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| [#8222] Maria Callas Only me in the office in this 30 minutes. :)  |
dvmrp 正式會員210.xxx.xxx.11 |
2013-12-13 14:40 | |
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| [#8223] Maria Callas One of the music/hifi/LP friend I know replay Norma Casta Diva by Callas nearly every home visit via his super hi end system.... |
erictang 正式會員 203.xxx.xxx.1 |
2013-12-13 15:04 |
| [#8224] Maria Callas Yes. Eric The Callas sound projected by the system of our friend Dr KH33 really make us feeling jaw-dropping, it could be much better after he changed the new turntable platter. Have you listened to it already? 最後修改時間: 2013-12-13 15:58:58 |
george1977 正式會員 203.xxx.xxx.4 |
2013-12-13 15:47 |
| [#8225] Maria Callas Hi George, If the upgrade is in the recent few months, I don't think I have listened to it. In fact, I can't recall what the upgrade is in the last visit. :-) |
erictang 正式會員 203.xxx.xxx.69 |
2013-12-13 17:37 |
| [#8226] Maria Callas Let revisit together.... I am sure that you will be impressed! |
george1977 正式會員 203.xxx.xxx.4 |
2013-12-13 17:56 |
| [#8227] Beethoven Piano Trio, op.1 no.1 Du Pre/Barenboim/Zukerman  |
dvmrp 正式會員 218.xxx.xxx.176 |
2013-12-13 22:37 |
| [#8228] Ning Feng plays Recuerdos de la Alhambra He plays this piece as encore after Beethoven Violin Concerto with HKPO tonight.... |
erictang 正式會員 203.xxx.xxx.69 |
2013-12-14 01:25 |
| [#8229] Maria Callas Hi George, Sure, whether there is upgrade or not, I'm impressed by KH33 system. I'm also impressed by his LP collection, knowledge on music, and LP can be located shortly upon request. |
erictang 正式會員 203.xxx.xxx.69 |
2013-12-15 00:19 |
| [#8230] HKPO 14 Dec I thought of skipping the first half because the there are many legendary performances of Beethoven Violin Concerto that I may judge the performance deliberately and unfairly, instead of enjoying the music. Anyway, at the end, at least I don't feel too boring. Nevertheless, there were a few places that the violin and orchestra seemed to be out of sync, very scary, especially in the first movement after the violin joined in not very long ago. Fortunately it was recovered after a little while. IMHO, Ning Feng is quite technical orientated, a bit less artistic. I wish to hear more sentiment in the 2nd movement. Another one is the 2 pizzicato in the 3rd movement, I failed to feel anything. Anyway, overall it was okay, at least not the adagio style that I dislike most. His violin is brilliant. I hope other ching can share a bit on the loudness and bow change frequency. HKPO rocked. I used to think Jaap's sound is too loud for me. Last night it was, but it was thicker, more solid and more musical. Very unfortunately I am going to business trip this week, can't attend the Thu concert. 最後修改時間: 2013-12-15 09:29:17 |
dvmrp 正式會員 210.xxx.xxx.18 |
2013-12-15 09:24 |
| [#8231] HKPO 14 Dec Interestingly I had an almost opposite impression of HKPO last night's concert. Ning Feng is one of my favourite artist since his last concert with HKPO playing Paganini because he changed my concept that Paganini is just showpiece music. To me he actually brought out the feelings of Paganini. His Butterfly lover's concerto on the other hand did not impress me because it was too westernised. But overall I feel that Ning Feng is an artist who possessed an imaculate technique but concentrates to bring out the feelings of the pieces rather than showing off his technique. Last night Ning Feng actually brought out a very romantic view of the Beethoven concerto. One can sense a hint of David Oistrakh's broad concept of the concerto. Unfortunately Jaap seems to prefer a quicker approach and drags him forward a bit too much. As could be clearly heard in my seat(roll J centre seat) Ning Feng likes to use the technique of soft start before a crescendo in order to bring our the broadening feel but this was not supported by the orchestra for one reason or another. Hence this gives an impression of not perfect coordination but certainly not to the state of out of sync. From my impression of live concerts this occurs not infrequently. As Yo Yo Ma once said when he was asked what was his experience when cooperating with conductor giants like Karajan "Of course one could not say to the maestro that I would like to play this passage this way. Probably one would need to ask the maestro's permission