Reposted, with FF links
Isaac Stern, the master violinist, was one of the last great violinists of his generation and helped advance the careers of generations of musicians who followed, including Itzhak Perlman, Pinchas Zukerman, and Yo-Yo Ma.
# Composer: Johannes Brahms
# Performer: Isaac Stern
# Orchestra: New York Philharmonic Orchestra
# Conductor: Zubin Mehta
# Vinyl (1979)
# Number of Discs: 1
# Format: Flac
# Label: Columbia
# DR-Analysis: DR 15
# ASIN CD: not found
# Size: 870 MB
# Scan: yes
# Server: FF
“Isaac was far more than a musician. He was a person who was outstanding in everything, whether thinking about politics, or business, or as a humanitarian,” Weill said.
Five-foot-6, rotund and with pudgy, dimpled hands, Stern commanded a rich tone and steady rhythm from his 18th century Guarneri violin. With his dynamo energy and fluid bow strokes, he was equally at home with the mathematical complexities of Bach, the fury of Beethoven, the passions of Brahms, and the convulsions of 20th century composers.
Stern was one of the most recorded classical musicians in history, making well over 100 recordings.
A supporter of Israel, tireless concertizer, teacher, and raconteur, Stern played well over 175 performances by the late 1990s at Carnegie Hall, America’s musical temple renowned for its acoustics. The hall was built by industrialist Andrew Carnegie and opened in 1891 with a concert conducted in part by Peter Ilich Tchaikovsky.
In the late 1950s, as the city was planning Lincoln Center, a developer proposed razing Carnegie Hall and building a 44-story office tower with panels of bright red porcelain and diagonally placed windows. Life magazine in 1957 described the architect’s plan as “a strange-looking checkerboard.”
Using his prestige and his contacts among fellow artists and benefactors, Stern rallied the opposition, eventually securing legislation that enabled the city to acquire the building in 1960 for $5 million. “I talked a lot,” Stern told King. “It’s something I do very well. When you believe in something, you can move mountains. I knew that this could not disappear from the face of the Earth.”
Stern was born in 1920 in Ukraine in the fledgling Soviet Union. His parents brought him to America when he was 10 months old, settling in San Francisco. Believing that music was an essential ingredient to education, they started him on the piano at age 6. Two years later, after hearing a friend’s violin playing, he picked up the fiddle and wound up playing it for the rest of his life.
He studied at the San Francisco Conservatory and with Naoum Blinder, concertmaster of the San Francisco Symphony and a violinist of the Russian school of playing. At 16, Stern attracted his first national attention, performing the Brahms Violin Concerto with Pierre Monteux conducting the San Francisco Symphony in a concert broadcast on national radio.
Seven years later, on Jan. 8, 1943, he made his Carnegie Hall debut in a recital produced by the impresario Sol Hurok. Performing with pianist Alexander Zakin, who became his longtime accompanist, Stern played Mozart, Bach, Szymanowski, Brahms, and Wieniawski.
He later played in countless places around the world: Iceland, Greenland, and the South Pacific for Allied troops during World War II; Moscow after Stalin’s death; Jerusalem’s Mount Scopus immediately after Israeli soldiers recaptured it in 1967; China after Washington restored full diplomatic relations in 1979. One country he refused to perform in was Germany, which he boycotted for years because of the Holocaust.
Through the American-Israel Cultural Foundation, Stern helped finance the studies of many Israeli performers, including Perlman and Zukerman. He also helped arrange for Ma to study with the great cellist Leonard Rose — Stern’s partner in the much recorded Istomin-Stern-Rose trio, along with the pianist Eugene Istomin.
At his peak, Stern would perform more than 200 concerts a year. He also played in the movies “Humoresque,” “Fiddler on the Roof,” and on TV’s “Sesame Street.” The Academy Award-winning documentary “From Mozart to Mao” chronicled Stern’s performance and tutoring in China in 1979 after the Cultural Revolution.
Stern ended his boycott of Germany in 1999 for a nine-day teaching seminar, saying it was time to see how young German musicians were absorbing their musical heritage of Bach, Beethoven, Brahms, and Mendelssohn.
|Concerto In D Major For Violin And Orchestra, Op. 77|
|A||I. Allegro Non Troppo||22:52|
|B2||III. Allegro Giocoso, Ma Non Troppo Vivace||7:46|
Analyzed folder: /96kJoBr_ViCo_SteMeh/96k Brahms – Violin Concerto – Stern
DR Peak RMS Filename
DR15 -0.74 dB -21.70 dB A Brahms – Violin Concerto D-Major Op. 77 – Allegro Ma Non Troppo.wav
DR17 -4.53 dB -26.93 dB B1 Brahms – Violin Concerto D-Major Op. 77 – Adagio.wav
DR12 -0.54 dB -17.66 dB B2 Brahms – Violin Concerto D-Major Op. 77 – Allegro Gioco Ma Non Troppo Vivace.wav
Number of files: 3
Official DR value: DR15
- Composed By – Brahms*
- Conductor – Zubin Mehta
- Orchestra – New York Philharmonic*
- Producer – Andrew Kazdin
- Violin – Isaac Stern
- RCM: Okki Nokki
- TT: Clearaudio Champion Level II
- Cartridge: Sumiko Black Bird
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Unison Research Unico Pre (Tube)
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
- Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
- Light de-Clicking with iZotope, significant clicks manually removing, no De-Noising
If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
- DR-Analisys before converting to Flac
- Converting Wave -> Flac: Twisted Wave 1.9
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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