There's a new Eversolo A10 out that supposedly improves on the A8....still very reasonably priced at 3800.00.
Might be something to try in your excellent system.
Soundlab Audiophile G9-7c: a 30-year odyssey fulfilled
- Thread starter godofwealth
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Might be something to try in your excellent system.
Not for the faint of heart. 2 Tons of AC with a zone to my room. Keeps it at a comfortable 74 degrees.
I would love to hear those speakers sometime.
Wow, that looks like a really cool setup (no pun intended!). These look like the Martin Logan CLX's with the older ARC 610Ts. I like the digital readout on the older models, since I had the Ref 210s previously that used the same design. The newer 750SE's have reverted back to the analog meters.
Yes, I saw that. Definitely something to try in the future. Thanks for the heads up.
John Le Carrie’ was a legendary novelist who wrote many famous spy thrillers, such as Tinker, Tailor, Soldier, Spy. He also wrote the novel The Constant Gardner set in Africa, which featured the haunting music of Kenyan singer Ayub Ogada. This novel was turned into a movie with Rachel Weisz and Ralph Fiennes. Ogada also starred in a few movies himself including Out of Africa with Robert Redford.
en.wikipedia.org
If you haven’t heard his songs, you may be as taken in by them as I was as his voice is quite haunting. In this album, the instrumentation is quite sparse. Ogada uses the nyatiti, an eight stringed lyre as his favorite instrument, with some percussion and rhythm accompaniment.
It’s mainly his voice that’s center stage. And what a voice he has. On the big SL’s driven now by the modest pairing of the Eversolo DMP-A8 and the D-Sonic class D monoblocks, it sounds very nice indeed. Sure I miss some of the richness that comes from the tube-based system I was using before, but one might argue that’s perhaps a coloration.
If I had to choose one track, it would be Kothbiro, a song that is used traditionally to get cattle to return to their home from their grazing. It’s a haunting song that’s quite moving. The power of music is such that even if the lyrics are in an unknown language, the music can still move you.
thebirdsings.com
Ayub Ogada - Wikipedia
If you haven’t heard his songs, you may be as taken in by them as I was as his voice is quite haunting. In this album, the instrumentation is quite sparse. Ogada uses the nyatiti, an eight stringed lyre as his favorite instrument, with some percussion and rhythm accompaniment.
It’s mainly his voice that’s center stage. And what a voice he has. On the big SL’s driven now by the modest pairing of the Eversolo DMP-A8 and the D-Sonic class D monoblocks, it sounds very nice indeed. Sure I miss some of the richness that comes from the tube-based system I was using before, but one might argue that’s perhaps a coloration.
If I had to choose one track, it would be Kothbiro, a song that is used traditionally to get cattle to return to their home from their grazing. It’s a haunting song that’s quite moving. The power of music is such that even if the lyrics are in an unknown language, the music can still move you.
Kothbiro - The Bird Sings
A hauntingly beautiful, sparse world music piece adapted...
thebirdsings.com
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The Eversolo DMP-A8 with the D-Sonic class D amplifiers illustrates the standard quandary in high end audio. Budget components can sound awfully good on a first listen but you then notice that nuances that you are used to are missing. The far pricier Mola Mola electronics I was using earlier is a definite step above these, but at a price differential of 10x. And the big Lampi Pacific with the ARC 6SE and 750SE’s is a further step up but at a further increase in price and a much greater cost in hassles like tube failures. So, it’s a choice between how much you want to spend, how much hassle you are willing to put up with and whether you want a big dollop of tube magic. Only you can answer that question. Like wine, you can drink the budget vintage or the far pricier offerings.
One problem with budget products is that the power supply is not as well tricked out. Big massive power supplies are expensive. The big electronics module on my SL’s weigh more than my Quad ESL’s. The big power supplies is what gives a product a dynamic range and ease than the budget switching power supplies don’t match. Measurements don’t capture this distinction. Still, there’s much to enjoy with the budget gear like the Eversolo and the D-Sonic. If I had to cut costs somewhere, I’d rather get the big SL’s and skimp on the electronics. My biased view!
One problem with budget products is that the power supply is not as well tricked out. Big massive power supplies are expensive. The big electronics module on my SL’s weigh more than my Quad ESL’s. The big power supplies is what gives a product a dynamic range and ease than the budget switching power supplies don’t match. Measurements don’t capture this distinction. Still, there’s much to enjoy with the budget gear like the Eversolo and the D-Sonic. If I had to cut costs somewhere, I’d rather get the big SL’s and skimp on the electronics. My biased view!