can I do this passage in this way" But overall the Concerto went very well and did bring us to Ning Feng's view of the piece. There aren't too much of magical moments that one could call it great performance but that is understandable given Jaap's usually harddriven style. The orchestra is not relaxed enough to respond to the soloist especially in the second movement to give the sentiment that dvmrp Hing is looking for. It seems a little difficult too in the third movement because the orchestra is a little too big and too loud for the soloist to fight in order to stand out and give the striking moments that dvmrp is looking for. Perhaps it is only possible with recordings rather than in real concert settings that we can catch those moments. I agree that the Strad is a good one because the highs seem to come off brilliantly as usual in Strads. The lows are also warm under Ning Feng's hands, unusual in Strads. However there seems to be a dip in the mid range so much so that there seems to be a little incoherence over the whole range. There are some good moments of the HKPO especially in the long introduction of the Concerto. The Shostakovich piece is not a piece I am particularly familiar with but as usual the HKPO under Jaap still fail to impress with slow movements. It is good that Jaap kept his promise to give us an encore this time of Dvorak's Slavonic Dance and with some heavy Slavic taste rather than the usual lyrical feeling that we hear. IMHO overall it is a very enjoyable concert. |
Mahler 正式會員 116.xxx.xxx.54 |
2013-12-15 10:41 |
| [#8232] HKPO 14 Dec Mahler hing, thanks for sharing. I think loudness is worth of further discussion. Jaap prefers powerful sound so unavoidably his performance is very loud, which was mentioned several times before. To match that, either the violin itself produces very loud sound, or the violist pushes it out. I think in order to do that, the bow has to be pushed deeper and faster, which leads to more frequent bow change. Nevertheless, bow change breaks legato and sentiment, which is the downside. To me, the violin did sound very loud, is it the result of his attempt to match the orchestra? I don't play violin, so I really looking for more comment :) During the performance, I did have an idea flashing out. How about cut down the orchestra scale to half, kind of chamber orchestra? It may be interesting. |
dvmrp 正式會員 14.xxx.xxx.1 |
2013-12-15 11:40 |
| [#8233] HKPO 14 Dec Last night was actually the second run. The poster is a bit interesting. What did Ning Feng do for Shostakovich? :)  |
dvmrp 正式會員 61.xxx.xxx.223 |
2013-12-15 21:52 |
| [#8234] Lazar Berman: Liszt Années de pèlerinage First Year: Switzerland, #6 Obermann's Valley I've finished Murakami's latest novel. I think it's targeted to middle-aged reader. There are something we probably wish to do it in another way when looking back, in the 'middle' of the life. This work is referred a few times, listened by and lines up different characters for the 20 years. "...The captions include one from Byron's Childe Harold's Pilgrimage ("Could I embody and unbosom now / That which is most within me,--could I wreak / My thoughts upon expression, and thus throw / Soul--heart--mind--passions--feelings--strong or weak-- / All that I would have sought, and all I seek, / Bear, know, feel--and yet breathe--into one word, / And that one word were Lightning, I would speak; / But as it is, I live and die unheard, / With a most voiceless thought, sheathing it as a sword.") and two from Senancour's Obermann, which include the crucial questions, “What do I want? Who am I? What do I ask of nature?"..." http://en.wikipedia.org/wiki/Années_de_pèlerinage  |
dvmrp 正式會員 211.xxx.xxx.109 |
2013-12-15 23:11 |
| [#8235] Lazar Berman: Liszt Années de pèlerinage a friend of mine was telling me how good classical music are on DSD format; ridiculously high resolution. Any brothers bought any DFD files lately worth our attention ? 最後修改時間: 2013-12-15 23:30:40 |
ptcm 正式會員 112.xxx.xxx.1 |
2013-12-15 23:30 |
| [#8236] Lazar Berman: Liszt Années de pèlerinage #8220: Hi dvmp 兄， 請問圖片上，中間那套盒裝CD，是否Karajan 1960' 錄音的頭版盒裝? 我見有D 紅卡 是made in USA...?! 咁奇怪? 最後修改時間: 2013-12-15 23:55:35 |
Summilux 正式會員 1.xxx.xxx.198 |
2013-12-15 23:37 |
| [#8237] Karajan Beethoven Symphony, 1963 Summilux hing, sorry, I don't know. In fact, I do not really care if a CD is 'first printed', except re-mastered version. This set was bought years ago and I can't even remember where I bought it. 最後修改時間: 2013-12-16 00:39:50 |
