Audiophile HD-Vinyl 24/192 (Teldec) Wolfgang Amadeus Mozart – Piano Concerti No. 26 & 23 (Gulda, Harnoncourt)

front-small-boxset
Please welcome, alongside with Anda, Brendel, Häbler…Mr. Gulda, in the club of the Giants-Mozart-Interpreters. Friedrich Gulda belonged to that lucky dinasty of this brilliant and talented austriac quartet pianists born between 1927 and 1935, together with Alfred Brendel, Georg Demus and Paul Badura Skoda.

Composer: Wolfgang Amadeus Mozart
Performer: Friedrich Gulda
Orchestra: Concertogebouw Orchestra Amsterdam
Conductor: Nikolaus Harnoncourt
Vinyl (1984)
Number of discs: 1
Format: Flac
Label: Teldec
DR-Analysis:
DR 13
Size: 2.26 GB
Scan: yes
Server: FF


Gulda was the outlawest of this quartet. He played jazz with Chick Corea and Barbara Dennerlein and he made a career with high and low achievements.
But never in my life I could suspect that cold evening in December 1989, when a friend of mine and hard fan of Harnoncourt made me listen the Coronation concert. It was a haunting experience.

I always loved this concert; Mozart, obviously in the peak of his musical powers and composed an epic work. If you think very carefully, maybe we are in front of the most dionisiac concert of all the twenty seven composed by Salszburg’s genius. The long opening sequence is a tribute to the “savoir faire” wisdom term created by the french people. In many aspects you find the “Emperor” concert of Beethoven many related issues such as the pomp and circunstance, the huge life enjoy , the lyric histamina, a diamondless rapture of enthusiastic efervescence and aristhocratic elegance all along both concerts.

To win in this performing you must supported by a first rate orchestra and playing the concert with absolut accuracy; to avoid the fortes and let the flow melodic breathes. The arpeggios must sound authentic; I mean the notes should born without any pressure; and above all not consider this piece as neo romantic piece. You fail under this reading; not even classical approach , because you’ll sound Haydnesque. It demands not only a supreme pianism , but a great meaning sense of every phrase; Mozart makes sing the piano and this concert as the finale of the xx concert has to sound operatic. The jubilee , the humor and lyricism must born in your soul , then your brain and finally you fingers must express much more than musically ; I mean artistically human.

Gulda and Harnoncourt made possible all these requirements and demands and even surpased. The tonality of piano is superb; the balance orchestral never diminishes the piano. The result was for me the happiest goal of both artists. Harnoncourt sounded ok with Kremer in violin concerts and Gulda made worthy performings but neither of them reached this height each one by his own.

It happens and not very often; consider Leinsdorff Richter Brahms 2 ; Stern Bernstein Bartok ; Kempff, Van Kempen Beethoven, to name just a few .
It’s that special invisible chemistry not anticipated generated and less conceived rationally; this weird sincronization was a triumph personal and artistic in this case.
Do you neeed any other advise to acquire this monumental version?

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Analyzed folder: /192k WAM – Piano Concerti KV 488 and 537 – Gulda, Harnoncourt
———————————————————————————————-
DR        Peak        RMS        Filename
———————————————————————————————-
DR14        -0.79 dB     -19.75 dB     A1 Piano Concerto No. 26 In D Major K. 537 – Allegro.aif
DR14        -5.26 dB     -23.88 dB     A2 Piano Concerto No. 26 In D Major K. 537 – Larghetto.aif
DR15        -0.84 dB     -19.45 dB     A3 Piano Concerto No. 26 In D Major K. 537 – Allegretto.aif
DR13        -0.80 dB     -18.33 dB     B1 Piano Concerto No. 23 In A Major K. 488 – Allegro.aif
DR12        -3.97 dB     -21.21 dB     B2 Piano Concerto No. 23 In A Major K. 488 – Adagio.aif
DR12        -1.10 dB     -16.82 dB     B3 Piano Concerto No. 23 In A Major K. 488 – Allegro Assai.aif
———————————————————————————————-
Number of files:    6
Official DR value:    DR13
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Ripping Info

Monitoring

  • Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
  • Super light de-clicking with iZotope, significant clicks manually removing, no de-noising
  • 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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Thank you very much !

DL from FileFactory

PW: LaWally

Leave a comment ?

21 Comments.

  1. Hi Rach,

    Thanks a lot for this wonderful ripping.

    I happened to have the Esoteric remastered SACD version, after a quick A/B, although SACD have less background noise, but your ripping wins almost every other aspects, especially a more life like feel. I can fully understand it’s better than a CD version, just didn’t expect it will better a SACD version – especially one remastered by Esoteric.

    Another interesting thing about this recording is a lot of time you can clearly hear someone – assuming Harnoncourt – humming along.

    • Yeah…vinyl rules the world! 😀
      Even if digital, it sounds better if it comes from vinyl, don’t ask me why.
      Maurizio Pollini and Keith Jarreth also used to sum during a performance 😀

  2. Wow, Alf.
    This recording is just plain thrilling and captivating to listen to it!
    I’m only 14 minutes into the first link. It is soul stirring!
    Grazie, Paisano!

    Bob

    • Baby, wait for the reaction of the great WAM-lover Jean-Luc (but I am a greater one)… 😀
      And our friend Trottar? Himself a class pianist, he has known them all, the best pianists of this world in the last 50-60 years… 😀

  3. And Teldec, hence 192k 🙂 Thank you!

  4. Thanks you very much!!

  5. No surprise that this will sound better than digital masters 🙂

  6. Thank you very much!

  7. This may be controversial, but I didn’t like the recording at all. The performance is great. The rip is great. The sound is horrible. The strings shriek like banshees in the upper octaves. The piano sounds tinny. The whole thing is flat as cardboard, with no depth of stage, no ambience, no subtleties of instrument character revealed.

    Sorry, digital does not work for me. DMM helps little when the source is digital. The only exception I have come across is a DSD from Telarc of the album ‘The Very Tall Band’ which is a live recording at the Blue Note club of Oscar Peterson, Ray Brown and Milt Jackson. This is the only digital recording that satisfies me as completely as analog — I wouldn’t even want a vinyl rip of it, because the groove friction would not permit the noise floor to be so low as in the DSD.

    I would love to hear counter arguments, of course, if it is permissible by the admins. If this is an inappropriate comment I apologize sincerely.

    Thanks again for the rip!

    • Don’t worry, Isaiah, we are not living in a dictatorial country 🙂
      I don’t know, where the problem on your side could be. On my side, every time I played this on my 20,000 EUR equipment, I only saw people going down on their knees (me included).
      My tipp: stop hearing with headphones and try (if possible) to get a sincere and good equipment.

      Strings shriek??? Am I drunk?

      • No headphones. A pair of desktop Bose speakers, running off the headphone output of a laptop. It is not high end equipment, but it is the same equipment that plays all the great Boxset rips.

        The Fone editions of 4 Seasons and Scheherazade sound absolutely superb, for example. The Blue Note records engineered by Rudy Van Gelder also sound breathtakingly beautiful.

        It could be your high end hardware is rescuing this and massaging it a little. Sometimes it is low end hardware that exposes a recording. The performances of the concerti are stunning — I understand why one might want to drop to one’s knees! 🙂 They are very fine artists!

        Thanks for the reply.

  8. xiong li hong

    Thank youuuu.

  9. Thank you very much

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