Sibelius is one of my favorite composers. Listening to his symphonies literally gives me the shivers as I feel the bleak Scandinavian winter landscapes in his music. I can almost see the snow encrusted hills and valleys in his choice of harmonies.
Here we are listening to his beautiful Symphony 3 that has a dramatic opening in the opening bars, but in typical Sibeliusesque fashion, it all goes broody and dark. I feel like I’m hearing the soundtrack to one of Henning Mankel’s famous stories with Inspector Wallander, a detective so in love with opera that he named his dog Jussi after the great Swedish opera singer, the tenor Jussi Bjorling.
Here we have a scintillating performance from one of classical music’s hottest new superstar conductors, the young Klaus Makela, scheduled to take over the baton at the legendary Chicago Symphony from Riccardo Muti. The Oslo Philharmonic rise to the occasion and the Decca high resolution recording is up to this famous label’s great analog vinyl albums with Kenneth Wilkinson as recording engineer.
Listen to the second slow movement, a masterpiece of orchestral writing. .Sibelius marked this movement “Andantino con moto” in Italian meaning with slow tempo! Again, the dark foreboding sound of Sibelius shows up in the opening bars. He had this gift for writing music that sounds melodic yet it’s not the usual Mozartian or Schubertian melody. It’s something entirely different. It’s a funeral dirge like the ones Mahler was fond of writing.
Listening to the big SL’s driven by my “budget Taiko server”, the Eversolo DMP-A8, driving the budget D-Sonic class D amplifiers, the sound of the strings is warm, but of course not as rich as the ARC-Lampi tube electronics I was using before. It’s still very enjoyable. What a lovely symphony! I’m not sure that’s the right phrase to use with Sibelius. It’s like drinking dark German beer. An acquired taste, perhaps bitter on the first gulp, but it slowly grows on you and it’s addictive.
The last movement is marked “Allegro ma non tanto“, meaning fast but not too fast. Sibelius didn’t want the orchestra to sound rushed. Listening to Klaus Makela conduct this movement, you understand what Sibelius was trying to say. He’s saying listen to this movement, the phrases, the powerful brass gleaming through the horizon as the sun breaks over the snowy landscape.
The symphony has only three movements, not the usual four. But you don’t feel cheated because three of Sibelius’ movements feel like a lot. He packs his music with a lot of dark undercurrents. It’s like reading one of those famous Dostoevsky novels.
Here we are listening to his beautiful Symphony 3 that has a dramatic opening in the opening bars, but in typical Sibeliusesque fashion, it all goes broody and dark. I feel like I’m hearing the soundtrack to one of Henning Mankel’s famous stories with Inspector Wallander, a detective so in love with opera that he named his dog Jussi after the great Swedish opera singer, the tenor Jussi Bjorling.
Here we have a scintillating performance from one of classical music’s hottest new superstar conductors, the young Klaus Makela, scheduled to take over the baton at the legendary Chicago Symphony from Riccardo Muti. The Oslo Philharmonic rise to the occasion and the Decca high resolution recording is up to this famous label’s great analog vinyl albums with Kenneth Wilkinson as recording engineer.
Listen to the second slow movement, a masterpiece of orchestral writing. .Sibelius marked this movement “Andantino con moto” in Italian meaning with slow tempo! Again, the dark foreboding sound of Sibelius shows up in the opening bars. He had this gift for writing music that sounds melodic yet it’s not the usual Mozartian or Schubertian melody. It’s something entirely different. It’s a funeral dirge like the ones Mahler was fond of writing.
Listening to the big SL’s driven by my “budget Taiko server”, the Eversolo DMP-A8, driving the budget D-Sonic class D amplifiers, the sound of the strings is warm, but of course not as rich as the ARC-Lampi tube electronics I was using before. It’s still very enjoyable. What a lovely symphony! I’m not sure that’s the right phrase to use with Sibelius. It’s like drinking dark German beer. An acquired taste, perhaps bitter on the first gulp, but it slowly grows on you and it’s addictive.
The last movement is marked “Allegro ma non tanto“, meaning fast but not too fast. Sibelius didn’t want the orchestra to sound rushed. Listening to Klaus Makela conduct this movement, you understand what Sibelius was trying to say. He’s saying listen to this movement, the phrases, the powerful brass gleaming through the horizon as the sun breaks over the snowy landscape.
The symphony has only three movements, not the usual four. But you don’t feel cheated because three of Sibelius’ movements feel like a lot. He packs his music with a lot of dark undercurrents. It’s like reading one of those famous Dostoevsky novels.
