Marvellous? Marvellous?’ She pulled herself up in the sofa. ‘It isn’t marvellous, it’s bloody miraculous!’”\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBack at that time, pirate recordings circulated among avid admirers in the form of homemade LP’s, such as those released by the BJR label which is probably the one that Callas was listening to that night with Robert Sutherland. Today, however, we have to commend Frédéric D’Oria-Nicolas and The Lost Recordings for retrieving the original tapes in Berlin and meticulously restoring them to a quality of sound which surpasses any previous release, thus providing us with the most authentic rendition of that historical performance. Therefore it was only natural for the Callas Foundation to be associated with this publication, providing texts and images to illustrate the booklet and honour the memory of Maria Callas through this magnificent edition celebrating her 100th anniversary.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTom Volf\u003cbr data-mce-fragment=\"1\"\u003ePresident of the Maria Callas Foundation\u003c\/span\u003e\u003cbr\u003e \u003c!-- CALLAS: LUCIA DI LAMMERMOOR--\u003e\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cp class=\"tracklist_title_single_product\"\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Maria Callas, Lucia|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Di Stefano, Edgardo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Rolando Panerai, Enrico|ENDGOLD|\u003cbr\u003e|STARTGOLD|Nicola Zaccaria, Raimondo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Zampieri, Arturo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Luisa Villa, Alisa|ENDGOLD|\u003cbr\u003e|STARTGOLD|Mario Carlin, Normanno|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Coro del Teatro alla Scala, Milan|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|RIAS Symphonie-Orchester|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Herbert von Karajan, Chef d'Orchestre|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cul class=\"tracklist_band_single_product\"\u003e\u003c\/ul\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 29.IX.1955 at the Städtische Oper Berlin, Germany\u003cbr\u003e\u003cbr\u003e MONO © 1955 RBB\u003cbr\u003e Remastered ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1st hand-numbered edition, limited to 5000 copies\u003c\/span\u003e\u003cbr\u003e No vinyl r\u003cspan data-mce-fragment=\"1\"\u003eepress will be done\u003c\/span\u003e\u003cbr\u003e Remastered from original analog tapes\u003cbr\u003e 40 page booklet\u003cbr\u003e facsimile of \u003cspan data-mce-fragment=\"1\"\u003ethe performance program\u003c\/span\u003e\u003cbr\u003e Printed in Italy\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003ePressed at\u003c\/span\u003e Marciac Workshop Pressings, France\u003cbr\u003e 33 rpm \u003cspan data-mce-fragment=\"1\"\u003eLacquer-cuts:\u003c\/span\u003e Kevin Gray\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eElectroplating: Marciac Workshop Pressing\u003c\/span\u003es\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e180g triple-vinyl boxset\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e Photos: © Maria Callas Foundation\u003cbr\u003e Texts: Anna Svenbro, Tom Volf, John Ardoin, Maria Callas, Robert Jacobson.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*\u003cspan data-mce-fragment=\"1\"\u003eA 16-BIT DOWNLOAD CARD OF THE ALBUM IS INCLUDED WITH THE BOXSET.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46515763413338,"sku":"TLR-2303047V","price":228.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/WhatsAppImage2023-05-15at19.09.16_36523168-6736-4a42-8764-5af4c5c4e99c.jpg?v=1715893320"},{"product_id":"johanna-martzy-the-unreleased-rare-recordings-telechargement-hd","title":"JOHANNA MARTZY - THE UNRELEASED \u0026 RARE RECORDINGS - HD DOWNLOAD","description":"\u003cstrong\u003eJohanna Martzy - A Sparkling Meteor\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003e“God has given you all that you need … You must play as one of the first ten, not as the first fifty violinists”. These were the words of Jenő Hubay, Johanna Martzy’s teacher at the Liszt Academy of Budapest, when she was thirteen years old. She could not guess that she was fated to lead the life of a comet traversing an unremitting succession of light and shadowThe professional career of the young girl took off to a meteoric start. In 1943, she made her first performance in Budapest, playing the Tchaikovsky concerto under the baton of the great Willem Mengelberg. But the Nazi occupation of Nazis of Hungary, still part of the Axis, put a halt to the career of the young Jewish artist. She and her husband were sent to an Austrian internment camp, where they remained until the end of the war.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePerhaps it was the recollection of her teacher’s prediction that made her take up her violin again. In October 1947, she won the first prize of the Geneva Competition. Success was close at hand, and touring commenced: Amsterdam in 1949, New York in 1957 and then 1958, with young Leonard Bernstein conducting. However, personal setbacks began: she had to face permanent machinations concerning alleged questionable political affinities with Regent Mikklos Horthy in Hungary during world war two. In Edinburgh, in 1959, the Czech Philharmonic Orchestra refused to perform with her. As a result of her stormy relationships with record companies, she made few recordings. Musical critics, too, did not spare their harsh words, with some saying that her talent was deceptive. Her career took on a chaotic path, as it alternated between resounding praise and ignorance. Johanna remained proud and steadfast through the turmoil, determined to maintain her authenticity. It was a line from which she never wavered.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Lost Recordings has been fortunate to be able to revive hitherto unpublished studio and concert recordings from Berlin and Amsterdam, made between 1955 and 1965. They testify to the outstanding talent of Martzy, the comet of the musical world. Because these recordings are so old, they required significant restoration to bring the depth and brilliance of her playing back to life.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn 1955, in the Jesus-Christus church of Berlin, Martzy recorded Handel’s Sonata for Violin and Basso Continuo with pianist Jean Antonietti, as well as Mozart’s Sonata in B Major. Each tempo is rigorous and there are none of the mannerisms so common at the time, expressing her striving to achieve the most colourful musical sounds. Each phrase is a world that is rich in itself.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eOn 25 November 1961, she performed at the Concertgebouw in Amsterdam, where Willem van Otterloo was conducting the Radio Filharmonisch Orkest, the Dutch radio orchestra. Performing this concerto often exhausted Martzy, even though she was particularly fond of it. The recording here illustrates just how unfounded were the criticisms made of her. So uncompromising was she that no pretence was possible; she lived the work from its interior. Her limpid playing is in luminous harmony with the orchestra, which, at several points, she draws to the highest peaks of music. The emotion is all-encompassing.\u0026nbsp;It was often believed that Martzy dared not play the works of twentieth century composers. But her interpretation of Ravel displays vivacity and a sense of rhythm that pay apposite tribute him. Her vision of his sonata for violin, recorded in January 1965 at the Hilversum studio with pianist Franz-Paul Decker, is both dynamic and intimate. But that same year, her career began to fade. She chose to gradually leave the stage and took refuge in Switzerland. There, she died, unknown to almost all, in 1979 aged fifty-five.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWhat injustice! The great Glenn Gould considered that she was the most underestimated of the major violinists of her time. Today, the error is remedied\u003c\/span\u003e. \u003c!