Brahms: Symphony No. 1, nagr. Kozerthaus Wiedeń 1952

Wiener Symphoniker;
Celibidache, Sergiu

WS 002

The firm conviction of Maestro Celibidache -..." the record or CD is the destruction because they're not authentic, honest, can be acoustically spatial, they can never That a live concert could trigger allows two answers: He's right and wrong at the same time • Neither a historical mono recording from Shellac times, another current high-end Stereo or Surround Recording can be used to preserve an immediate concert experience. Microphones and loudspeakers are technical And at best create one (if necessary) illusion of a natural-sounding, natural-sounding Reproduction. However, this illusion is not The course of the "Digital Studio" is getting better and better and more convincing. That doesn't make the Possibility of digital correction cutting, the Celibidache rightly as manipulation i meant it. • The restoration of the present Mono recording from 1952 was due to aging processes of a nearly 60 years old magnetic tape difficult and elaborate. Meanwhile enable creative hand tools of the digital Studio technology, also spatial Dimensions of a mono recording in to fit into a stereophonic environment, new filter technologies eliminate non-linear Distortions. So will this precious historical recording sound aesthetically worth hearing again.

CD

Muzyka klasyczna

Wiener Symphoniker

28-10-2012

4260313960026