We now turn to listen to the Estonian Philharmonic Chamber Choir, a DSD recording from Harmonia Mundi. It opens with Urmas Sisask, an Estonian composer, with his fabulous Gloria Patri composed in 1988. It’s a magnificent piece filled with of beauty, not least due to the quality of the choir.
The following website has a vivid description of this piece which I shall quote verbatim below. Sisask uses the “kumayoshi” mode in this piece based on the rotation of the planets. I’m not a musicologist, but it sounds divine. There’s a transcendental purity to the music that’s so rare in recent music. Hard to believe this was only written thirty odd years ago. Sadly Sisask died in 2022, but his music lives on.
Urmas Sisask (1960-2022) possessed a vision unique among Estonian composers; his music contains magical primeval power and a sincere sense of beauty.
In 1988 Sisask completed Gloria Patri... consisting of 24 religious songs for mixed choir, chamber choir or quartet. All these songs are based on the kumayoshi mode - obtained from theoretical sound values for the rotations of planets. The most important aspect, apart from the use of kumayoshi, is no doubt the counterpoint.
The following website has a vivid description of this piece which I shall quote verbatim below. Sisask uses the “kumayoshi” mode in this piece based on the rotation of the planets. I’m not a musicologist, but it sounds divine. There’s a transcendental purity to the music that’s so rare in recent music. Hard to believe this was only written thirty odd years ago. Sadly Sisask died in 2022, but his music lives on.
Gloria Patri...
Urmas Sisask (1960-2022) possessed a vision unique among Estonian composers; his music contains magical primeval power and a sincere sense of beauty. In 1988 Sisask completed Gloria Patri... consisting of 24 religious songs for mixed choir, chamber choir or quartet. All these songs are based...
webshop.fennicagehrman.fi
Urmas Sisask (1960-2022) possessed a vision unique among Estonian composers; his music contains magical primeval power and a sincere sense of beauty.
In 1988 Sisask completed Gloria Patri... consisting of 24 religious songs for mixed choir, chamber choir or quartet. All these songs are based on the kumayoshi mode - obtained from theoretical sound values for the rotations of planets. The most important aspect, apart from the use of kumayoshi, is no doubt the counterpoint.
The Urmas Sisask Gloria Patri recording discussed above is a perfect way to hear what large electrostatics can do at their best, which is to project the purest possible sonic landscape unfettered by multiple drivers or crossovers or box resonances. All you have is the membrane, in my case 7 large strips arranged in a quarter circle of 45 degrees, emanating the sound. It’s quite enchanting to hear the purity of this DSD recording, one I’ve heard hundreds of times. It’s too easy to make it sound bright or glassy as my Quads tended to do. The recording has considerable dynamic range. At the softest level the SL’s have the resolution to let you hear the various voices. It’s a tribute to how good even cheaper DACs have gotten. The Eversolo DAC is really strikingly good given the price. It lacks the dynamic punch of the more expensive DACs, of course, but you get a lot for the money.
The above Harmonia Mundi recording ends with the music of Alfred Schnittke, one of the former USSR’s most famous composers after his mentor Dimitri Shostakovich, like whom he was frowned upon by the establishment. Schnittke’s music has evolved over the years. He eventually migrated to the west and died in Germany. His three sacred hymns composed in 1982 sound nice, but I wouldn’t put him in the class of Arvo Part or Gorecki. His earlier music is more profound but dissonant and more austere. He had suffered a series of strokes and went into a coma but eventually recovered and went on to compose more music.
en.wikipedia.org
Alfred Schnittke - Wikipedia
Johann Nepomuk Hummel was an Austrian composer and a child prodigy. At the age of eight he was taught by Mozart, who was impressed by his musical abilities. Wolfgang was not an easy man to please. Hummel was also taught by Salieri (Mozart’s nemesis in the movie Amadeus) and (Pappa) Haydn. He clearly had great mentors. And it shows in his divine music.
In this lovely Praga DSD recording, we have a sampling of his orchestral and chamber music. He writes delightfully skillfully charting his path through classical and Romantic traditions in the late 18th and early 19th century music in his lifetime. This generously filled 75-minute sampler of Hummel’s music sounds lovely on the big SL’s driven by my budget DMP-A8 server/streaner/DAC/preamp driving the D-Sonic class D amplifiers. The first piece features an oboe prominently that’s the backbone of any orchestra which tunes to it at the beginning of every concert. An oboe is a hard instrument to reproduce. It can easily sound glassy or bright on mediocre loudspeakers. Here it sounds magnificent. The strings of the Prague Camerata are warm with a slight touch of astringency that suits the music. There’s no tubes in my system right now to add the richness that tube lovers crave. But the benefit is an added degree of transparency and complete lack of noise.