-- MARTZY: THE UNRELEASED AND RARE RECORDINGS--\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Johanna Martzy, violin\u003cbr\u003e\nJean Antonietti, piano\u003cbr\u003e\n**Willem von Otterloo, conductor\u003cbr\u003e\n**Radio Filharmonisch Orkest|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e*Registered at the Jesus-Christus Kirche, Berlin, 14.XI.1955\u003cbr\u003e MONO ℗ 1955 RBB\u003cbr\u003e Jean Antonietti, piano\u003cbr\u003e\u003cbr\u003e **Registered at the Concertgebouw, Amsterdam, 25.XI.1961\u003cbr\u003e MONO ℗ 1961 VARA\u003cbr\u003e William van Otterloo, conductor \u0026amp; the Radio Filharmonisch Orkest\u003cbr\u003e\u003cbr\u003e *** Recorded at VARA studio, Hilversum, Netherland, 27.I.1965\u003cbr\u003e MONO ℗ 1965 VARA\u003cbr\u003e Jean Antonietti, piano\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by © 2023 THE LOST RECORDINGS from the tapes original analogs\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46748883779930,"sku":"TLRE-MA55-46DI","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-MARTZY.jpg?v=1715898423"},{"product_id":"maria-callas-lucia-di-lammermoor-berlin-1955-telechargement-hd","title":"MARIA CALLAS - LUCIA DI LAMMERMOOR • BERLIN 1955 - HD DOWNLOAD","description":"\u003cspan data-mce-fragment=\"1\"\u003eIn May 2022, while working in the RBB archives, we discovered the original tapes of this legendary 1955 recording - undoubtedly one of the most important operatic testimonies of the 20th century:\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLucia di Lammermoor\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, recorded in concert on September 29, 1955 at the Städtische Oper Berlin, featuring Di Stefano, Panerai, von Karajan and Callas.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAlthough we note that the first few bars of Tape No. 1 have deteriorated, the minutes that follow reveal a richness of timbre and dynamics incomparable with the editions known to date.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eFour months of painstaking work were necessary to restore the full brilliance of the orchestra, the La Scala Chorus and the legendary voices of this moving piece of history and music.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe were delighted to be able to present our first vinyl edition, limited to 5,000 copies, to mark the centenary of Maria Callas' birth.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWe would like to thank the RBB for its confidence, and the Maria Callas Endowment Fund and Mr. Tom Volf for their support and the photos accompanying the booklet.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-align: right; display: block;\"\u003eFrédéric D'Oria-Nicolas\u003cbr data-mce-fragment=\"1\"\u003eFounder and Director of The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMaria Callas declared that she \"hated\" studios, and that only concert recordings could convey the full extent of her talent. During the last years of her life, she collected her own concert recordings (often pirate recordings) and listened to them. The best account comes from Robert Sutherland - her pianist, during Callas' last tour in 1973-74. This is how he recalls evenings spent in Maria Callas's Paris apartment on Avenue Georges Mandel:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\"We listened to a pirate recording of Berlin's\u0026nbsp;\u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eLucia\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e. She remembered how Karajan had enraged the soloists by drinking the sextet during the performance, without warning them. As we listened to the second version they had given, she said: \"You can hear how angry I was! And I still had the air of madness to sing! At the dinner afterwards, I told Karajan that he'd never do it again, or he'd be in trouble!\" Then came the aria in question - a prodigious interpretation. She was clearly impressed herself. \"I don't know how I did it. I just don't know how - and to think I cried after my performance because I thought I was so far from my ideal.\" I struggled to find the right words: such a combination of technical mastery and artistic imagination was simply genius. I tried myself with a \"That's wonderful...\" \"Wonderful? Wonderful?\" she retorted, straightening up on the sofa - \"It's not wonderful, it's simply miraculous!\"\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn those days, pirate recordings circulated among passionate admirers in the form of more or less hand-crafted LPs, such as those issued by the BJR label, which is probably the one Callas was listening to that evening with Robert Sutherland. Today, however, we must congratulate Frédéric D'Oria-Nicolas and The Lost Recordings for having tracked down the original tapes in Berlin and meticulously restored them to a sound quality that surpasses all previous versions, giving us the most authentic interpretation of this piece of history. It is therefore only natural that the Maria Callas Endowment Fund should be associated with this publication, providing texts and images to illustrate the booklet and honor the memory of Maria Callas through this magnificent edition celebrating her 100th birthday.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-align: right; display: block;\"\u003eTom Volf\u003cbr data-mce-fragment=\"1\"\u003ePresident of the Maria Callas Endowment Fund\u003c\/span\u003e\u003c\/span\u003e\u003c!-- CALLAS: LUCIA DI LAMMERMOOR--\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cp class=\"subdescription\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e|STARTGOLD|Maria Callas, Lucia|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Di Stefano, Edgardo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Rolando Panerai, Enrico|ENDGOLD|\u003cbr\u003e|STARTGOLD|Nicola Zaccaria, Raimondo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Zampieri, Arturo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Luisa Villa, Alisa|ENDGOLD|\u003cbr\u003e|STARTGOLD|Mario Carlin, Normanno|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Coro del Teatro alla Scala, Milan|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|RIAS Symphonie-Orchester|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Herbert von Karajan, Chef d'Orchestre|ENDGOLD|\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 29.IX.1955 at Städtische Oper Berlin, Germany\u003cbr\u003e\u003cbr\u003e MONO © 1955 RBB\u003cbr\u003e Remastered ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e\u003cbr\u003eRemastered from the original analog tapes\u003cbr\u003e Booklet in English 80 pages\u003cbr\u003e Photos: © Maria Callas Foundation\u003cbr\u003e Texts: Anna Svenbro, Tom Volf, John Ardoin, Maria Callas, Robert Jacobson.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46844169159002,"sku":"TLR-2303047HD","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-CALLAS2.jpg?v=1715897337"},{"product_id":"maria-callas-lucia-di-lammermoor-berlin-1955-uhqcd","title":"MARIA CALLAS - LUCIA DI LAMMERMOOR • BERLIN 1955 - UHQCD BOX","description":"\u003cp style=\"text-align: left;\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn May 2022, while working in the RBB archives, we discovered the original tapes of this legendary 1955 recording - undoubtedly one of the most important operatic testimonies of the 20th century:\u0026nbsp;\u003ci data-mce-fragment=\"1\"\u003eLucia di Lammermoor\u003c\/i\u003e, recorded in concert on September 29, 1955 at the Städtische Oper Berlin, featuring Di Stefano, Panerai, von Karajan and Callas.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eAlthough we note that the first few bars of Tape No. 1 have deteriorated, the minutes that follow reveal a richness of timbre and dynamics incomparable with the editions known to date.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eFour months of painstaking work were necessary to restore the full brilliance of the orchestra, the La Scala Chorus and the legendary voices of this moving piece of history and music.