Mandelring konzert amplifiers
LOG IN. The 11S2 is an upgrade from the 11S1 in that it shares a transport among several other things with its significantly higher priced sibling the SA-7S1 player. The 11S2 is substantially built weighing in at 36 lbs. Another attractive feature of this player is the inclusion of a phase reversal switch. The player has both unbalanced and balanced outputs — I use balanced interconnects throughout my rig. Operationally, the player has been nearly flawless.
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Larsen Model 6.2 Loudspeaker
Discussion in ' classical ' started by Todd A , Aug 24, Log in or Sign up. Advertisement pink fish media. I get them, not the intended recipient. I get a lot of them and I do not want them! It is just a notification, log into the site and reply from there. This is just delete by another name.
My Schumann set from Dana Ciocarlie arrived after just over a week, and I started in on disc one. Papillons is light and fairly direct; the Op 11 sonata offers a bit more contrast and a sense of spontaneity, even if it doesn't match the control of some heavy hitters; and the Op 3 Paganini Studies are quite nice.
Since I dumped the Demus, it's safe to say that this is better than that. Amazon UK link. The price has gone up, but is still more than reasonable. Todd A , Oct 21, Skipping to disc three in Ciocarlie's Schumann set. The Abegg Variations are positively delightful, all fun and vivacious, and I can't think of any version off the top of my head that is materially better. DBT is generally light-ish fun, though Wild und lustig is played think, heavy, and almost clumsy, though purposely so, which then contrasts splendidly with the delicate and dreamy Zart und singend right after.
There's certainly plenty of spontaneity throughout the whole work. The rarely heard for me Opp 32 and 76 works are also very well done. This disc is even better than the first.
Todd A , Oct 22, The first of two appearances by Solti, this time in the form of his LSO recording. Solti does the slow and eerie thing just swell in the Introduzione, but what he really wants to do is get to the tuttis and have the band belt it out. Solti is high on excitement, no question, but he sometimes pushes things quite a bit.
You know, standard Solti. I never got to hear him in person, but this type of approach very often works splendidly in concert. The Giuoco delle coppie, in contrast, is a bit slow overall, though Solti never loosens his iron grip, making sure to get each pairing to play just so, and still managing to generate as much energy as some other recordings. The Elegia, coming in at a tight 6'32", starts off tense and mysterious and the erupts into a searing climax.
While the studio sound is cleaner, though more artificial, than the Kubelik Orfeo recording, I think, somewhat against expectations, that Kubelik actually generates more intensity. Anyway, very nice. The Intermezzo interrotto has a nice first theme, but the brash interruption is Solti's focus, and it's generally well done, though the hard right-left stereo detracts a bit. The Finale, predictably, is of the high voltage variety, and Solti gets the results he wants. At times, the overall effect is somewhat bludgeoning, aurally speaking, but it keeps one alert and paying attention.
Todd A , Oct 23, Solti's Chicago recording. Solti evidently was not satisfied that his LSO recording was intense enough, because he shaves sixteen seconds off the Introduzione. To be sure, there's enough mystery at the start, but the playing is imposing, as the Chicagoans can do if so ordered.
The playing comes perilously close to being too much of a good thing, but it remains a good thing. Solti also appears to have thought the Giuoco delle coppie in the LSO recording too slow, because he shaves almost forty seconds off the timing of it. There's no room for even one second of relaxation or anything other than tight execution here.
The Elegia has a one second difference in timing, but as is obvious in the opening bars, the CSO plays with more weight and authority. The night music portion works well, and the climaxes are as intense as one expects.
Solti also tightens up the previously tight Intermezzo interrotto, with the initial theme a bit too rushed, but the interruption bold and weighty and blatty. The Finale starts with a bold fanfare, as expected, and then moves into superbly well-executed, high energy playing more or less through the end. Both of Solti's recordings are solid, with the LSO one more to my taste, displaying plenty of energy without potentially overdoing it as often.
Todd A , Oct 24, Hugo Wolff's never mentioned recording. Wolff allows himself a bit more time and breathing room in a couple movements, letting slower music flow and sound more beautiful, while still getting plenty of power where needed. None of the timings are outside the norm. Nothing gets botched. Nothing sounds especially noteworthy. Sound quality is excellent. It is perfectly fine in every regard. It is also forgettable.