The second piece features Hummel’s Septet No. 1 Opus 74. He wrote another one called his “Militiary Septet” because it featured a trumpet. This one has a piano, a string quartet, bassoon, horn, and oboe. The instruments are all modern and they sound natural. The piano is not closely miked and doesn’t dwarf the other instruments.
The Czech label Praga Digitalis has made many great DSD SACDs and I have quite a few of them. Of course I’m listening to the two channel ripped DSD version, and there’s a definite loss of fidelity compared to the original multichannel SACD. In my experience, SACDs are best listened to in multichannel mode. The added channels greatly enhance the spatial resolution. But I’d need a mansion to house 5 G9-7c’s and a matching SL subwoofer! In my home theater system I use a pair of Harbeth 40.1s with Spendor SP 1/2Es as rear channels with a Spendor center channel. It sounds really good on SACDs even driven by modest Marantz home theater electronics.
In this lovely Praga DSD recording, we have a sampling of his orchestral and chamber music. He writes delightfully skillfully charting his path through classical and Romantic traditions in the late 18th and early 19th century music in his lifetime. This generously filled 75-minute sampler of Hummel’s music sounds lovely on the big SL’s driven by my budget DMP-A8 server/streaner/DAC/preamp driving the D-Sonic class D amplifiers. The first piece features an oboe prominently that’s the backbone of any orchestra which tunes to it at the beginning of every concert. An oboe is a hard instrument to reproduce. It can easily sound glassy or bright on mediocre loudspeakers. Here it sounds magnificent. The strings of the Prague Camerata are warm with a slight touch of astringency that suits the music. There’s no tubes in my system right now to add the richness that tube lovers crave. But the benefit is an added degree of transparency and complete lack of noise.
The second piece features Hummel’s Septet No. 1 Opus 74. He wrote another one called his “Militiary Septet” because it featured a trumpet. This one has a piano, a string quartet, bassoon, horn, and oboe. The instruments are all modern and they sound natural. The piano is not closely miked and doesn’t dwarf the other instruments.
The Czech label Praga Digitalis has made many great DSD SACDs and I have quite a few of them. Of course I’m listening to the two channel ripped DSD version, and there’s a definite loss of fidelity compared to the original multichannel SACD. In my experience, SACDs are best listened to in multichannel mode. The added channels greatly enhance the spatial resolution. But I’d need a mansion to house 5 G9-7c’s and a matching SL subwoofer! In my home theater system I use a pair of Harbeth 40.1s with Spendor SP 1/2Es as rear channels with a Spendor center channel. It sounds really good on SACDs even driven by modest Marantz home theater electronics.
It was said of the famous British actress Judi Dench that she could read the Manhattan phone book to you aloud and you would be transfixed, such was the magnetic power of her voice. The same could be said of the jazz legend Ben Webster whose dulcet toned saxophone can seemingly make even the most mundane of ballads into a thing of beauty. This recording was made 50 years ago for a Dutch radio station and rediscovered 30 years later. The production is obviously not a polished studio job but in this case, that’s all for the good as this recording is really well made. One hears all the extraneous sounds of the musicians moving around and their instruments clicking, which adds to the realism. On the big SL’s, this recording has a natural warmth that’s addictive even through the budget Eversolo DMP-A8 driving the class D D-Sonic monoblocks.
No one performed slow ballads better than Webster. This recording was made when he was 61, and there’s no sign of any age-related issues in his playing. His sound is polar opposite of the hyper-energetic Coltrane, yin vs yang. Webster plays ballads well since it suits his relaxed slow style. He coaxes the melody out of his instrument, but doesn’t push his sax into regions of discordance like Coltrane was found of doing.
No one performed slow ballads better than Webster. This recording was made when he was 61, and there’s no sign of any age-related issues in his playing. His sound is polar opposite of the hyper-energetic Coltrane, yin vs yang. Webster plays ballads well since it suits his relaxed slow style. He coaxes the melody out of his instrument, but doesn’t push his sax into regions of discordance like Coltrane was found of doing.
