As great as other violinists on some outstanding “Symphonie Espagnole” recordings are, Perlman really goes to the front of the line in my opinion. His beautiful intonation, amazing technique, and feel for this music (not at all self-indulgent) are just about as perfect as one can hope to get. The acoustics and sound of this recording are just as glorious as is the playing. Highly recommended.
# Composer: Eduard Lalo, Hector Berlioz
# Performer: Itzhak Perlman
# Orchestra: Orchestre de Paris
# Conductor: Daniel Barenboim
# Vinyl (1981)
# Number of Discs: 1
# Format: Flac
# Label: Deutsche Grammophon Gesellschaft
# DR-Analysis: DR 16
# Size: 789 MB
# Scan: yes
# Server: FileFactory
Perlman’s Lalo is incomparable. I have this record now for 34 years. There are other works Perlman recorded that I can’t quite regard with as much enthusiasm, but his Lalo has no equal. There are some great violinists, who performed “The Lalo” on records, including Heifetz, Zuckerman (which is good), Stern…yet there’s just nothing to match Perlman’s recording.
Perlman may not be a flawless performer, as this recording might reveal. It’s the voice, the attitude and style that makes this the one Lalo to have. There is nothing on record like Perlman’s 3rd movement. There must be an argument in this story; some woman has discovered her lover cheated on her and she’s screaming and cursing in Spanish so fast she could spit fire at him. You can hear him try to lie his way out of it, but she will have none of it. She slaps him, she cries, she laments the loss, and he offers a tearful apology.
She considers it for a couple of heartbeats, but then slaps him in the face and leaves.
That’s Perlman’s 3rd movement.
Lalo isn’t known for much, but if there’s only 1 thing the world remembers any of us by, it should be something as grand and wonderful as the 3rd movement of “The Lalo” as performed by Itzhak Perlman.
His insights into the music, as well as his technical forte, his lyrical and sheer musicality of his performance, are beyond words.
|Lalo – Symphonie Espagnole Op. 21 Für Violine Und Orchester|
|A1||Allegro Non Troppo||7:50|
|A2||Scherzando, Allegro Molto||4:06|
|A3||Intermezzo. Allegretto Non Troppo||6:11|
|Berlioz – Rêverie Et Caprice, Op. 8 Für Violine Und Orchester|
|B3||Romance. Adagio — Allegro Vivace — Adadio — Allegro Vivace — Vivo||6:58|
Analyzed folder: /96k Lalo – Symphonie Espagnole – Perlman
DR Peak RMS Filename
DR14 -0.88 dB -20.16 dB A1 Symphonie Espagnole – Allegro Non Troppo.wav
DR17 -2.28 dB -25.24 dB A2 Symphonie Espagnole – Scherzando, Allegro Molto.wav
DR17 -0.24 dB -22.71 dB A3 Symphonie Espagnole – Intermezzo. Allegretto Non Troppo.wav
DR14 -2.36 dB -22.51 dB B1 Symphonie Espagnole – Andante.wav
DR16 -0.16 dB -22.16 dB B2 Symphonie Espagnole – Rondo Allegro.wav
DR16 -0.81 dB -23.54 dB B3 Berlioz – Reverie Et Caprice, Op. 8 For Violin And Orchestra.wav
Number of files: 6
Official DR value: DR16
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
- Phono amp: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Vintage (1979) Luxman L-55A
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
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.
I tend more and more, in the last time, to de-click with an automatic setting between 0.7 and 1.2 so you can say, my rips are like half rough rips.
- Software: iZotope RX 4 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.9
- Very 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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I reinvest all donations in maintenance of my rig, for purchasing cleaning solutions and, most important of all, purchasing of new vinyls.
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