What are you currently listening to (Classical)?

[meistersinger57]

Ikuyo Kamiya ?– Beethoven's "Appassionata"
Label: RCA ?– RDC-4
Series: Direct Cutting Mastering Lab Series – RDC-4
Format: Vinyl, LP, 45 RPM, Album, Direct Disc
Country: Japan Released: 1977 Genre:Classical


“This is an excellent example of an "all-out" recording, being both a direct-to-disc and mastered at 45 RPM. The result is the finest piano recording I have yet heard, though there is some serious competition from Reference Recordings, Athena and others. The sonics are outstanding, with the piano recorded very upfront, so it appears to be in the listening room itself. The dynamic gradations, transparency, detail retrieval and cleanness on peaks are all extraordinary. It is also natural sounding with an excellent sense of decay and a low sound-floor. The performance will not equal a Schnabel, Gilels or Solomon, but it is still very competent and enjoyable. This record has been on the TAS list for years.Check the condition, it could have been a store demonstrator.

From: http://www.high-endaudio.com/SR-DIVINITY.html

 

[meistersinger57]

Igor Stravinsky / The London Symphony Orchestra / Antal Dorati ?– The Firebird
Genre:Classical
Style: Year: 1960

“This is the finest record to ever originate from Mercury and one of the greatest records of all time. It is a contender for the title (and award) of "finest orchestral LP" and its dynamic qualities are even comparable to The Rite of Spring/Mobile (see "The Demi-Gods" below). I can't hold back my excitement with this record. It has been years since I have been so impressed and mesmerized. I can actually say that if the "original" Mercurys sounded like this Classic Firebird (they absolutely don't), those records may actually be worth the hundreds of dollars that audiophiles have (foolishly) spent on them. From my skeptical and frugal perspective, I can't be more complimentary than that. This LP has the usual Mercury strengths; a huge soundstage, with real depth and excellent focus, plus superb transparency and deep, tight bass, but there is much more. This time there is real "liquidity" and low-level detail. There is actual "presence and immediacy", totally unlike the two disappointing Mercurys discussed elsewhere.
The sounds, and the music, don't "dry up and die" at soft levels. There is superb retrieval of detail, both inner and outer, and the transients are fast, sharp and clean. Then there are the dynamic qualities, which are totally unprecedented in my experience. I would advise finding a copy, at virtually any price. This is the very rarest type of record, which, when played, actually has the capability to make the listener feel that...

Scheu ( Eurolab) Turntable+ Moerch DP-6 Tonarm + Transfiguration Proteus "S"

 

[meistersinger57]

Stravinsky* / The Royal Philharmonic Orchestra / Oscar Danon* ?– Petrouchka
Label:Chesky Records ?– CR42
Format: Vinyl, Album, Remastered, Reissue
Country:US Released:1992
Genre:Classical Style:Modern


“Of all the many thousands of orchestral records I have auditioned in the last 30 plus years, on hundreds of different systems, this LP has the closest, overall sound to "a live performance" that I have ever experienced. It does have a number of close rivals, but none of them can equal its important, numerous and cumulative strengths, and/or has as few sonic weaknesses.
This masterpiece of audio engineering was originaly recorded by Decca's ace recording team, led by the late Kenneth Wilkinson. The recording was made in London, England in 1962. The mastering engineer of this reissue, for Chesky, was John Koopman.
It would be difficult to name this record's single greatest sonic attribute, but it is probably its unequalled purity, immediacy and transparency. In short: It is simply more "alive" than any other orchestral record.
The dynamic qualities are also at the highest level, with its dynamic shifts equaling, if not surpassing, any other LP I have yet heard. It doesn't have quite the dynamic "range" or "explosive" character of the two other Stravinsky records, both of which have already received "awards", but that is because this particular Stravinsky composition does not have the musical passages that allow such dynamic extremes to occur. It is also unperturbed at any volume level; always retaining its unique qualities.
Another easily noticeable strength, once again unprecedented, is its phenomenal reproduction of musical details; both inner and outer, and at both very soft and loud volume levels. This enables the unique characteristics of instruments to be heard in a manner never before experienced. For many listeners, this quality, by itself, will be an audiophile/musical revelation.
It also has a superb sense of space, and a large and focused image, but these qualities are matched by a number of other records, and they are not particularly noteworthy in themselves.”View attachment 31490

 

[Bachtoven]

Are those your reviews or are just quoting other ones?

 

[meistersinger57]

Are those your reviews or are just quoting other ones?

Thanks for comment. These are from Arthur Salvatore List " Divinity" (http://www.high-endaudio.com/SR-DIVINITY.html)

Please, I must add that 1) These LPs are playing here... and 2) I agree with all these conclusions.. of course, my system very poor in confronting system of Mr Salvatore...