dvmrp 正式會員 211.xxx.xxx.109 |
2013-12-16 00:33 |
| [#8238] DSD #8325: You may consider http://www.channelclassics.com. Regarding this, there is one thing I want to do for a long time, i.e. successfully persuade myself to spend about HKD150 to buy Ivan Fischer Mahler 1 SACD, then rip it and compare the files with the DSD files that I bought from here. |
dvmrp 正式會員 61.xxx.xxx.223 |
2013-12-16 00:38 |
| [#8239] DSD #8231: Mahler hing, I am sorry I did not express very clearly in #8230. When I said I failed to feel the 2 pizzicato. I actually do not mean I cannot hear it. It was loud but a bit too 'flat' for me that I could not feel that a signal was created. (e.g. Oistrakh/Cluytens 3rd movement, 5:44) (Also, it's very subjective and I hope you don't mind) |
dvmrp 正式會員 211.xxx.xxx.109 |
2013-12-16 01:17 |
| [#8240] DSD Hi dvmrp Hing, I got what you mean but I just think that that effect is only present in recordings but probably hardly ever heard in performance. Just my personal opinion. As for the comparison of downloaded versus ripped DSD from SACD I have compared downloaded files from website of Mahler 1 by Michael Tilson Thomas and San Franciso Symphony orchestra compared with the DSD file I ripped from my SACD the differenece is so great that I have decided to buy it from website whenever possible. The files ripped from SACD with PS2( I have ripped over 500 SACDs by now)has some sweetened sound characteristic of Sony and Philips commercial sound i.e. over rich mids that give you a sense of feeling but when you compared it with downloaded DSD file this artificial sweetness is not there. The dynamics returned. The overall sound is much more natural.(Or if you would like to say more close to PCM sound but a high definition PCM file sound). I used EMM Labs SACD combo before and I have 500+ SACDs almost entirely classical and including all of the Esoteric SACDs and several sets of Mahler symphony. The downloaded DSD files give you a much better perspective of what DSD is. The traditional DSD sound(From SACDs) is a coloured sound that just fits in to correct some of the digital harsh sounds of early digital recordings. I now pay more attention to 32 bit DXD recordings rather than DSD recordings not even DSD256. 32 bit give you much more detail and 352.8(DXD) gives you a much more smooth sound than average 44.1 recordings. I have also started to rip my 8000CDs using the Nimbie robot CD ripper but encounters some problem with metadata tagging and album art. |
Mahler 正式會員 116.xxx.xxx.11 |
2013-12-16 21:29 |
| [#8241] DSD Hi Mahler hing, ＞＞ I just think that that effect is only present in recordings but probably hardly ever heard in performance. ＜＜ Agree with you. Once in an audiophile place, replaying DuPre/Barenboim Chopin Cello Sonata, I can hear the cello and the piano are respectively in certain locations of the room, and can even feel sonically the cello is now crossing string (eg from D string to A string). In reality, I never have this experience in concert hall or recital hall. Not sure if I will get the same if there is such a chance a cellist plays in front of me in that proximity. But for sure, I will open my eyes to look at his/her playing, to see if he/she is doing string crossing instead of closing my eye to look for the sonic effect. For piano recording, for example a pianist is playing scale from low register to high register, you may hear sound is initially from the left then move towards the right, note by note, gradually. If the pianist repeats the same note, you may hear the sound is repeated from a particular location where the hammer hit the strings. But in ordinary audience seat in a concert hall, I guess you won't get this kind of effect unless you are on the stage, at a certain location near the piano. If I remember correctly, I have this experience once, in rthk4 studio, about 10 feet away from the piano, facing the pianist (that's not a ordinary audience seat in concert hall) . In that proximity, when the pianist plays a scale, I can hear the sound is moving from one side to the other. When the pianist plays chords, soft one, in slow movement, I can hear if he/she releases all the fingers at the same time :-) 最後修改時間: 2013-12-16 22:37:13 |
erictang 正式會員 203.xxx.xxx.69 |
2013-12-16 22:29 |
