½´º£¸£Æ®: `Á×À½°ú ¼Ò³à` »çÁßÁÖ D810 & µåº¸¸£ÀÚÅ©: `¾Æ¸Þ¸®Ä«` »çÁßÁÖ op.96 ; Schubert & Dvorak : String Quartets
»óÇ°ºÐ·ù Ŭ·¡½Ä(Classics)
Á¦Á¶»ç ä³Î Ŭ·¡½Ä(CHANNEL CLASSICS)
Á¦Á¶±¹ EU
°íÀ¯¹øÈ£ CCS39417
ÃÑÆòÁ¡ -  [°¨»ó±â ÀÛ¼º]
ÆǸŰ¡ 16,100¿ø
Àû¸³±Ý 161¿ø
Ä«µå°áÁ¦ [¹«ÀÌÀÚÇҺξȳ»] (À§Å¹/Áß°íÁ¦Ç°Àº Ä«µå°áÁ¦ ¹ÌÀû¿ë)
¹è¼Ûºñ 3,000¿ø (50,000¿ø ÀÌ»ó ±¸¸Å½Ã ¹«·á)
ÁÖ¹®¼ö·®
  • ÅÚ·¹¸¸: ¹«¹ÝÁÖ Ç÷çÆ® ȯ»ó°î (1~12¹ø)
  • ¾Ö½¶¸® ¼Ö·Î¸ó(Æ®¶óº£¸£¼Ò Ç÷çÆ®)
  • Ç÷θ±·¹±â¿òÀÇ ¸®´õÀÌÀÚ ¿µ±¹À» ´ëÇ¥ÇÏ´Â Æ®¶óº£¸£¼Ò Ç÷çƼ½ºÆ®ÀÎ ¾Ö½¶¸® ¼Ö·Î¸óÀÌ µåµð¾î Æò»ýÀÇ ÇÁ·ÎÁ§Æ®ÀÎ ÅÚ·¹¸¸ ¹«¹ÝÁÖ È¯»ó°îÀ» ³ìÀ½Çß´Ù.
  • ÅÚ·¹¸¸ÀÌ °¢°¢ ¼­·Î ´Ù¸¥ À½¾Ç ¾ç½Ä°ú ±â¼úÀû ¿ä¼Ò¸¦ ºÒ¾î³Ö¾î ¸¸µç ÀÌ È¯»ó°îÀº 18¼¼±â¿Í ¸¶Âù°¡Áö·Î 21¼¼±â¿¡µµ ¸ðµç Ç÷çÆ® ¿¬ÁÖÀڵ鿡°Ô Å« µµÀüÀ¸·Î ³²¾Æ ÀÖ´Â ¸í°îÀÌ´Ù.
  • ¾Ö½¶¸® ¼Ö·Î¸óÀº ¼¼ ´ëÀÇ Æ®¶óº£¸£¼Ò Ç÷çÆ®¸¦ ½á¼­ dzºÎÇÑ È£Èí°ú ¼¶¼¼ÇÏ°í ´Ùä·Î¿î À½»ö, ¼û°ÜÁø ´ëÀ§¹ý ¼±À²À» µå·¯³»´Â Áö¼ºÀûÀÎ Çؼ®ÀÌ µ¸º¸ÀÌ´Â ¿¬ÁÖ¸¦ µé·ÁÁØ´Ù.
  • ¹Ù¸£ÅçÆ® Ä«À§ÄÁÀÇ Àü¼³ÀûÀÎ ¸í¿¬°ú ºñ±³ÇÒ ¼ö ÀÖ´Â ¿ì¸® ½Ã´ëÀÇ ¸í¿¬ÀÌ Åº»ýÇß´Ù.
  • Fantasias nos. 4, 5, 9: Meissen porcelain flute, 1760 (Royal Collection Trust)
    Fantasias nos. 6, 7, 8: Thomas Cahusac ivory flute, 1760 (The Royal College of Music)
    Fantasies nos. 1, 2, 3, 10, 11, 12: Martin Wenner granadilla wood flute, 2004 (after Carlo Palanca, c.1750)

    The Guardian 20th July 2017 ****
    ¡°Solomon¡¯s opening note, played on a grenadilla wooden flute modelled on an instrument from 1750, is just astonishing. It¡¯s so warm, grainy, broad and breathy that it sounds more like a low recorder than a modern flute...Solomon makes [the Fantasias] dance and sing, he makes them spacious. The articulation is immaculate, the rhythms are buoyant.¡±