Thank you very much to Trottar whose Vol. 2 accompains well my Vol. 1
Let’s get something straight in the beginning: Jorge Bolet is an apotheosis of ANTI-virtuoso approach to the music of Franz Liszt. That is precisely why he is the pianist who – with the obvious exception of Leslie Howard of course – has probably done most to raise Liszt’s reputation as a truly great composer, far removed from the once popular notion of meretricious dilettante. So if you like Liszt for virtuosity’s sake only, you may just as well skip this. Why Jorge Bolet stayed out of the spotlights for so long before taking up his -glorious- career? It was his devotion to Liszt. By then, in the 1950s, Liszt was still regarded as a B-composer (There are still people who tend to think so: I read someone who called Liszt `the father of all bar pianists’. Now, if you know a worse offence…). Only after Liszt’s reputation had increased, Bolet could enter his `Indian summer’, which lasted from about 1975 until his passing away in 1990. During this period, he was finally able to perform his favourite music as much as possible….
Composer: Franz Liszt, Franz Schubert
Performer: Jorge Bolet
Number of Discs: 2
DR-Analysis: DR 15/14
Size: 3.76 GB
Bolet won a Gramophone Award for his 1st book of Années de Pelerinage, which is not strange when listening to the recordings. This is a portrait of a man who’s entirely on his own, looking for his soul while wandering trough the beautiful Switzerland – I can’t say it better than B. Johnson already did. It’s Romantic nonsense, of course, but in Liszt’s days it was a common idea, and it can still sweep me away. Bolet’s superior tonal colouring – beautiful, but not too far-driven, for the risk it would almost be too intimidating – and his peaceful nature lift this music to the greatest heights.
The Schubert Song Transcriptions are excellent. The transcriptions aren’t very different from the original songs, but they are definitely interesting. Especially when someone like Bolet takes them under his hands! All songs are terrifically played, with real standouts like `Auf dem Wasser zu singen’, `Der Mueller und der Bach’ and `Erlkoenig’. Bolet’s romantic touch (he may have been the last of his kind) lets the music unendingly flow. Brilliant! Liszt shows here how much he’s in debt to Schubert, and wrote music of a disarmingly lyrical nature. Bolet gives almost naively innocent readings of these pieces.
|A1||Hungarian Rhapsody No.12||10:21|
|A3||Mephisto Waltz No.1||11:28|
|B1||Funérailles (Harmonies Poétiques Et Religieuses No.7)||11:14|
|B2||Rigoletto (Verdi) – Concert Paraphrase||6:58|
|B3||La Campanella (1851)||5:04|
Analyzed Folder: /192k Liszt – Piano Works Volume 1 and 2 – Bolet/Vol.1/Vol.1_dr.txt
DR Peak RMS Filename
DR14 -1.12 dB -20.50 dB A1 Hungarian Rhapsody No. 12.flac
DR16 -2.94 dB -26.81 dB A2 Liebestraum No. 3.flac
DR15 -0.70 dB -20.82 dB A3 Mephisto Waltz No. 1.flac
DR15 -0.36 dB -21.91 dB B1 Funerailles.flac
DR15 -1.71 dB -21.86 dB B2 Concert Paraphrase from Verdi’s Rigoletto.flac
DR15 -0.35 dB -22.01 dB B3 La Campanella, from Paganini’s Violin Concerto No. 2.flac
Number of Files: 6
Official DR Value: DR15
|Schubert Song Transcriptions|
|A2||Der Müller Und Der Bach||6:06|
|B1||Horch, Horch, Die Lerch||3:25|
|B2||Auf Dem Wasser Zu Singen||5:08|
|B5||Lob Der Tränen||5:36|
Analyzed Folder: /192k Liszt – Piano Works Volume 1 and 2 – Bolet/Vol.2/Vol.2_dr.txt
DR Peak RMS Filename
DR12 -2.08 dB -20.75 dB A1 Die Forelle.flac
DR15 -11.16 dB -30.00 dB A2 Der Mueller Und Der Bach.flac
DR12 -4.82 dB -22.61 dB A3 Wohin.flac
DR14 -3.76 dB -25.77 dB A4 Lebe Wohl.flac
DR13 -3.98 dB -23.04 dB A5 Das Wandern.flac
DR14 -0.43 dB -20.86 dB A6 Der Lindenbaum.flac
DR14 -2.45 dB -22.97 dB B1 Horch, Horch, Die Lerch.flac
DR13 -2.12 dB -21.47 dB B2 Auf Dem Wasser Zu Singen.flac
DR14 -2.93 dB -23.27 dB B3 Die Post.flac
DR13 -1.86 dB -20.19 dB B4 Aufenthalt.flac
DR17 -2.82 dB -26.93 dB B5 Lob Der Traenen.flac
DR13 -0.41 dB -18.75 dB B6 Erlkoenig.flac
Number of Files: 12
Official DR Value: DR14
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
Cartridge: ZYX 50R Bloom
- Phono amp: Audio Research SP15 own tube phono section.
- ADC/DAC: RME Fireface UC
- Pre Amp: Audio Research SP15
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
A few words about the way i’ve been cleaning vinyl records and post-processing rips, since summer 2017: After washing and recording the vinyl, I use a kind of mixed cleaning of the rip, which consists of mostly manual rather than automatic de-clicking, (the latter only on unimportant passages, such as end of the groove, beginning and end of the songs, applause, speaking). I often leave the rips almost rough, de-clicking only the silences between the tracks. Never de-noising or/and EQ, as unfortunately some do. I prefer to hear a bit of quiet noises of the clean groove, that contain something of the music, rather than generate clinically clean files that may, eventually, sound a bit dead. If you do not agree, do not download my rips and buy instead digital files or CDs.
When I listen to music I “don’t hear” any noise: I enjoy the music 😀
I do not make rips for headphones!
- Software: iZotope RX 5 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.18
- Very careful de-clicking with iZotope, significant clicks manually removed, never de-noising
- Wave 32/192(32/384) —> Flac 24/96 & 24/192: Twisted Wave 1.18
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
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