For some reason, this is the second time I've listened to this in I doubt I ever listen to it again. Todd A , Oct 25, Salonen's performance starts with a very slow Introduzione, with the opening very dark and very subdued, the strings playing mostly a hushed pianissimo. The very low level sound takes some getting used to, and a higher volume setting than normal. I ended up around unity gain, and with that when the massed strings finally arrive at about 3'30", the effect is powerful but not especially exciting.
Salonen almost seems intent on dissecting the score like Celibidache, bringing this extended passage into relief, then that one, though the finer details get swallowed by the reverberant recording. It holds together well, but it lacks both the night music aspect and the excitement of other recordings. The Giuoco delle coppie starts with a martial sounding side drum, and then Salonen gets exact playing from the instrumental pairs. The music maintains an insistent overall rhythmic feel, but it's all terribly abstract.
There's no folksiness that some Hungarian conductors bring, nor a real sense of playfulness. It's more dutiful. The Elegia sounds better, with the winds, anchored by the flute, doing their best to create a mysterious, if abstract, atmosphere.
The climaxes are loud but clouded, but somewhat matter of fact, not really evoking much of anything. That kind of thing works in Stravinsky, but not as much here. About 4'30"-ish in, Salonen brings the strings to the fore ever so slightly more than normal when the orchestra repeats a passage to superb effect. The Intermezzo interrotto starts with a comparatively light, wind-led theme that does sound sort of folksy, with the string melody quite lovely and almost romantic, while the interruption is well executed and approximates humor.
The Finale starts off with a fast fanfare, with Salonen then driving the Angelenos to play with speed nearing haste, generating some heat while so doing. Salonen generates some mystery in the quieter passages here, and the spacious recording makes the most of the bass drum, which intrudes ominously.
Overall, there are some things that are not so hot in this recording, and then some things that are superb. Todd A , Oct 26, Eschenbach starts his Introduzione in slow, dark, rich fashion, though rather than sounding eerie, it sounds more processional. The massed violins don't display the last word in bite, but, especially given that this is taken from live performances, the execution is more than admirable, and as the movement progresses at a sometimes leisurely pace, the little orchestral details pop into focus most realistically.
Eschenbach takes the Giuoco delle coppie at a slightly slow tempo, but the energy and rhythmic verve mask that, and each pair of instruments gets their due. The unbright sound makes the oboes, in particular, stand out, as they sound a bit richer than normal.
In the Elegia, Eschenbach subjects the music to the Philly virtuosic treatment, with the rich strings anchoring the music, which sounds suitably mysterious in the quiet music, and satisfyingly searing in the climaxes, and string playing around halfway in that sounds too good to be true.
The slow tempo elicits a more Mahlerian sound than Kubelik, though this time in the slowest music. Good stuff. The Intermezzo interrotto starts off with a lushly beautiful and rich theme that sounds almost too romantic, and that makes the interruption, with an exaggerated trombone glissando and the peppy and playful music immediately thereafter sound even better than is typically the case. The Finale starts off more restrained than some versions, but it doesn't take long at all for the pace to pick up, with the strings again offering a plush sound overall, but also some extremely fine detail.
The tuba gets its rich, gnarled blatty due, too. Eschenbach knows how and when to slow down just enough, and when to speed back up, but not too much, using well nigh flawless transitions, to generate the perfect proportions of energy and excitement, with hints of folksiness blended in.
The work ends with a blistering coda. Superb sound, some of the best, makes this set attractive. So does the pairing with Martinu's Memorial to Lidice , which here receives a performance of immense power that surpasses even Ancerl.
This recording was pivotal for me in reassessing Eschenbach as a conductor. A masterful disc all the way around, and one that has improved with age. Todd A , Oct 27, Sakarai Oramo's CfO. Sakari Oramo and the Finnish Radio Symphony Orchestra, presented in superb sound, basically recorded a musical advertisement demonstrating why composers should entrust their music to the Finns. Without executive flaw, and with ample detail, color, mystery, and power, always when and where needed, it is a joy to listen to.
