sser2,
the 7th is very special for me as well. You could check this one with young musicians on YouTube: Shostakovich Symphony No 7 Шостакович Симфония №7 (search in Google)
the 7th is very special for me as well. You could check this one with young musicians on YouTube: Shostakovich Symphony No 7 Шостакович Симфония №7 (search in Google)
I don't think that on youtube there is much more possible than short checking. You won't get a close contact to this kind of music with youtube. Too bad quality, its even more bad than MP4. For this, you need the real stuff, not the hifi-ish stuff. Classical music just sounded good on the best equipment, not the bad ones. At least thats my feelings about this highly complex orchestral music.
I was lucky enough to be present at the Russians' debut concerts in the UK at the Festival Hall. Sviatoslav Richter was practically mobbed - 6 encores for his Debussy/Chopin concert and 4 for his Prokofiev, and a lot of people left their seats and went right down to the stage.
Oistrakh played, and Rostropovich played the Cello Concerto 1. In the box were Britten, Pears, Hindemith and Shostakovich. The first horn missed his fortissimo entry - a real clunker he must have remembered for the rest of his life. An awesome series of concerts. I was a young teenager. That was my most unforgettable Shostakovich experience.
Oistrakh played, and Rostropovich played the Cello Concerto 1. In the box were Britten, Pears, Hindemith and Shostakovich. The first horn missed his fortissimo entry - a real clunker he must have remembered for the rest of his life. An awesome series of concerts. I was a young teenager. That was my most unforgettable Shostakovich experience.
Andy,
wow, this must have been in early 70's? Oistrakh died 1974.
I never made it to those big names in person, but collected great clasical LP's from London when being there as student. It was the time when everybody swapped LP for CD and there were some great record shops in mid 90's. London is a great city with lots of opportunities. And nothing beats live classical concerts for sure. I collected those great music, a poor mans kind of arts collection.
wow, this must have been in early 70's? Oistrakh died 1974.
I never made it to those big names in person, but collected great clasical LP's from London when being there as student. It was the time when everybody swapped LP for CD and there were some great record shops in mid 90's. London is a great city with lots of opportunities. And nothing beats live classical concerts for sure. I collected those great music, a poor mans kind of arts collection.
Andy, are you talking about the Richter concerts in 1961? That must have been quite something? I wasn't (quite) born then and only managed to hear him in the RFH near the end of his life; he played many different programs in the UK on that visit and I must say that he didn't sound like the Richter I knew well from his records; indeed he sounded not well prepared.
Schmitz, all those record shops have gone now, unfortunately.
I am pleased to see so many classical music fans here! I didn't realise there were so many on DIY audio.
Schmitz, all those record shops have gone now, unfortunately.
I am pleased to see so many classical music fans here! I didn't realise there were so many on DIY audio.
sser2, I have given piano lessons to a teenage boy whose grandfather survived the horror of the Leningrad blockade and who went on to be a Soviet Academician. At first I was very frustrated with him because he was lazy although talented; I had expected that with his family background he would have been a bit more responsible. However I am pleased to report that he has now changed his ways, is working hard and wishes to go to the Moscow Conservatoire.
OMG! A diyAudio thread with thoughtful discussions of topology and build AND references to music other than the standard audiophile play list?! MORE DISCUSSIONS LIKE THIS ONE, PLEASE!
Yes - July 1961. It was magical. A total sell-out. I knew a guy who worked at the RFH and he gave me some of the "spare" seats they kept aside in case something was needed at the last minute. Very good seats, right in the centre. I was incredibly lucky.
Richter Recital in London, 8.VII.1961 - YouTube
Debussy - Ten Preludes from Book I - Richter London 1961 - YouTube
Sviatoslav Richter in London, 1961 - Chopin Ballade No.3, Op.47 - YouTube
Those record shops were wonderful and full of real characters. Of course, I used to hang out there and spend far too much. The intermittent sales were exciting for collectors!! A bygone era. And speaking of the Russians, I vividly remember the first arrivals of the Sofronitsky and Feinberg recordings in London and the incredulous responses from professional pianists, a couple of whom I knew personally. They were very excited by what they heard. Richter wasn't the only great pianist hidden away behind the Russian frontier.
I went on a school trip to Russia in 1964 and heard the Leningrad Philharmonic play Tchaikovsky 4, 5 and 6. A very stout lady conducted, and it was so boring I fell asleep. I asked our Russian guide why the orchestra was so poor that day and he responded:
"You must understand...... Russia is a very big country. Everyone wants to hear the famous Leningrad Philharmonic. So since it is Summer now, all the Leningrad Philharmonics are on tour. This is the 11th Leningrad Philharmonic tonight...."
