Beethoven - Piano Concerto No. 5 "Emperor"
in E-flat, op. 73
Жанр: Classical, Romanticism
Год выпуска: 1978 (1944)
Лейбл: Varese Sarabande – VC 81080
Страна-производитель: USA
Аудио кодек: FLAC
Тип рипа: tracks
Формат записи: 24/96
Формат раздачи: 24/96
Продолжительность: 36:21
Треклист:
Side One:
A First Movement: Allegro (19:09)
Side Two:
B Second Movement: Adagio Un Poco Mosso
– Third Movement: Rondo: Allegro (17:12)
Personnel:
- composed – Ludwig van Beethoven (1770-1827)
- piano – Walter Gieseking (1895-1956)
- conductor – Artur Rother (1885-1972)
- orchestra – Berlin Reichsender Symphon Orchestra
Recorded in the Autumn of 1944 at Studio 1, RRG (Reichs-Rundfunk-Gesellschaft), Berlin.
Experimental stereo recording by Helmut Krüger with the AEG-Telefunken K7 stereo tape recorder.
Mastered by Dub Taylor at KM Records, Burbank
Источник оцифровки: третьим лицом
Код класса состояния винила: Неизвестно
Устройство воспроизведения: Michell GyroDec (Full Version)
Тонарм: Funk Firm FXR II
Головка звукоснимателя: Audio Technica AT33PTG/II MC
Предварительный усилитель: Harman Kardon HK990 Integrated Amplifier
АЦП: E-MU 0204 Audio Interface
Программа-оцифровщик: Adobe Audition 3.0.1
Обработка: Knosti RCM. Recording, split and manual de-click with Adobe Audition 3.0.1. Click Repair 3.9.1
NOTE:
Gieseking, at the height of his powers in 1944, is deft, delicate, infinitely resourceful. From the moment of the piano’s re-entry, Gieseking points our attention away from heroic postures (though he has strengths in reserve) towards that visionary mood which underwrites the whole of the Violin Concerto and subtly pervades the Emperor, too. The recording was made at a concert in Berlin and claims to be a genuine stereo recording, a precocious example of the highly sophisticated Berlin Radio system and its Magnetophon recorders. Clearly it is a stereo recording in the same way that an 1840s Fox Talbot is a photograph, but the stereo images are vague and the level of background hiss is almost unacceptably high. That said, the beautifully natural, slightly recessed concert hall image serves Gieseking well; and the orchestra, which is immaculately conducted by Arthur Rother, is finely focused. In the latter part of the first movement cadenza artillery can be heard dimly popping and pummelling in the background, much as it probably did at the time of the work’s premiиre in war-torn Vienna. Gieseking, ever the poet and professional, remains perfectly poised, whilst the horns sweep calmly and steadily in. R.O., Gramophone, January 1980
The 1944 recording of Walter Gieseking playing brilliantly Beethoven's Emperor Concerto sits among a select few stereo recordings made experimentally prior to the 1950s, the earliest dating back to the early 1930s. It's one of the only complete works recorded in stereo prior to the general adoption of stereo recording in the 1950s - only one other stereo recording (of a single movement) is known to survive from 1944, also recorded in Germany. It was the development of tape recording which made stereo technically feasible - not until 1958 would disc replay catch up - and the Germans were a considerable way ahead on tape technology by 1944. Even so, the high levels of hiss on this recording - unsurprising given that each channel has half the tape width and thus double the noise levels - shows much was left to be done. Andrew Rose, Pristine Classical.
Krüger was nicknamed by his radio colleagues Krüger-Krüger, in witty reference to his habit of recording everything with at least two microphones in stereo.
Several stereo recordings were made by RRG at this time but, with the exception of this and a recording of the last movement of Bruckner's Symphony no. 8, by Herbert von Karajan conducting the Berlin Stattsoper Orchestra,it is thought they were all destroyed by Allied bombing.
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发表于 2020-12-8 16:36:07
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