There are some musicians who cannot help but cheer you up. As we bring 2024 to an end, and wait for whatever 2025 has in store for us, we need all the cheerfulness we can get. This famous 1961 recording by jazz legends vibraphonist Milt Jackson (“Bags”) and guitarist Wes Montgomery has been rightfully praised as divine combination. They each play to the other’s bouncy tunes and their coordination is so spooky that you might think they are one. Closely miked in the typical jazz tradition, it has Wes panned hard right and Bags dead center. The bass is on the left channel and the drum kit hovers in between both channels. But the overriding nature of this recording is warmth with surprising dynamics. Play it loud and you might quickly find your amplifiers or speakers running out of steam. The album features alternative versions of several tracks, which you may enjoy or dislike. The recording acquits itself well in the big SL’s despite its vintage. The vibraphone is an instrument of great delicacy. In some ways it’s got nuances that lie beyond a piano, even though they are both percussion instruments. It’s too easy to make it sound glassy as it has a lot of high treble harmonies but the large panels handle the bursts of high frequency with ease. No harsh metallic tweeter here to hide from. A must hear recording.
When I first started listening to classical music in the mid 1980s, there was no World Wide Web. One heard a piece on FM radio or by reading magazines like Gramophone or Fanfare. Getting a CD or vinyl meant a usually day-long trip to a record store. One had to work hard to collect music. These days, you hear of a piece worth listening to, and presto, with a few swipes, it’s yours to listen in very high resolution.
Case in point. I read only this morning an article in Stereophile on Bruckner’s piano music played by Mari Kodama, and decided this evening to listen to it. This 24-bit 192khz recording comes from Tidal, which has thankfully moved on from its flirtation with MQA to offering uncompressed high resolution albums.
Bruckner is famous for his rather bombastic symphonies, which I can tolerate in small amounts, and his choral music is far more sublime. But this takes my appreciation of Bruckner’s music into uncharted waters. Bruckner and piano seem like oil and water.
Initial impressions are that it’s very unlike Bruckner. I hear traces of Mozart, Brahms and Schubert and a bit of Chopin. I don’t hear anything genuinely new that indicates Bruckner found a new style of composition on the piano. That seems obvious. Unlike Chopin or Liszt he didn’t dedicate himself to the piano. But it’s certainly enjoyable. Ms. Kodama plays well. Her piano sounds a bit clangy to my ears. As always, modern recordings of the piano are miked too closely robbing the instrument of its natural hall ambience. The big SL’s minimize the deficiencies of this recording while letting you appreciate its good qualities. Worth hearing but doesn’t change my view of Bruckner.
Case in point. I read only this morning an article in Stereophile on Bruckner’s piano music played by Mari Kodama, and decided this evening to listen to it. This 24-bit 192khz recording comes from Tidal, which has thankfully moved on from its flirtation with MQA to offering uncompressed high resolution albums.
Bruckner is famous for his rather bombastic symphonies, which I can tolerate in small amounts, and his choral music is far more sublime. But this takes my appreciation of Bruckner’s music into uncharted waters. Bruckner and piano seem like oil and water.
Initial impressions are that it’s very unlike Bruckner. I hear traces of Mozart, Brahms and Schubert and a bit of Chopin. I don’t hear anything genuinely new that indicates Bruckner found a new style of composition on the piano. That seems obvious. Unlike Chopin or Liszt he didn’t dedicate himself to the piano. But it’s certainly enjoyable. Ms. Kodama plays well. Her piano sounds a bit clangy to my ears. As always, modern recordings of the piano are miked too closely robbing the instrument of its natural hall ambience. The big SL’s minimize the deficiencies of this recording while letting you appreciate its good qualities. Worth hearing but doesn’t change my view of Bruckner.
Sometimes, in both the arts and science, discoveries happen by accident. The greatest inventions in science are sometimes made by a stroke of luck. X-Rays, the universal diagnostic tool in medicine, was an example of such an accidental discovery. In music, we turn to a perhaps less consequential discovery by composer George Onslow, who like Boccherini, loved writing string quintets pairing a regular string quartet with an additional cello. During one of his informal concerts with his friends, when the cellist failed to appear, his friends suggested replacing him with a double bass player amongst their midst. Onslow was reluctant but shortly after the substitution was made began to applaud. He realized this really worked well and wrote a few more quintets for this new configuration.