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWe were delighted to be able to present our first vinyl edition, limited to 5,000 copies, to mark the centenary of Maria Callas' birth.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWe would like to thank the RBB for its confidence, and the Maria Callas Endowment Fund and Mr. Tom Volf for their support and the photos accompanying the booklet.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-align: right; display: block;\"\u003eFrédéric D'Oria-Nicolas\u003cbr data-mce-fragment=\"1\"\u003eFounder and Director of The Lost Recordings\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eMaria Callas declared that she \"hated\" studios, and that only concert recordings could convey the full extent of her talent. During the last years of her life, she collected her own concert recordings (often pirate recordings) and listened to them. The best account comes from Robert Sutherland - her pianist, during Callas' last tour in 1973-74. This is how he recalls evenings spent in Maria Callas's Paris apartment on Avenue Georges Mandel:\u003cbr data-mce-fragment=\"1\"\u003e\"We listened to a pirate recording of Berlin's\u0026nbsp;\u003ci data-mce-fragment=\"1\"\u003eLucia\u003c\/i\u003e. She remembered how Karajan had enraged the soloists by drinking the sextet during the performance, without warning them. As we listened to the second version they had given, she said: \"You can hear how angry I was! And I still had the air of madness to sing! At the dinner afterwards, I told Karajan that he'd never do it again, or he'd be in trouble!\" Then came the aria in question - a prodigious interpretation. She was clearly impressed herself. \"I don't know how I did it. I just don't know how - and to think I cried after my performance because I thought I was so far from my ideal.\" I struggled to find the right words: such a combination of technical mastery and artistic imagination was simply genius. I tried myself with a \"That's wonderful...\" \"Wonderful? Wonderful?\" she retorted, straightening up on the sofa - \"It's not wonderful, it's simply miraculous!\"\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn those days, pirate recordings circulated among passionate admirers in the form of more or less hand-crafted LPs, such as those issued by the BJR label, which is probably the one Callas was listening to that evening with Robert Sutherland. Today, however, we must congratulate Frédéric D'Oria-Nicolas and The Lost Recordings for having tracked down the original tapes in Berlin and meticulously restored them to a sound quality that surpasses all previous versions, giving us the most authentic interpretation of this piece of history. It is therefore only natural that the Maria Callas Endowment Fund should be associated with this publication, providing texts and images to illustrate the booklet and honor the memory of Maria Callas through this magnificent edition celebrating her 100th birthday.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan style=\"text-align: right; display: block;\"\u003eTom Volf\u003cbr data-mce-fragment=\"1\"\u003ePresident of the Maria Callas Endowment Fund\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e|STARTGOLD|Maria Callas, Lucia|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Di Stefano, Edgardo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Rolando Panerai, Enrico|ENDGOLD|\u003cbr\u003e|STARTGOLD|Nicola Zaccaria, Raimondo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Giuseppe Zampieri, Arturo|ENDGOLD|\u003cbr\u003e|STARTGOLD|Luisa Villa, Alisa|ENDGOLD|\u003cbr\u003e|STARTGOLD|Mario Carlin, Normanno|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Coro del Teatro alla Scala, Milan|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|RIAS Symphonie-Orchester|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Herbert von Karajan, Chef d'Orchestre|ENDGOLD|\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 29.IX.1955 at the Städtische Oper Berlin, Germany\u003cbr\u003e\u003cbr\u003e MONO © 1955 RBB\u003cbr\u003e Remastered ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003e1st edition Double Book UHQCD\u003cbr\u003e Remastered from the original analog tapes\u003cbr\u003e\u003cspan data-mce-fragment=\"1\"\u003eBooklet 80 pages\u003c\/span\u003e\u003cbr\u003e Pressed in Japan\u003cbr\u003e\u003cbr\u003e Photos: © Maria Callas Foundation\u003cbr\u003e Texts: Anna Svenbro, Tom Volf, John Ardoin, Maria Callas, Robert Jacobson.\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":46844282569050,"sku":"TLR-2303047","price":58.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD_FRONT_BACK_1-logo_d1d74fae-d745-422c-8417-8fb3abaa3a35.jpg?v=1730830571"},{"product_id":"karl-bohm","title":"KARL BÖHM - THE UNRELEASED BERLIN RECORDINGS 1962 - DOUBLE VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 2000 Copies\u0026nbsp;|ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eDr. Karl Böhm\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e Böhm was 68 years old when, on 29 October 1962, he took up the baton in the legendary Saal 1 (studio number one) of the broadcasting corporation on Kaiserdamm Strasse in Berlin to conduct the Radio-Symphonie-Orchester. The programme comprised Symphony No. 4 by Johannes Brahms and \u003ci\u003eTod und Verklärung\u003c\/i\u003e (“Death and Transfiguration”), a tone poem by Richard Strauss. For decades, Böhm had finely worked each melodic line, each harmony, each tempo.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIn order to give the most faithful rendition of the warmth of this outstanding performance that has come to light after more than sixty years, we have been able to reap the benefits of the talent of the original Berlin sound engineers together with several weeks of restoration work by our own teams. We have opted to cut the first and second movements on two different sides to optimise the rendering of the sound.\u003cbr\u003e\u003cbr\u003eAs critic Marcel Prawy wrote, “ The words used to describe major conductors are well-known. Their conducting is fascinating, extraordinary, pure genius. Karl Böhm simply conducts with authenticity”. There could be no more glowing compliment. Musician and broadcaster Clément Rochefort, talking of this “adventure into sound and metaphysics”, says of \u003ci\u003eTod und Verklärung\u003c\/i\u003e, recorded that day in October 1962, that the Radio-Symphonie-Orchester had a supremely masterful guide at its helm: Karl Böhm.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Karl Böhm, conductor|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Radio Symphonie Orchester Berlin|ENDGOLD|\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Saal 1, RBB, Berlin, 29.IX.1962-01.X.1962\u003cbr\u003e STEREO ℗ 1962 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRemastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS\u003cbr\u003e from the original analog tapes\u003cbr\u003e\u003cbr\u003e Ref.: TLR-2403051V\u003cbr\u003e 33 rpm Lacquer-cuts: Kevin Gray \u003cbr\u003e Double vinyl album 180g\u003cbr\u003e Electroplating: United-Kingdom\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e1st edition, hand numbered: 2000 copies\u003cbr\u003e New Tip-on gatefold printed in Italy\u003cbr\u003e Pressed by Simon Garcia, Marciac, France\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e \u003cbr\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e*A 16-bit album download card is included with the vinyl.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":47725126156634,"sku":"TLR-2403051V","price":68.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/Bohm-LP-Fred.jpg?v=1715888663"},{"product_id":"maria-callas-lucia-di-lammermoor-berlin-1955-3x-reel-tapes","title":"MARIA CALLAS - LUCIA DI LAMMERMOOR • BERLIN 1955 - 3x REEL TAPES","description":"It was in May 2022, while we were working in the RBB archives, that we discover the original tapes of this legendary recording from 1955 – which is, without a doubt, one of the most important lyrical testimonies of the 20th century century: the \u003ci\u003eLucia di Lammermoor\u003c\/i\u003e , captured in concert, September 29, 1955 at the Städtische Oper Berlin, bringing together Di Stefano, Panerai, von Karajan and Callas.