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Samson François - Chopin: Preludes, Op. 28 - 4 Impromptus (2012) [Hi-Res]

Samson François - Chopin: Preludes, Op. 28 - 4 Impromptus (2012) [Hi-Res]

BAND/ARTIST: Samson François

  • Title: Chopin: Preludes, Op. 28 - 4 Impromptus
  • Year Of Release: 1959 / 2012
  • Label: Warner Classics / Erato
  • Genre: Classical
  • Quality: FLAC (tracks) [96kHz/24bit]
  • Total Time: 54:28
  • Total Size: 867 MB
  • WebSite:
Tracklist:

24 Préludes Op. 28
01 No. 1 en ut majeur 0:41
02 No. 2 en la mineur 2:03
03 No. 3 en sol majeur 0:56
04 No. 4 en mi mineur 1:45
05 No. 5 en re majeur 0:41
06 No. 6 en si mineur 1:57
07 No. 7 en la majeur 0:43
08 No. 8 en fa diese mineur 2:11
09 No. 9 en mi majeur 1:23
10 No.10 en ut diese mineur 0:35
11 No.11 en si majeur 0:50
12 No.12 en sol diese mineur 1:30
13 No.13 en fa diese majeur 2:34
14 No.14 en mi bemol mineur 0:29
15 No.15 en re bemol majeur "Goutte d'eau" 4:33
16 No.16 en si bemol mineur 1:05
17 No.17 en la bemol majeur 2:57
18 No.18 en fa mineur 0:57
19 No.19 en mi bemol majeur 1:21
20 No.20 en ut mineur 1:23
21 No.21 en si bemol majeur 1:44
22 No.22 en sol mineur 0:53
23 No.23 en fa majeur 0:54
24 No.24 en re mineur 2:39

25 Impromptu Op.29 No. 1 en la bemol majeur 3:10
26 Impromptu Op.36 No. 2 en fa diese majeur 5:39
27 Impromptu Op.51 No. 3 en sol bemol majeur 4:21
28 Impromptu Op.66 No. 4 en ut diese mineur "Fantaisie-Impromptu" 4:22

Esteemed pianist Samson Francois interprets pieces by Chopin. His performance is poised, powerful and exhilarating, driven by his deep appreciation for Chopin’s works. With astounding sound quality, Francois exudes pianism at its finest. A definitive collection for any audiophile.

Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI's archive in London and comparing different sources and any previous CD reissues. We consult each recording's job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.

In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.


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  • IsraXob
  •  wrote in 16:47
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Thanks for hi-res version