Pick just about any detail, and it's just right. Harp glissandi? Muted trumpets? Sure thing. Proper piano in strict time in quiet passages.
MANDELRING QT SHOSTAKOVICH COMPLETE STRING
Piano concerto no. A cd I saw advertised in Gramophone before Christmas. This was their last recording before they disbanded. Bearing in mind it was recorded at the Skywalker Studios which has some of the finest recording equipment known to man, the result is rather closely miked which negates any really quiet playing and highlights each individual player so the result is quiet wearing to listen to. I like the first violinist's use of portamenti but it does lead to some slightly duff intonation. The recording was made 'live' but I wish a patching session had been added.
Collection Listening Log
Post a Comment. The organizers and musicians of the 13th International Silent Film Festival. For this edition, a total of six countries, namely Austria, Germany, Italy, Japan, Philippines, and Spain are participating. T his ye ar's festiv al, still known as the only one of its kind in Asia, will also fe ature a lecture by Nick Deoc ampo. Addition ally, the opening night will also be p art of the celebr ations for the Ye ars of Philippine Cinem a. Munimuni Kicking off the festiv al on August 30, is the screening of N ative Life in the Philippines , a document ary film by Dean Worcester about the K aling as. Providing the live score is the indie b and Munimuni. The opening night and film screening is presented by the Film Development Council of the Philippines. On the next d ay August 31, , author and film histori an Nick Deco ampo will h ave a lecture on The Beginnings of Cinem a in Asi a touching upon topics like the arriv al of cinem a in the region and how the loc als re acted to it.
Eastern promise at the Enescu Festival in Bucharest
Moreover, this means two often-vexing set-up variables have been eliminated: how far out into the room to situate the speaker, and the degree of toe-in needed. When a pair of 6. Easy peasy. The Larsen 6.
Sylvie Gomez
Christopher Morley takes in the Enescu Festival in Bucharest — but finds concert hall behaviour a bit of a culture shock. The city itself is fascinating, almost Italianate if you listen to the intonation of the language it could indeed almost be Italian — Romanian is a Romance language , and if you manage to dodge the car-hooting traffic with the idiosyncratic pedestrian crossings there is much to enjoy, not least the Cismigiu Garden, a watery haven of sylvan bliss near the centre of the city. Here young families trot their children and dogs, elderly couples sit and munch their lunch, and you sit and watch the world go by. During my visit I heard some amazing concerts promoted by the Enescu Festival. Enescu is perhaps uppermost in our consciousness here for the iconic recording he as a violinist made with the young Yehudi Menuhin of the Bach Double Violin Concerto, but in Romania, understandably, he is huge, as composer, conductor, performer and teacher. But the greatest issue was the Vienna Phil itself.
Forum Rules. I just stuck my SB13 Ultra in the middle between the speakers. Sounds great, must have got lucky. You still listening with your milky and a pacifier.. Welcome to the AudioShark Forums. What's New? Page 10 of 30 First
In his 30 year career, Greg Howe has produced, written and arranged ten solo instrumental studio albums along with two collaboration albums with Richie Kotzen of the Winery Dogs. In Greg Howe decide to take a break from the instrumental world and announced that he would be putting together a rock band named Maragold, which had much international success. Described by Howe as his most personal work to date, the album is destined to again set the bar for guitarists everywhere.
Label: Hunnia Records. Artist: Qiyan. European creative music blending with Sephardic Arab-Jewish traditions, American free jazz and Hungarian free music traditions. Like the Japanese geisha, the qiyan were highly skilled in music, poetry, and the arts in general. The core of our project is Sephardic music, which by its nature is improvised.
Enter the crypt of a thousand-year-old cathedral and what do you expect it to sound like? Dark and spooky? How about: Like a recording? Probably not, but this is what a string quartet playing in the crypt of the Kaiserdom at Speyer sounded like. Without a doubt, this was the biggest surprise of the tour yet.
Hope you all had a wonderful, enjoyable, stress-free holiday! This year's holiday season brought in a new sound rig in our home So while I was on a vinyl hiatus for several months, I can't wait to revisit my LP collection with this new system. Some of these I have heard their digital remastered versions and will try to offer a comparison when possible.
Long I was not here.
the answer intelligible