Many thanks to our friend Trottar and Jean-Luc for this gem
The Concerto K 448 receives a stupendous performance at the hands of the young Alfred Brendel and Walter Klien (an old campaigner). What a delight this is. The soloists are utterly synchronous with one another to the point where their tone is near-identical: I cannot tell who is who. Their high spirits and éclat are unsurpassable. They also join forces for the Double Piano Concerto, K 365, which Mozart wrote for his sister Nannerl. Again, this is a triumph of exuberance – and the orchestral forces, conducted by Paul Angerer, impart grace to proceedings.
# Composer: Wolfgang Amadeus Mozart
# Performer: Alfred Brendel, Walter Klien
# Orchestra: Orchestra Of The Vienna Volksoper
# Conductor: Paul Angerer
# Vinyl (1967)
# Number of Discs: 1
# Format: Flac
# Label: Turnabout
# DR-Analysis: DR: 13
# Size: 1.03 GB
# Scan: yes
# Server: FileFactory
Cleavage exists between fact and truth and Alfred Einstein’s book on Mozart testifies to this. Scholarship has rendered it anachronistic in many instances but its insights into the music itself are still revelatory. One of Einstein’s more controversial statements is that the Piano Sonata in D Major for Two Pianos, K 448, is one of Mozart’s “most profound creations”. Many people find this statement irreconcilable with the music. While K 448 is clearly a masterpiece and its supreme craftsmanship is irrefutable – “profound?” Is it not the very apotheosis of the gallant style? Perhaps it comes down to translation (Einstein wrote in German). But why should sadness or anguish be any more profound than unbridled joy? Or perhaps a certain itinerant preacher-man can shed some illumination on the subject: “unless become like a little child, you shall not enter the Kingdom of God,” however that is defined.
Whatever the answer be, here K 448 receives a stupendous performance at the hands of the young Alfred Brendel and Walter Klien (an old campaigner). What a delight this is. The soloists are utterly synchronous with one another to the point where their tone is near-identical: I cannot tell who is who. Their high spirits and éclat are unsurpassable. They also join forces for the Double Piano Concerto, K 365, which Mozart wrote for his sister Nannerl. Again, this is a triumph of exuberance – and the orchestral forces, conducted by Paul Angerer, impart grace to proceedings.
The soloists provide us with “one for the road”: the Fugue for Two Pianos in C Minor, K 426, sans the Adagio that Mozart for it in later years (K 546). It is somewhat of a purpose-built Gordian Knot set to music but come its conclusion, Mozart unravels it masterfully. The performance is stunning.
Analyzed folder: /96k WAM – Alfred Brendel, Walter Klien
DR Peak RMS Filename
DR13 -4.06 dB -21.05 dB A1 Concerto For Two Pianos And Orchestra In E Flat Major, K. 365 – Allegro.aif
DR15 -3.30 dB -23.02 dB A2 Concerto For Two Pianos And Orchestra In E Flat Major, K. 365 – Andante.aif
DR12 -0.34 dB -16.71 dB A3 Concerto For Two Pianos And Orchestra In E Flat Major, K. 365 – Rondeaux – Allegro.aif
DR12 -1.63 dB -18.12 dB B1 Sonata In D Major, K. 448 – Allegro Con Spirito.aif
DR15 -4.30 dB -23.67 dB B2 Sonata In D Major, K. 448 – Andante.aif
DR12 -0.33 dB -17.58 dB B3 Sonata In D Major, K. 448 – Allegro Molto.aif
DR12 -1.06 dB -16.97 dB B4 Fugue In C Minor, K. 426 – Allegro Moderato.aif
Number of files: 7
Official DR value: DR13
- Artwork [Front] – Edward Sorel
- Composed By – Mozart*
- Conductor – Paul Angerer (tracks: A1 to A3)
- Liner Notes – Christiane de Lisle
- Orchestra – Orchestra Of The Vienna Volksoper* (tracks: A1 to A3)
- Piano – Alfred Brendel, Walter Klien
- 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: Pro-Ject Phono Box RS
- ADC/DAC: RME Fireface UC
- Pre Amp: Große Vorstufe, Erste Frankfurter Röhrenmanufaktur (Tube)
- 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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