\u003cbr\u003e\u003cbr\u003e Although we note that the first measurements of the band n°1 have been deteriorated, the minutes which follow reveal a richness of timbres and dynamics incomparable with the editions known until this day.\u003cbr\u003e\u003cbr\u003e Four months of meticulous work were necessary to make all its brilliance to the orchestra, to the choir of La Scala and to the legendary voices of this moving piece of history and music.\u003cbr\u003e\u003cbr\u003e He was close to our hearts to be able to present to you our first vinyl edition limited to 5,000 copies on the occasion of the centenary of the birth of Maria Callas.\u003cbr\u003e\u003cbr\u003e We thank the RBB for its trust and the Maria Callas Endowment Fund as well and Mr. Tom Volf for their assistance and the photos that accompany the booklet. \u003cbr\u003e\u003cbr\u003e \u003cspan style=\"text-align: right; display: block;\"\u003eFrédéric D'Oria-Nicolas\u003cbr\u003e Founder and Director of The Lost Recordings\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e Maria Callas declared that she \"hated\" the studios and that only the recordings of her concerts could demonstrate the extent of his talent. During the last years throughout her life, she collected her own concert recordings (often pirate recordings) and listened to them. The best story comes to us from Robert Sutherland – his pianist, during Callas' last tour in 1973-74. This is how he remembers the evenings spent in the apartment Parisian by Maria Callas, avenue Georges Mandel:\u003cbr\u003e “We listened to a pirate recording of the \u003ci\u003eLucia\u003c\/i\u003e from Berlin. She remembered how of which Karajan had provoked the anger of the soloists by violating the sextet during representation, without warning them. As we listened to the second version they had given, she said: \"You can hear how I was angry ! And I still looked crazy singing! During the dinner that followed, I told Karajan that he never does it again, otherwise he would be in trouble! » Then came the tune in question – an interpretation prodigious. She was obviously impressed herself. \"I don't know how I did it. I just don't know how - and to think I have cried after my performance because I thought I was so far from my ideal. \" I have had difficulty finding the right words: such a combination of mastery technique and artistic imagination was simply genius. I am tried with a “It’s wonderful…” “Wonderful? Wonderful ? » me she retorted, sitting up on the sofa – “Isn’t it wonderful, It’s simply miraculous! »\u003cbr\u003e\u003cbr\u003e At this time, the pirated recordings circulated among passionate admirers under the form of more or less artisanal LPs, like those published by the BJR label which is probably the one Callas was listening to that evening with Robert Sutherland. Today, however, we must congratulate Frédéric D'Oria-Nicolas and The Lost Recordings for finding the original tapes in Berlin and having them meticulously restored with sound quality that surpasses all previous versions, giving us the most authentic interpretation of this piece of history. It is therefore quite natural that the Endowment Fund Maria Callas was associated with this publication, providing texts and images to illustrate the booklet and honor the memory of Maria Callas at through this magnificent edition celebrating its 100th anniversary. \u003cbr\u003e\u003cbr\u003e \u003cspan style=\"text-align: right; display: block;\"\u003eTom Volf\u003cbr\u003e President of the Maria Callas Endowment Fund\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e|STARTGOLD|Maria Callas, Lucia|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Giuseppe Di Stefano, Edgardo|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Rolando Panerai, Enrico|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Nicola Zaccaria, Raimondo|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Giuseppe Zampieri, Arturo|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Luisa Villa, Alisa|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Mario Carlin, Normanno|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Coro del Teatro alla Scala, Milan|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|RIAS Symphonie-Orchester|ENDGOLD|\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e|STARTGOLD|Herbert von Karajan, Conductor|ENDGOLD|\u003c\/div\u003e\u003cbr\u003e\n\u003cdiv class=\"tracklist_wrapper\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded on 29.IX.1955 at the Städtische Oper Berlin, Germany\u003cbr\u003e\u003cbr\u003e MONO © 1955 RBB\u003cbr\u003e Remastered ℗ \u0026amp; © 2023 THE LOST RECORDINGS\u003c\/p\u003e\n\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eMade and printed in Austria\u003c\/span\u003e\u003cbr\u003e \u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eDuration: 1h 59min 47s\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":47752770257242,"sku":"TLR-2303047-TAPES","price":648.0,"currency_code":"EUR","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/TAPES-CALLAS.jpg?v=1715958926"},{"product_id":"the-unreleased-swiss-recordings","title":"SAMSON FRANÇOIS - THE UNRELEASED SWISS RECORDINGS - DOUBLE VINYLE","description":"\u003cp\u003e|STARTTITLEGOLD|2000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eMagnetic Samson François\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e Samson François inevitably ranks alongside Sofronitzky, Horowitz and Cortot. The latter also mentioned it in these terms: “I only manage to make it play by creating images”. We find these evocations in multiple and fascinating colors in each of these new recordings captured in Switzerland, in different locations, for a program entirely dedicated to his favorite universe: romantic music.\u003cbr\u003e\u003cbr\u003e From the first notes of Schumann's \u003ci\u003ePapillons\u003c\/i\u003e , recorded in the RTS studios in Geneva in 1961, we understand why the very natural interpretation of Samson François operates the synthesis between the two theories of music, that of Rameau who does not see in she only rhythm and order, and that of Jean-Jacques Rousseau, for whom it is the purest expression of feeling. Samson manages to draw out the most concentrated essences to give us one of the most captivating readings of this early work inspired by a masked ball. Mendelssohn's two \u003ci\u003eWordless Romances\u003c\/i\u003e which follow, immortalized on the same date, are fashioned from the same material. And we wonder after having been hypnotized by this sonority with infinite sustain, the delicate carving of the articulations of the accompaniment, the ideal legato, this rubato of incredible elegance which is grafted onto an ideal pulsation: y Is there a more captivating reading of these miniatures than these?\u003cbr\u003e\u003cbr\u003e Samson François floats on his keyboard and on the music, “I would have liked to make a pact with the devil, but he didn't want me” he was quoted in an article in Diapason magazine in 2020. Excessive, unpredictable, seductive , vulnerable...in a word, magnetic, as revealed by this unprecedented discovery which pays homage to the man who, incontestably, is one of the greatest pianist poets of the 20th century.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Samson François, Piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e|STARTGOLD|**Edmond Appia, Conductor|ENDGOLD|\u003cbr\u003e|STARTGOLD|**Suisse Romande Orchestra|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded on the 31.I.1961 at the RTS Studio, Geneva\u003cbr\u003e* Recorded on the ?.?.1949 at the RTS Studio, Geneva\u003cbr\u003e** Recorded on the 28.III.1962, unknown place\u003cbr\u003e*** Date and place unknown\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRef.: TLR-2403052V\u003cbr\u003e33rpm Lacquer-cuts: Kevin Gray\u003cbr\u003ePhoto: 1959 © ClaudePoirier\/Roger-Viollet\u003cbr\u003e1st edition, hand-numbered: 2000 copies\u003cbr\u003eTip-on gatefold printed in Italy\u003cbr\u003ePressed by Simon Garcia, Marciac, France\u003c\/p\u003e\n\u003cp\u003eMONO ℗ 1949, 1961, 1962 RTS\u0026nbsp;\u003cbr\u003eRemastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":48193512505690,"sku":"TLR-2403052V","price":68.