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Mercury Living Presence - Mercury Living Presence Vol. 3. The Collector's Edition (6 LP)

GREEN BOX
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Nigdy wcześniej i nigdy później, mimo szalonego rozwoju, a może zbędnej komplikacji w dziedzinie zapisu dźwięku nie stworzono tak perfekcyjnie brzmiących nagrań, nad jakością których głowią się ostatni już z ludzi, w genotypie których zapisany jest wzorzec brzmienia naturalnego. Tę samą myśl wyrazić mógłbym w sposób mniej barokowy: oto dokumenty z czasów, w których naturalne brzmienie instrumentów otrzymywaliśmy z mlekiem matki. Albo - jeszcze prościej: tak grali, tak słyszeli i zapisywali muzykę ludzie, dla których była ona chlebem powszednim. No, ok, niech będzie - drożdżowym ciastem z kwaśnymi śliwkami. Ale takimi węgierkami. Grubymi, tłustymi, z miąższem pękającym od soku. No i kruszonka. Spieczona, ale rozpadająca się w pył przy pierwszym muśnięciu. Uuuhm... Jedna z trzech części antologii katalogu Mercury Living Presence. Labela mistrzów brzmienia i interpretacji dla mistrzów i koneserów idealnego, naturalnego brzmienia. Twierdzisz, że słuchałeś nagrań audiofilskich? Właśnie tych? Nie? A to znaczy, że tylko twierdzisz... This limited-edition, numbered LP Set features original LP front and back covers. The pressings are by OPTIMAL on 180 gsm vinyl stock and lacquers have been cut by Sean Magee at Abbey Road Studios. Included in the package is a full-colour booklet in English featuring an essay by Thomas Fine; a paragraph on each recording, setting out the location, the dates, the tapes, the microphones, the engineer, the producer – in fact everything the collector loves to read. The cover art is in the style of the 53CD box set (mentioned above) and is presented in a lift-off rigid LP box (in the style of previous 6LP sets from Decca). NOTES ON THE RECORDINGS LP1: Respighi: Roman Festivals; Church Windows Minneapolis Symphony Orchestra, Antal Doráti Roman Festivals and Church Windows were both recorded on November 20, 1954, on the stage of Northrop Auditorium, Minneapolis, using a single Neumann U-47 microphone and a Fairchild full-track quarter-inch tape machine running at 15 inches per second. The orchestra was placed in normal concert set-up and the microphone kept in one position during the recording. First-generation master tape used for CD remastering. The pieces were first released on MG50046. LP2: Wienerwalzer Paprika Philharmonia Hungarica, Antal Doráti The works by Lehár, Kálmán, Dohnányi, Waldteufel, and Lanner, as well as Village Swallows, were recorded between June 5 and 9, 1958, in the Große Saal of the Wiener Konzerthaus on 3-track half-inch tape, using one Schoeps M201 and two Neumann KM-56 microphones. These waltzes were originally released as SR90190. Voices of Spring was recorded on November 18, 1956, with one Schoeps M201 and two Neumann U-47 microphones, on 3-track half-inch tape, and was a part of SR90008. Aquarellen and Doctrinen waltzes were recorded on December 18, 1957, on 3-track half-inch tape, using one Schoeps M201 and two Neumann KM-56 microphones. Those titles w...]]>

MAHLER - Mahler Symphony No. 3 In D Minor

Zubin Mehta - w naszej ofercie ...]]>

MAHLER - Mahler Symphony No. 3 In D Minor

Zubin Mehta - w naszej ofercie ...]]>

Louis Armstrong - The Great Chicago Concert 1956

Louis Armstrong - w naszej ofercie * There has never been (nor will there ever be again) a musician so beloved all over the world as Louis Armstrong. Artistically, he was not only the single most influential fount and inspiration for every pop-music instrumentalist and singer of his time and thereafter, but he was quite easily the greatest entertainer ever to step on the stage, musical or theatrical. And where Louis was concerned, there was no separation; he was as theatrical as he was musical. This album documents just one of his countless concert appearances. It is unique and typical at the same time, for the evening began with a review of '50 years of Jazz' (which also paralled Armstrong’s life, for he and jazz were both born at the turn of the century – Louis in 1901, as a baptismal certificate discovered after his death has established, not 1900, as he had always believed), followed by a standard-issue Armstrong All Stars program. Although his choice of selections would change slightly from one night to another, and then more so from one year to the next, certain elements remained constant. No matter how often a composition was repeated (he opened every show “Sleepy Time Down South”, almost invariably followed by “Indiana”), Louis Armstrong gave his all every performance – no matter how many or few in the audience, and no matter if the decades of nearly non-stop touring had left him exausted on a particular night. >>> Płyty winylowe należy przechowywać WYŁĄCZNIE w NAJLEPSZYCH NA ŚWIECIE koszulkach produkcji legendarnej wytwórni MOBILE FIDELITY. 100% gwarancji na pozbycie się trzasków będących w istocie w 90% efektem ładunków elektrostatycznych a nie uszkodzeń mechanicznych płyty! <<<

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