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....aaaaaand....strike2! 🙂
I already posted a question regarding the Rikard Berglund's asymetrical (?) phase inverter but the discussions were too hot so no answer was given to a presumably "colateral" subject.
So,again:is this PI capable to emulate a SE behaviour? If yes,how close and why?
I already posted a question regarding the Rikard Berglund's asymetrical (?) phase inverter but the discussions were too hot so no answer was given to a presumably "colateral" subject.
So,again:is this PI capable to emulate a SE behaviour? If yes,how close and why?
Attachments
You are probably right. I find some of his ideas interesting, but, ultimately his music gets on my nerves and I find him a bit of a one trick pony.
Schmitz77,
a theory serves as an explanation. There are good reasons to be suspicious about theories, they have an inclination to be erroneous, but to reject theories generally is to reject a means of knowledge. It has historically been difficult to distinguish between true and false prophets.
a theory serves as an explanation. There are good reasons to be suspicious about theories, they have an inclination to be erroneous, but to reject theories generally is to reject a means of knowledge. It has historically been difficult to distinguish between true and false prophets.
Andy, I love the story about the Leningrad Phil!
When did the Sofronitsky and Feinberg recordings first arrive in London? I had assumed that that was not until the 1980's because they rarely turn up on the Mezhdunarodnaya Kniga label.
I used to hang around A LOT in the "Gramex" all through the 90's so we have probably met.
When did the Sofronitsky and Feinberg recordings first arrive in London? I had assumed that that was not until the 1980's because they rarely turn up on the Mezhdunarodnaya Kniga label.
I used to hang around A LOT in the "Gramex" all through the 90's so we have probably met.
Yes - late 80s they started percolating through. I actually acquired Feinberg's WTC in 1964 on LP. I was given it and a pile of other LPs by a jazz fan in Moscow. I managed to get into the Moscow jazz club Cafe Molodyozhnaya, Ulitsa Gorkova and sit in for 2 nights on bass. In return I sent him some Blue Note records. The Russian jazz musicians learned jazz through Voice of America broadcasts which they taped. Since there was quite a lack of diversity it was odd to hear some of the Russian musicians. There was one pianist there who sounded just like Dave Brubeck! They all had monster techniques but quite odd styles of playing.
Gramex was good. Much better than Harold "We-charge-you-Moore". There was also a good shop opposite Charing Cross station on the Strand. I used to hang out there and go for a coffee with musician friends.
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I was at the Royal Academy in the same year as Rattle, Annie Lennox, Irving Arditti and Joe Jackson. We used to say "What makes Simon Rattle - not much....". He was a real smoothie. Annie was a pretty flute player with shoulder length hair at the time. If you want to see me at that time, here's a TV broadcast masterclass with Ray Brown.
Ray Brown 004 - YouTube
Ray Brown 005 - YouTube
That's super-cool Andy! So I'm guessing that's how you got into electronics? I got into it when I started collecting 78's (although I was interested in electronics as a young boy) and also doing a lot of recording. Shortly after I built my first valve mic amps I did a physics degree.
I was also at the RAM; the pandemic has wiped out my teaching practice; when I get back to teaching after the present emergency subsides I will more likely be teaching physics and mathematics.
I was also at the RAM; the pandemic has wiped out my teaching practice; when I get back to teaching after the present emergency subsides I will more likely be teaching physics and mathematics.
Sorin Cristea,
it is correct that less balance reduces the malicious effects, but the impedances involved are still very high.
it is correct that less balance reduces the malicious effects, but the impedances involved are still very high.
A theory always is a simplified physical model of the true complex reality.
Thats why I quoted this, always usefull, reflection towards the difference between theory and real life.
We have heard enough theories about audio in the internet forums, I have read theories of this and that sound effect for ages- but after all, there will be always a measurement fraction, which want every single heard effect to be measured- and therefore is able to integrate into a theory of sound, and a fraction which states that not everything which is audible must be measurable.
The human hearing is such a complex process, with the brain as the receiver of electric impulses and processor of those.
I believe there are far more things audible with the human ear compared to the effects that are clearly measurable. The eyes may be relative simple receivers of light signals, the ears are far more complex receivers of acoustic waves. Why this difference has been made in the process of evolution is clear: even before you can see something, most often you can hear it. And this bewared the hunters of ancient ages from being eaten by the animal. With anymals, its much more sharper the difference between ears and eyes. Some of them can hear much better than the human being, some audition earthquake waves.
Ears are always capable of delivering the finest impulses, while eyes sometimes seem forgotten or disadvanteged by the evolution of animals.
This all was necessary for the evolution to survive.
So I'm not against all theories, but we simply don't know how some of them could be applied to effects we can audition. We can hear things, that we don't know how to measure the effect.
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