Discussion in 'Music Corner' started by George P, Jul 23, 2014.
I meant Karajan ...
Oh, I am not sure.
I'm glad to have the Tulip label LP issue of the HvK/Berlin/Brahms Symphony cycle.
Now playing the following CD by this little-known composer for a second listen ...
Louise Farrenc (1804 - 1875)
I have a number of SACD's that sound terrific -- but so do the CD layers on those same discs, where there are CD layers. I've not yet found a SACD which is clearly superior to a CD version of the same master.
OK, thanks anyhow! If you get around to the Brahms eventually, I'll be interested in your reactions.
There are probably fewer than a half dozen audio equipment manufacturers that still make SACD players. But it looks like as long as universal players continue to be available, the capability to play SACD recording will still be there.
Too often SACDs are created from inferior sources. Sony was notorious for taking CD masters and upsampling them to make SACDs. So have many others. There are very few pure DSD SACDs as Sony never developed the editing tools for DSD. Some at least edit in DXD which is a reasonable approximation as opposed to Redbook. That is separate from your point about quality of performance. The whole hi rez field has had no industry standard or oversight. There are belated efforts to establish them. But there are still a number of significant performances on SACD so I don't think they should be dismissed wholesale.
One way in which SACDs do shine, however, is in antiphonal music, which benefits from the format's multichannel capabilities.
Absolutely, and such was not my intent. I merely think that it's best to remain focused on performances or repertory and not get too hyper about buying into a format that I suspect is not all that long for this world. Nice while it lasts, but in the end the music is what matters.
I was also a confirmed multi-channel SACD enthusiast until recently. I've come to realize that either they over-do the amount of direct sound in the rear channels so it sounds as if I'm surrounded by the orchestra, or there's practically no signal back there at all. I also find the imaging to be better with stereo. It might not be as superficially impressive, but I think stereo is overall more accurate with staging and imagery. I read that the engineer from Channel Classics said he lavishes more time on the stereo mix since more people listen in stereo. In theory m-ch make sense, but in practice it often just doesn't work that well.
I have always listened to SACD recordings in two channel mode since I have never had a surround setup due to space constraint as my house lacks a good-sized family room.
This video should be X-rated.I barely made it to the end.Avoid!At all costs.Even if somebody held a knife to your throat.
Thank you, Kevin. Really appreciate your help.
I remember big buzz on campus when William Primrose joined the faculty at Indiana.
Abbado, Maazel, Cliburn and now the great Brüggen...
a nice article on The Guardian
The second Juilliard set was my introduction to this music.
Now enjoying this great 2CD set! Thanks for the recommendation, guys!
Absolutely. With multichannel it's a different story.
I've always wondered why there's no multichannel recording of Boulez's "Repons," which IIRC was written to be heard from all sides.
I agree...most pipe organ and choral music benefit greatly from m-ch. I use my Oppo for such recordings and my Sony for everything else.
WP last night: Shubert A Major Piano Sonata, during the opening chords my wife asked if it was Keith Jarrett.
Right after I put this on my wife woke up from a nap.
"What's that noise?" she asked.
"Ligeti" I answered.
"Yeah? Megeti a gun and shoot me."
She's usually very tolerant of my musical forays, but this one was obviously too far. After times through this disc, and I am becoming more a fan of Ligeti. I especially like his droll musical humor. BTW the famous Poeme Symphonique for 100 Metronomes is on this disc. I've wanted to hear it since I read about it in Alex Ross' book.
This video is much shorter than the recording. On the record for the first ten minutes there's nothing but a constant buzz resembling white noise. After that, a random pattern very slowly emerges during the last ten minutes.
Hmm...is that an insult or a compliment?
Every time I put on a jazz or classical pianist she tries to guess who it is within a few bars. She usually gets it right. The opening chord clusters do sound kind of solo Jarrett like.
This boasts great performances and sound...one of EMI's better ones. (Using an actual hall in Russia rather than a studio probably helped.)
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