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MOCKUP_2LP_FRONT-72dpi_fbe83868-0cb0-4399-ba4b-8ba339eaef99.jpg?v=1715960538"},{"product_id":"karl-bohm-the-unreleased-berlin-studio-recordings-1962-uhqcd","title":"KARL BÖHM - THE UNRELEASED BERLIN RECORDINGS 1962 - UHQCD","description":"\u003cp\u003e\u003cstrong\u003eDr. Karl Böhm\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e Böhm was 68 years old when, on 29 October 1962, he took up the baton in the legendary Saal 1 (studio number one) of the broadcasting corporation on Kaiserdamm Strasse in Berlin to conduct the Radio-Symphonie-Orchester. The programme comprised Symphony No. 4 by Johannes Brahms and \u003ci\u003eTod und Verklärung\u003c\/i\u003e (“Death and Transfiguration”), a tone poem by Richard Strauss. For decades, Böhm had finely worked each melodic line, each harmony, each tempo.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIn order to give the most faithful rendition of the warmth of this outstanding performance that has come to light after more than sixty years, we have been able to reap the benefits of the talent of the original Berlin sound engineers together with several weeks of restoration work by our own teams. We have opted to cut the first and second movements on two different sides to optimise the rendering of the sound.\u003cbr\u003e\u003cbr\u003eAs critic Marcel Prawy wrote, “ The words used to describe major conductors are well-known. Their conducting is fascinating, extraordinary, pure genius. Karl Böhm simply conducts with authenticity”. There could be no more glowing compliment. Musician and broadcaster Clément Rochefort, talking of this “adventure into sound and metaphysics”, says of \u003ci\u003eTod und Verklärung\u003c\/i\u003e, recorded that day in October 1962, that the Radio-Symphonie-Orchester had a supremely masterful guide at its helm: Karl Böhm.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Karl Böhm, conductor|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Radio Symphonie Orchester Berlin|ENDGOLD|\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Saal 1, RBB, Berlin, 29.IX.1962-01.X.1962\u003cbr\u003e STEREO ℗ 1962 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e Remastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS\u003cbr\u003e from the original analog tapes\u003cbr\u003e\u003cbr\u003e Ref.: TLR-2403051\u003cbr data-mce-fragment=\"1\"\u003e \u003cspan data-mce-fragment=\"1\"\u003e1st Edition Book-UHQCD\u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":49814725329242,"sku":"TLR-2403051-UHQCD","price":32.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD_FRONT_BACK_1-LogoHQCD-CARRE-2.jpg?v=1730824790"},{"product_id":"samson-francois-the-unreleased-swiss-recordings-double-uhqcd","title":"SAMSON FRANÇOIS - THE UNRELEASED SWISS RECORDINGS - DOUBLE UHQCD","description":"\u003cp\u003e\u003cstrong\u003eMagnetic Samson François\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eFrançois is in the lineage of Sofronitzky, Horowitz and Cortot. In fact, Cortot said of him, “I can only get him to play by evoking images.” We find such fascinatingly colourful images in each of these previously unpublished recordings made in various places in Switzerland; they make up a programme entirely devoted to François’s beloved world, that of romantic music.\u003cbr\u003e\u003cbr\u003e\nNo sooner do we hear the first notes of Schumann’s \u003ci\u003ePapillons\u003c\/i\u003e, recorded in the RTS studios in Geneva in 1961, than we understand why François’s flowing interpretation achieves a synthesis between two theories of music: that of Jean-Philippe Rameau, who saw in music only rhythm and order, and that of Jean-Jacques Rousseau, for whom music was the purest expression of feeling. François draws out the concentrated essences of the piece, giving us a particularly mesmerising interpretation of the youthful Schumann’s work inspired by a masked ball.\u003cbr\u003e\u003cbr\u003e\nThe next pieces, Mendelssohn’s two \u003ci\u003eSongs without Words\u003c\/i\u003e, were recorded at the same time and are made of the same stuff. After succumbing to the hypnotic effect of the pianist’s sound with its unfathomable subtlety – the delicately chiselled accompanying delivery, perfect legato and superbly elegant rubato over an ideal beat – one can only wonder if there are any more spellbinding renderings of these miniatures than these.\u003cbr\u003e\u003cbr\u003e\nFrançois’s hands flow over his keyboard and over the music. “I should have liked to make a pact with the devil, but he wouldn’t have me,” he is quoted as saying, according to an article in Diapason magazine published in 2020. François was excessive, unpredictable, a charmer, vulnerable – in a nutshell, he was magnetic, a quality revealed by the discovery of these recordings that are a tribute to one of the greatest pianistic poets of the twentieth century.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e |STARTGOLD|Samson François, Piano|ENDGOLD|\u003cbr\u003e |STARTGOLD|**Edmond Appia, Conductor|ENDGOLD|\u003cbr\u003e |STARTGOLD|**Orchestra of French-speaking Switzerland|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded on 31.I.1961 at the RTS Studio, Geneva\u003cbr\u003e * Recorded on the ?.?.1949 at the RTS Studio, Geneva\u003cbr\u003e ** Recorded on 28.III.1962, unknown place\u003cbr\u003e *** Date and place unknown\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRef: TLR-2403052\u003cbr\u003e Photo: 1959 © ClaudePoirier\/Roger-Viollet\u003cbr\u003e 1st double UHQCD edition\u003cbr\u003e Printed in Europe\u003c\/p\u003e\n\u003cp\u003eMONO ℗ 1949, 1961, 1962 RTS\u003cbr\u003e Remastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":49820074017114,"sku":"TLR-2403052-UHQCD","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD_FRONT_BACK_1-LogoHQCD-CARRE-4.jpg?v=1730824940"},{"product_id":"janos-starker-gyorgy-sebok-the-unreleased-berlin-studio-recordings-1963-vinyle","title":"JÁNOS STARKER \u0026amp; GYÖRGY SEBŐK - THE UNRELEASED BERLIN STUDIO RECORDINGS 1963 - VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 2000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTwin Lights\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eJános Starker, cellist, and György Sebők, pianist, were both born in Hungary early in the twentieth century. They were welcomed into the formidable Franz Liszt Academy of Music in Budapest, and emigrated to the USA, where they both held the title of Distinguished Professor at the Indiana University School of Music in Bloomington. Both heavy smokers and sometimes reputed – unjustly – to be harsh, austere and insensitive to trends, they were drawn to music in all its varieties and fascinated by its many colours. They had one aim only, one noble objective: to showcase the works all composers, as evidenced by this recording made in the legendary Studio 3 of Berlin Radio on 24 October 1963.\u003cbr\u003e\u003cbr\u003eStarker and Sebők were fully imbued with the aesthetics that Prokofiev proclaimed: “I cultivate melody and strive to introduce feeling and emotion into my works. No matter that some call me a cubist, adding that I systematically avoid any emotional or romantic elements in my quest to reach only objectivity.”\n\u003cbr\u003e\u003cbr\u003e\nNext, and at the opposite end of the spectrum, is the Spanish passion of the two pieces by Granados and De Falla, pieces that nevertheless also convey melancholy. Starker and Sebők launch into the works with enthusiasm and intensity.\u003cbr\u003e\u003cbr\u003e\nThe last piece, Bach’s Sonata in G Major, BWV 1027 for Viola da Gamba and Keyboard, is one of three he composed, probably in Köthen. Because they may have originally been written for other instruments, they can easily be transcribed for the cello and piano. They reveal the rich influences that pervaded the German region during the first half of the eighteenth century. The two musicians give us a sublime interpretation of the beauty of the counterpoint in this Sonata.