 

[meistersinger57]

Two other gems on LP format

? Gregorio Paniagua ?– La Folia De La Spagna
? Label: Harmonia Mundi ?– HM 1050, ATR ?– ATR 013LP
? Format: Vinyl, LP, 33 ? RPM, Master Cut Recording
? Country: Germany Released:1985
? Genre:Classical Style:Medieval, Experimental

“This LP originally came out as the Harmonia Mundi. It has also been on the TAS list for a number of years. The original pressing is definitely good enough to make this list on its own, but the ATR reissue* is even better.
It excels in every sonic parameter. It is very transparent, immediate, clean, natural and dynamic. The sound stage is large and the sound-floor is extremely low, allowing every last detail to be heard; including the harmonic structure and decay, tonal and dynamic complexity etc. This LP was a top contender for the designation of the finest "ancient music" LP.
There is one "fly-in-the-ointment" though. ATR put out an earlier non-180 gram pressing. It wasn't quite as good, but with one big exception. On Side Two, near the beginning, there is a long, quiet, solo flute section. It ends abruptly with multiple, loud cracks from a bull whip. (Yes, this LP is weird, but it's fun!) On the earlier (thin) ATR, the bull whip is so explosive it could almost give you a heart-attack. The later (180 gram) pressing compresses the whip, which compromises the "shock-effect". So, if you want to safely get rid of an obnoxious (and rich) relative or a former friend with a bad heart, or just play a trick, the earlier ATR may have still some utility.
This LP is rare and remember to feel the weight. This was usually the LP I play last during a rare demonstration of my own system. I wanted it to be my guest's final auditory memory. I can't compliment any record more than that”.





Atrium Musicae de Madrid direction Gregorio Paniagua* ?– Tarentule-Tarentelle
Label:Harmonia Mundi ?– HM 379
Format:Vinyl, LP, Gatefold
Country:France
Released:Oct 1976
Genre:Classical
Style:Renaissance, Baroque, Therapy

“Another extraordinary record from Harmonia Mundi. The music is from 300 to 400 years ago and features many unusual instruments. The sound is very transparent, immediate, natural and dynamic. The retrieval of low-level information and inner detail is simply outstanding. This LP has never been on any other list as far as I know, but there still has been a steady demand for it over the years; word-of-mouth I guess.
Caveat- A reader has informed me that there is one pressing of this LP that should be avoided. It is a DMM pressing, that he felt "lacks life and dynamics" compared to the earlier releases. This particular pressing can be identified by looking closely at the "inner grooves", where it will read DMMB. "The jacket also displays a UPC code", which are not on the earlier copies. I have not seen, let alone heard, this particular pressing myself”.

 

[meistersinger57]

EIJI KITAMURA SWING SESSIONS
LABEL: RCA RDCE - 10
Series: Direct Master Series – Format:Vinyl, LP
Country:Japan Released:21 Apr 1978
Genre:Jazz Style:Swing

Here you have the correct pitch of the reed and body of the clarinet...

“This is a now long-forgotten record from a small series of direct-to-discs by RCA Japan. The sound on all of them is exceptional, and this is one of their best efforts. It is amazing in every sonic parameter: purity, immediacy, precision, dynamics, harmonic completeness etc.
The most demanding cut is Avalon, which is at the beginning of Side One. This LP is not in big demand. I will be checking out the others in this series. Some serious, experienced audiophiles I know feel that this is the best audiophile LP ever made, of any type.”

 

[Kal Rubinson]

Genre:Jazz Style:Swing

Not classical?

 

[Bachtoven]

Guitarist Jorge Caballero plays his transcriptions of Bach's Cello Suites No.2, 4, and 6. Masterful playing and great sound.

 

[Bachtoven]

Very nice playing and sound, if not the last word in drama in Bach's mighty Chaconne.

 

[Bachtoven]

 

[Bachtoven]

Guitarist Kazuhito Yamashita plays two insanely difficult concertos written for him by Takashi Yamatsu and Teruyuki Noda.

 

[Jazzhead]

This iconic performance has never sounded better than in the 24/96 hi-res file, presumably the remastered one that DG prepared for the Blu-ray Audio disc.

Iconic in what sense ? How does it compare with 5'ths by Abbado , Kubelik , Bernstein ... Do not recall Herr Karajan get a mention in any of Tony Duggan's picks .

 

[Bachtoven]

Iconic in what sense ? How does it compare with 5'ths by Abbado , Kubelik , Bernstein ... Do not recall Herr Karajan get a mention in any of Tony Duggan's picks .

Well, it's been well received by others, just look at who's performing it, and an omission from some "critic's" list hardly negates it worth and enjoyment for me.

 

[Jazzhead]

Well, it's been well received by others, just look at who's performing it, and an omission from some "critic's" list hardly negates it worth and enjoyment for me.

Point taken , if a performance speaks to you that's all that matters . I did sample it on Apple Music and quite liked it too , if only prettier overall compared to the other 5ths . Maybe due to Herr Karajans ideology , that it must always sound "good".On the other hand I would hardly classify Tony Duggan as "some critic" , especially where Mahler is concerned . Look forward to more of your posts . Happy Listening .

 

[Bachtoven]

Some of you may be surprised to learn that Anthony Burgess, author of A Clockwork Orange, was also a composer, and quite a fine one at that. He writes in a busy, quasi-tonal style that certainly must challenge the players. Very good playing and sound--which does capture a few harsh notes in the heat of the moment.

 

[Bachtoven]

A crushingly intense performance of No.2. Very good sound.

 

[Bachtoven]

Beautifully played (I'm slowly coming to terms with vibrato-less playing in Baroque repertoire!) and recorded.

 

[Bachtoven]

Halasz plays with tremendous feeling and virtuosity. Excellent sound, though I'm not a fan of his type of guitar, a Matthias Dammann "double-top."

 

[andolink]

Wolfgang Rihm:

J.S. Bach: