I’ve just attend an impressive demonstration of some “3D” recordings given by German producer Werner Drabinghaus. The playback system supplements the modern home theater surround configuration with four additional speakers placed high up in a room (in the present case, some 5 meters up in the Gasteig’s “Black Box” venue) on the right and left, front and rear. The results were quite stunning, particularly from recordings where some of the instruments and choirs are placed on risers or a cathedral organ is high above the congregation. Most interestingly, the additional speakers increased the sense of both staging and imaging along with the vertically expanded aural canvas. Drabinghaus is on to something big, especialy given that good quality surround speakers and amplification are a relative bargain, standards that include elevated speakers are beginning to find standardization (including Blu-Ray playback) in the consumer audio community, and multichannel formats are beginning to get traction among the download community.
Okay, so perhaps I exaggerate, but…
He was a giant of the music world, and a particularly important figure in Germany’s postwar era. There’s a terrific biography/obituary at The Telegraph. EMI’s new SACD release sporting high-definition transfer of his four groundbreaking early HMV LPs of Schubert lieder with the incomparable Gerald Moore arrived at my office last week; these are among the most important classical recordings of the postwar era.
LUCERNE FESTIVAL hereby announces that on 8 August as well as on 10 and 11 August, Claudio Abbado will conduct Beethoven’s Incidental music to “Egmont” and Mozart’s Requiem. For artistic reasons, this program replaces the originally scheduled Eighth Symphony by Gustav Mahler.
Audiophiles who delve into the world of computer audio have hundreds of software tools from which to choose for organizing and playing their libraries, but I’ve found none to compare to… Continue reading The Grand Unified Media File Solution — Well, the One I Prefer
Professor Andrea Vicari was clear and diplomatic in a letter to the editor published a few days ago in the Guardian. Vicari was replying to a suggestion from Guardian writer that musicians play without pay for the honor of being associated with the games.
I would have been a bit less polite…
Following an underwhelming concert last Thursday, I was beginning to think I was getting too cynical for concertgoing.
I’ve been a wee bit sidetracked. Blogging resumes the first week of April, and will include at least a new/recent release roundup.
I hope the Cleveland Orchestra and New York Philharmonic look into this, not only for the potential savings but a solution to numerous troubling aesthetic and interpretive issues (although I’d advise the management of the NYPhil to avoid trying that last setting for both liability reasons and high repair costs). Hat tip: David Atkins.
Saturday night listening: Hans Werner Henze’s too-rarely-performed opera “Elegy for Young Lovers”. I know, it’s light listening as usual. An old college friend reminded me earlier today that I would often assert that “music should be rigorous”; that sentiment has changed little in 30-plus years.
The Henze recording features Lisa Saffer (she can sing anything, and I mean anything), Roderick Kennedy, a stunningly good supporting cast, and the Schoenberg Ensemble conducted by the much-underrated Reinbert de Leeuw. It’s part of a 27-disc set documenting Schoenberg Ensemble recordings of 20th century music issued about five years ago by Dutch indie Et’Cetera. The performances are consistently excellent.