\u003cbr\u003e\u003cbr\u003e\nThese recordings attest to the importance that the two superb musicians attached to working in the service of the composers. We wonder if, in that enchanted studio in Berlin in 1963, they knew how much further they went to bewitch us and touch us so profoundly.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e |STARTGOLD| János Starker, cello\u003cbr\u003e György Sebők, piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp\u003e Recorded on 24.X.1963, Berlin, RBB Studios, Saal III\u003c\/p\u003e\n\u003cp\u003e MONO ℗ 1963 RBB\u003cbr\u003e Remastered by © 2024 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e Ref.: TLR-2403055V\u003cbr\u003e 33rpm Lacquer-cuts: Kevin Gray\u003cbr\u003e Photo: © 1963 Mary Morris\u003cbr\u003e Tip-on gatefold printed in Italy\u003cbr\u003e Pressed by Simon Garcia, Marciac, France\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":49829697061210,"sku":"TLR-2403055V","price":52.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/STARKER-LP-3.jpg?v=1730814141"},{"product_id":"alicia-de-larrocha-the-unreleased-berlin-studio-recordings-1968-1970-double-vinyle","title":"ALICIA DE LARROCHA - THE UNRELEASED BERLIN STUDIO RECORDINGS 1968 • 1970 - DOUBLE VINYLE","description":"\u003cp\u003e\u003cspan data-mce-fragment=\"1\"\u003e|STARTTITLEGOLD| 2,000\u0026nbsp;Copies |ENDTITLEGOLD|\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe Spanish Queen (of the Piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"380\" data-start=\"115\"\u003eShe had small, square hands. She was 1.52 m tall. As a child, she banged her head on the floor to be allowed to play the piano. She was Catalan. She was a pianist—one of the greatest. Her mission? To spread the Spanish repertoire. Her name was Alicia de Larrocha.\u003c\/p\u003e\n\u003cp data-end=\"380\" data-start=\"115\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"626\" data-start=\"382\"\u003eWhen she passed away in 2009 at age 89, Nelson Freire wrote, \u003cem data-end=\"525\" data-start=\"443\"\u003e\"I truly loved her; she was a modest woman, and her playing shone like the sun.\"\u003c\/em\u003e Acclaimed worldwide, she stood alongside Victoria de Los Angeles as one of Spain’s finest artists.\u003c\/p\u003e\n\u003cp data-end=\"626\" data-start=\"382\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"1100\" data-start=\"628\"\u003eLarrocha’s journey began at three, seated at a piano. At four, she studied under Frank Marshall, a student of Granados. By six, she was performing publicly; by eleven, she played Mozart’s \u003cem data-end=\"828\" data-start=\"816\"\u003eCoronation\u003c\/em\u003e Concerto with Madrid’s Symphony Orchestra, astonishing audiences. Despite her small hands, she developed an airy, precise touch, even daring to record Rachmaninov’s Third Concerto. But beyond technical mastery, her playing held a profound sense of life and imagination.\u003c\/p\u003e\n\u003cp data-end=\"1100\" data-start=\"628\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"1419\" data-start=\"1102\"\u003eThough trained in Bach, Mozart, and Chopin, Larrocha fought to bring Spanish composers to global audiences. Albéniz and Granados owe much of their fame to her. Her international breakthrough came in the 1950s when an American impresario heard her Spanish recordings and invited her to the U.S., where she triumphed.\u003c\/p\u003e\n\u003cp data-end=\"1419\" data-start=\"1102\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"1761\" data-start=\"1421\"\u003eHer performances honored Spain’s musical heritage. From Soler’s sonatas to Granados' \u003cem data-end=\"1516\" data-start=\"1506\"\u003eGoyescas\u003c\/em\u003e, she infused each note with nuance. She brought Goya’s paintings to life in \u003cem data-end=\"1604\" data-start=\"1593\"\u003eEl Pelele\u003c\/em\u003e and mastered the dark contrasts of Surinach’s \u003cem data-end=\"1668\" data-start=\"1651\"\u003eCanción y Danza\u003c\/em\u003e. Albéniz’s \u003cem data-end=\"1688\" data-start=\"1680\"\u003eIberia\u003c\/em\u003e demanded both power and delicacy—qualities she commanded effortlessly.\u003c\/p\u003e\n\u003cp data-end=\"1761\" data-start=\"1421\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"1862\" data-start=\"1763\"\u003eHer final tribute was to her friend Francis Poulenc, performing his \u003cem data-end=\"1840\" data-start=\"1831\"\u003eToccata\u003c\/em\u003e—a soaring farewell.\u003c\/p\u003e\n\u003cp data-end=\"1862\" data-start=\"1763\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1998\" data-start=\"1864\"\u003eAs one admirer put it in 1982, \u003cem data-is-last-node=\"\" data-end=\"1998\" data-start=\"1895\"\u003e\"She walked toward a piano too big for her, sat, placed her hands on the keys… and became the queen.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1998\" data-start=\"1864\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-start=\"1563\" data-end=\"1754\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cem data-start=\"1605\" data-end=\"1754\" data-is-last-node=\"\"\u003e|STARTGOLD|Alicia De Larrocha, Piano|ENDGOLD|\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"1563\" data-end=\"1754\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eRecorded at the Saal III, RBB, Berlin\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eOn 22.IV.1968 *\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eOn 12.III.1970\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eRef.: TLR-2503057V\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003e33rpm Lacquer-cuts: Kevin Gray\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eSTEREO ℗ 1968 RBB\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003e*STEREO ℗ 1970 RBB\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eRemastered by ℗ \u0026amp; © 2025 THE LOST RECORDINGS\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cp\u003e*A 16-bit album download card is included with the vinyl.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":50695750254938,"sku":"TLR-2503057V","price":68.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MOCKUP_2LP_FRONT_ecdfb021-6855-4dc0-b95c-cad214c5f419.jpg?v=1741699073"},{"product_id":"karl-bohm-the-unreleased-berlin-recordings-1962-telechargement-hd","title":"KARL BÖHM - THE UNRELEASED BERLIN RECORDINGS 1962 - TELECHARGEMENT HD","description":"\u003cp\u003e\u003cstrong\u003eDr. Karl Böhm\u003c\/strong\u003e\u003cbr\u003e \u003cbr\u003e Böhm was 68 years old when, on 29 October 1962, he took up the baton in the legendary Saal 1 (studio number one) of the broadcasting corporation on Kaiserdamm Strasse in Berlin to conduct the Radio-Symphonie-Orchester. The programme comprised Symphony No. 4 by Johannes Brahms and \u003ci\u003eTod und Verklärung\u003c\/i\u003e (“Death and Transfiguration”), a tone poem by Richard Strauss. For decades, Böhm had finely worked each melodic line, each harmony, each tempo.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eIn order to give the most faithful rendition of the warmth of this outstanding performance that has come to light after more than sixty years, we have been able to reap the benefits of the talent of the original Berlin sound engineers together with several weeks of restoration work by our own teams. We have opted to cut the first and second movements on two different sides to optimise the rendering of the sound.\u003cbr\u003e\u003cbr\u003eAs critic Marcel Prawy wrote, “ The words used to describe major conductors are well-known. Their conducting is fascinating, extraordinary, pure genius. Karl Böhm simply conducts with authenticity”. There could be no more glowing compliment. Musician and broadcaster Clément Rochefort, talking of this “adventure into sound and metaphysics”, says of \u003ci\u003eTod und Verklärung\u003c\/i\u003e, recorded that day in October 1962, that the Radio-Symphonie-Orchester had a supremely masterful guide at its helm: Karl Böhm.