In this lovely 24-bit 192khz recording from budget label Naxos, we get to hear some of these string quintets. From the start there’s a richness to the sound that a double bass brings that you wonder why didn’t Mozart or Brahms think of doing this. These are delightful pieces. Onslow came from a distinguished line of British aristocrats. His grandfather was the first Earl of Onslow and Speaker at the British House of Commons. A scandal forced his father to move to France where George spent his life. It was a stroke of luck because he came into contact with many well-known French musicians. His music has a certain relaxed melodic quality to it. George was wealthy and didn’t have to compose to make a living. Like Felix Mendelssohn he didn’t have to struggle and live in poverty. Perhaps his music might have been greater if he had to. There’s a theory that suffering is a necessary part of being a great artist. Whatever the truth of that may be, Onslow’s music deserves to be better known.
This richly resonant recording sounds magnificent on the massive Soundlabs. There’s a golden toned quality to it that comes from the beautiful playing and the high resolution of the recording. Highly recommended.
In this lovely 24-bit 192khz recording from budget label Naxos, we get to hear some of these string quintets. From the start there’s a richness to the sound that a double bass brings that you wonder why didn’t Mozart or Brahms think of doing this. These are delightful pieces. Onslow came from a distinguished line of British aristocrats. His grandfather was the first Earl of Onslow and Speaker at the British House of Commons. A scandal forced his father to move to France where George spent his life. It was a stroke of luck because he came into contact with many well-known French musicians. His music has a certain relaxed melodic quality to it. George was wealthy and didn’t have to compose to make a living. Like Felix Mendelssohn he didn’t have to struggle and live in poverty. Perhaps his music might have been greater if he had to. There’s a theory that suffering is a necessary part of being a great artist. Whatever the truth of that may be, Onslow’s music deserves to be better known.
This richly resonant recording sounds magnificent on the massive Soundlabs. There’s a golden toned quality to it that comes from the beautiful playing and the high resolution of the recording. Highly recommended.
Whenever I need to review a new component in terms of its potential, I invariably turn to a few choice pieces of music. This lovely recording again from the budget Naxos label is one of them. In particular, the Eight Pieces by Max Bruch for clarinet, piano and cello is what I hear to get the gestalt of a new component. If it doesn’t sound good, I take that as a really bad sign. Fortunately the big Soundlab G9-7c’s sound absolutely magnificent on this recording. The clarinet recorded on the left channel is bathed in a warm ambience. The piano is recorded in the center set a ways back and sounds like a piano in a hall. The cello is on the right and more closely balanced. All three instruments are warm and rich in tonality. The music is just sublime. Bruch was no Schubert, but in this piece, he tops the Viennese master in writing a set of pieces that are mournful just like Schubert would. A desert island disc.
Ahem. They may be the “King” but the VTL-Wotan is the “god” of tube amplifiers.
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Wow, impressive! With a name like Wotan, how could I possibly disagree? ARC needs to rethink its naming system. 750SE sounds so boring compared to Wotan.Ahem. They may be the “King” but the VTL-Wotan is the “god” of tube amplifiers.
There are times in your life when nothing but Mozart will suffice to enrich your evening. I’ve been listening to a beautiful recording of Mozart’s most sublime pieces for the clarinet, the concerto and the quintet. Safe to say, these compositions are as revered today as they may have been in Mozart’s era several centuries ago.
Many recordings of these legendary compositions exist. This high resolution recording was made in 2021 in France when the world was reeling from the Covid pandemic. Add to that tragedy, the clarinetist was involved in an accident that left him unable to play for an extended period. To complete the picture iof doom and gloom, the conductor of the concerto passed away after this recording, his last.
It’s a beautifully recorded album, and Mozart shows us once again why his music was touched by the Gods. It’s filled with moments of sheer beauty, pathos, and jollity combined in a way that only Mozart seemed capable of. Sounds magical on the large SL G9-7c’s, even with the budget Eversolo DMP-A8 driving the class D D-Sonic amplifiers.
Many recordings of these legendary compositions exist. This high resolution recording was made in 2021 in France when the world was reeling from the Covid pandemic. Add to that tragedy, the clarinetist was involved in an accident that left him unable to play for an extended period. To complete the picture iof doom and gloom, the conductor of the concerto passed away after this recording, his last.
It’s a beautifully recorded album, and Mozart shows us once again why his music was touched by the Gods. It’s filled with moments of sheer beauty, pathos, and jollity combined in a way that only Mozart seemed capable of. Sounds magical on the large SL G9-7c’s, even with the budget Eversolo DMP-A8 driving the class D D-Sonic amplifiers.
Thanks! They’ve been in storage for a couple of years. Finally getting my stereo back in service this weekend. I use vintage Tung Sol 6550s in mine. I find that they last a lot longer than the Russian reproductions. I would love to hear the big ARC amps someday. I’m sure they are wonderful.
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