\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Karl Böhm, conductor|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e|STARTGOLD|Radio Symphonie Orchester Berlin|ENDGOLD|\u003c\/p\u003e\n\u003cdiv class=\"tracklist_single_product\"\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at Saal 1, RBB, Berlin, 29.IX.1962-01.X.1962\u003cbr\u003e STEREO ℗ 1962 RBB\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e Remastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS\u003cbr\u003e from the original analog tapes\u003cbr\u003e\u003cbr\u003e Ref.: TLR-2403051\u003cbr data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\n\n\u003c\/div\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":50770519163226,"sku":"TLR-BOHM51-HD","price":16.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-BOHM.jpg?v=1742489044"},{"product_id":"samson-francois-the-unreleased-swiss-recordings-telechargement-hd","title":"SAMSON FRANÇOIS - THE UNRELEASED SWISS RECORDINGS - TELECHARGEMENT HD","description":"\u003cp\u003e\u003cstrong\u003eMagnetic Samson François\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eFrançois is in the lineage of Sofronitzky, Horowitz and Cortot. In fact, Cortot said of him, “I can only get him to play by evoking images.” We find such fascinatingly colourful images in each of these previously unpublished recordings made in various places in Switzerland; they make up a programme entirely devoted to François’s beloved world, that of romantic music.\u003cbr\u003e\u003cbr\u003e\nNo sooner do we hear the first notes of Schumann’s \u003ci\u003ePapillons\u003c\/i\u003e, recorded in the RTS studios in Geneva in 1961, than we understand why François’s flowing interpretation achieves a synthesis between two theories of music: that of Jean-Philippe Rameau, who saw in music only rhythm and order, and that of Jean-Jacques Rousseau, for whom music was the purest expression of feeling. François draws out the concentrated essences of the piece, giving us a particularly mesmerising interpretation of the youthful Schumann’s work inspired by a masked ball.\u003cbr\u003e\u003cbr\u003e\nThe next pieces, Mendelssohn’s two \u003ci\u003eSongs without Words\u003c\/i\u003e, were recorded at the same time and are made of the same stuff. After succumbing to the hypnotic effect of the pianist’s sound with its unfathomable subtlety – the delicately chiselled accompanying delivery, perfect legato and superbly elegant rubato over an ideal beat – one can only wonder if there are any more spellbinding renderings of these miniatures than these.\u003cbr\u003e\u003cbr\u003e\nFrançois’s hands flow over his keyboard and over the music. “I should have liked to make a pact with the devil, but he wouldn’t have me,” he is quoted as saying, according to an article in Diapason magazine published in 2020. François was excessive, unpredictable, a charmer, vulnerable – in a nutshell, he was magnetic, a quality revealed by the discovery of these recordings that are a tribute to one of the greatest pianistic poets of the twentieth century.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e |STARTGOLD|Samson François, Piano|ENDGOLD|\u003cbr\u003e |STARTGOLD|**Edmond Appia, Conductor|ENDGOLD|\u003cbr\u003e |STARTGOLD|**Orchestra of French-speaking Switzerland|ENDGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRecorded on 31.I.1961 at the RTS Studio, Geneva\u003cbr\u003e * Recorded on the ?.?.1949 at the RTS Studio, Geneva\u003cbr\u003e ** Recorded on 28.III.1962, unknown place\u003cbr\u003e *** Date and place unknown\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eRef: TLR-2403052\u003cbr\u003e Photo: 1959 © ClaudePoirier\/Roger-Viollet\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMONO ℗ 1949, 1961, 1962 RTS\u003cbr\u003e Remastered by ℗ \u0026amp; © 2024 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":50770689786202,"sku":"TLR-SAMS52-HD","price":18.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/HD-SAMSON.jpg?v=1742491023"},{"product_id":"alicia-de-larrocha-the-unreleased-berlin-studio-recordings-1968-1970-double-uhqcd","title":"ALICIA DE LARROCHA - THE UNRELEASED BERLIN STUDIO RECORDINGS 1968 • 1970 - DOUBLE UHQCD","description":"\u003cp\u003e\u003cstrong\u003eThe Spanish Queen (of the Piano)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"380\" data-start=\"115\"\u003eShe had small, square hands. She was 1.52 m tall. As a child, she banged her head on the floor to be allowed to play the piano. She was Catalan. She was a pianist—one of the greatest. Her mission? To spread the Spanish repertoire. Her name was Alicia de Larrocha.\u003c\/p\u003e\n\u003cp data-end=\"380\" data-start=\"115\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"626\" data-start=\"382\"\u003eWhen she passed away in 2009 at age 89, Nelson Freire wrote, \u003cem data-end=\"525\" data-start=\"443\"\u003e\"I truly loved her; she was a modest woman, and her playing shone like the sun.\"\u003c\/em\u003e Acclaimed worldwide, she stood alongside Victoria de Los Angeles as one of Spain’s finest artists.\u003c\/p\u003e\n\u003cp data-end=\"626\" data-start=\"382\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"1100\" data-start=\"628\"\u003eLarrocha’s journey began at three, seated at a piano. At four, she studied under Frank Marshall, a student of Granados. By six, she was performing publicly; by eleven, she played Mozart’s \u003cem data-end=\"828\" data-start=\"816\"\u003eCoronation\u003c\/em\u003e Concerto with Madrid’s Symphony Orchestra, astonishing audiences. Despite her small hands, she developed an airy, precise touch, even daring to record Rachmaninov’s Third Concerto. But beyond technical mastery, her playing held a profound sense of life and imagination.\u003c\/p\u003e\n\u003cp data-end=\"1100\" data-start=\"628\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"1419\" data-start=\"1102\"\u003eThough trained in Bach, Mozart, and Chopin, Larrocha fought to bring Spanish composers to global audiences. Albéniz and Granados owe much of their fame to her. Her international breakthrough came in the 1950s when an American impresario heard her Spanish recordings and invited her to the U.S., where she triumphed.\u003c\/p\u003e\n\u003cp data-end=\"1419\" data-start=\"1102\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"1761\" data-start=\"1421\"\u003eHer performances honored Spain’s musical heritage. From Soler’s sonatas to Granados' \u003cem data-end=\"1516\" data-start=\"1506\"\u003eGoyescas\u003c\/em\u003e, she infused each note with nuance. She brought Goya’s paintings to life in \u003cem data-end=\"1604\" data-start=\"1593\"\u003eEl Pelele\u003c\/em\u003e and mastered the dark contrasts of Surinach’s \u003cem data-end=\"1668\" data-start=\"1651\"\u003eCanción y Danza\u003c\/em\u003e. Albéniz’s \u003cem data-end=\"1688\" data-start=\"1680\"\u003eIberia\u003c\/em\u003e demanded both power and delicacy—qualities she commanded effortlessly.\u003c\/p\u003e\n\u003cp data-end=\"1761\" data-start=\"1421\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-end=\"1862\" data-start=\"1763\"\u003eHer final tribute was to her friend Francis Poulenc, performing his \u003cem data-end=\"1840\" data-start=\"1831\"\u003eToccata\u003c\/em\u003e—a soaring farewell.\u003c\/p\u003e\n\u003cp data-end=\"1862\" data-start=\"1763\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1998\" data-start=\"1864\"\u003eAs one admirer put it in 1982, \u003cem data-is-last-node=\"\" data-end=\"1998\" data-start=\"1895\"\u003e\"She walked toward a piano too big for her, sat, placed her hands on the keys… and became the queen.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-is-only-node=\"\" data-is-last-node=\"\" data-end=\"1998\" data-start=\"1864\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp data-start=\"1563\" data-end=\"1754\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u003cem data-start=\"1605\" data-end=\"1754\" data-is-last-node=\"\"\u003e|STARTGOLD|Alicia De Larrocha, Piano|ENDGOLD|\u003c\/em\u003e\u003c\/p\u003e\n\u003cp data-start=\"1563\" data-end=\"1754\" data-is-last-node=\"\" data-is-only-node=\"\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eRecorded at the Saal III, RBB, Berlin\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eOn 22.IV.1968 *\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eOn 12.III.1970\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eRef.: TLR-2503057V\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003e33rpm Lacquer-cuts: Kevin Gray\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eSTEREO ℗ 1968 RBB\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003e*STEREO ℗ 1970 RBB\u003c\/p\u003e\n\u003cp class=\"a-b-r-La\"\u003eRemastered by ℗ \u0026amp; © 2025 THE LOST RECORDINGS\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":50828778832218,"sku":"TLR-2503057","price":38.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/CD_FRONT_BACK_1.jpg?v=1743414192"},{"product_id":"emil-gilels-live-at-the-concertgebouw-1980-vinyle","title":"Emil Gilels - Live at the Concertgebouw 1980 - Vinyl","description":"\u003cp\u003e|STARTTITLEGOLD| 3000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\"My grandfather was extremely fond of\u0026nbsp;the Netherlands. His deep attachment to the country dated back to 1938, when he won the first Eugène Ysaÿe Competition in Brussels (today known as the Queen Elisabeth Competition of Belgium).\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eand he was very happy when the Concertgebouw invited him immediately after that, for the first time,” says Kirill Gilels, the grandson of the great pianist, adding, “He always made sure to compile the finest piano repertoire for the sophisticated audiences of the Concertgebouw\".\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eIt was in the Dutch radio archives that we succeeded in extracting five recordings of concerts Gilels had given between 1975 and 1980 at the Concertgebouw – recordings that had fallen into oblivion. We were allotted a studio where we listened to the tapes one by one. We remained speechless, overcome by the beauty of what we heard: we were immediately struck by the dynamic tone range and the purity of Gilel’s sound, both of which are used in the service of a musicality that is as ideal as it is limpid. Gilels never seeks special effects; with him, everything is simple, profoundly sculpted and extremely elegant. We savour every detail he gives us so that we can better grasp the entirety of the work. Gilels does not simply deliver an interpretation; instead, he literally embodies each musical phrase.\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eOn April 15, 1980, alone on stage, he gave a recital entirely devoted to Beethoven.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp\u003eSonata No. 7 was composed in 1798. It is a work of shadow and light. Beethoven did not hesitate to undertake a number of experiments that prefigured the symbiosis between composition for the keyboard and the evolution of the instruments, which was continued thanks to Chopin and Liszt. He also distanced himself from those he emulated, Mozart and Haydn, even though their influence remains palpable, as does that of Clementi.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe “Eroica” variations, composed in 1802, are built on a theme shared by several of Beethoven’s works, including the ballet he had composed one year earlier, The Creatures of Prometheus, and the Finale of his Symphony No. 3 “Eroica”, composed one year later. The theme of the introduction evokes the myth of the Titan, who, before stealing fire from heaven to give it to mankind, thereby incurring the wrath of Zeus, had initially been entrusted by the gods with the mission of breathing life into each creature. The theme builds up progressively as several elements that come to life, one after another, are patiently assembled.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u0026nbsp;\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003eThere are musical performances that have such profundity, such sincerity, and are so ideal that they leave an indelible mark on their listeners. There is no doubt that what Gilels gave us at the Concertgebouw and what we are so proud to have brought back to life is of this calibre.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\"\u003e\u003cbr\u003e\u003cbr\u003e |STARTGOLD|Emil Gilels, piano|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRecorded at the Concertgebouw, Amsterdam 15.IV.1980\u003cbr\u003e STEREO ℗ 1980 TROS\u003cbr\u003e Restored by © 2025 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e\n\u003cp class=\"subdescription\"\u003eRef.: TLR-2503062V\u003cbr\u003e 33rpm Lacquer-cuts: Kevin Gray\u003cbr\u003eNew Tip-on gatefold printed in Italy\u003cbr\u003e180g Single Vinyl Album\u003cbr\u003ePhoenix Pressings\u003c\/p\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e\u003cbr\u003e\u003cbr\u003e *A 16-bit album download card is included with the vinyl.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":51895543955802,"sku":"TLR-2503062V","price":52.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MOCKUP_LP_FRONT.jpg?v=1755407195"},{"product_id":"lorin-maazel-the-unreleased-berlin-recordings-double-vinyl","title":"LORIN MAAZEL - THE UNRELEASED BERLIN RECORDINGS - DOUBLE VINYL","description":"\u003cp\u003e|STARTTITLEGOLD| 3,000 Copies |ENDTITLEGOLD|\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eMany musicians feared Maazel's chilly authoritarianism, his inability to make concessions. Unfailingly demanding, he insisted that the orchestras show him blind obedience and that the boards in charge run operations smoothly. His temper was legendary.\u003cbr\u003e\u003cbr\u003eBut if he was demanding, it was first and foremost of himself. “Little Lorin”, as the former child prodigy was known then, was first asked to lead a professional orchestra when he was nine years old and already a violin virtuoso. When he was eleven, Toscanini invited him to take the baton of the NBC orchestra in New York.\u003cbr\u003e\u003cbr\u003eMaazel had phenomenal gifts. These, coupled with his sheer hard work and exceptional resilience, resulted in a career of 72 years that encompassed more than 7,000 performances with the most prestigious orchestras worldwide. His repertoire was seemingly boundless. During the 1960s and 1970s, when he was at the helm of the Sinfonie Orchester Berlin, Maazel proved himself to be a maestro of style, a magician of sound gifted with not only a perfect sense of line and colour, but also infallible technique.\u003cbr\u003e\u003cbr\u003eThe Lost Recordings found these hitherto unpublished recordings, made in October 1969 in Studio 1 of Berlin Radio. Here Maazel’s inspiration takes him to the very summit of refinement and expressive intensity.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e|STARTGOLD|Lorin Maazel, conductor|ENDGOLD|\u003cbr\u003e|STARTGOLD|Radio-Symphony Orchester Berlin|ENDGOLD|\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eRecorded on 29.IX.1965, *27.X.1969, Saal 1, RBB, Berlin, Germany\u003c\/span\u003e\u003cbr\u003eSTEREO ℗ 1965 \u0026amp; 1969 RBB\u003cbr\u003eRestored by © 2025 THE LOST RECORDINGS from the original analog tapes\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"subdescription\"\u003eRef.: TLR-2503063V\u003cbr\u003e33rpm Lacquer-Cuts: Kevin Gray\u003cbr\u003eNew tip-on gatefolds\u0026nbsp;printed in Italy\u003cbr\u003e180g Double Vinyl Album\u003cbr\u003ePhoenix Pressings\u003c\/p\u003e\n\u003cp class=\"tracklist_indications_single_product\"\u003e\u003cbr\u003e\u003cbr\u003e*A 16-bit album download card is included with the vinyl.\u003c\/p\u003e","brand":"The Lost Recordings","offers":[{"title":"Default Title","offer_id":52236011438426,"sku":"TLR-2503063V-Maazel","price":68.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0422\/4211\/3698\/files\/MOCKUP_LP_FRONT_0fde9b4f-ab31-4d2c-b289-0c4f3f5ea9fd.jpg?v=1758535824"}],"url":"https:\/\/thelostrecordings.store\/en\/collections\/categorie-produits-classical-music.oembed?page=2","provider":"The Lost Recordings","version":"1.0","type":"link"}