DSD Test tracks - compilation (2014)

Ricardo Gallén, Budapest Festival Orchestra, A Far Cry, Josep Colom, Juego de Relojes, Egardo Cardozo, Joachim Eijlander, Robert Gupta, Mathius Landeus

Track 1/2 

Study Op.6/9: An extra track from the album "Sor: Guitar Sonatas". From Fernando Sor's famous 12 Studies Op.6, published in London under the title "Studio for the Spanish Guitar" in about 1815/1817, this fantastic piece is Sor's first study in a minor key, and is intended to improve the execution of sixths.
Exercise Op.35/22: An extra track from the album "Sor: Guitar Sonatas". From Fernando Sor's 24 Very Easy Exercises Op.35, this is one Sor's most famous pieces, a legato exercise based on a melody over an arpeggio accompaniment.
Gonzalo Noqué, Eudora producer and owner states:
"Our recordings are being quite "simple" regarding microphone techniques: solo instruments (solo guitar, solo viola, solo piano), and small settings (guitar duo), which require few microphones. We've been lucky enough to find some places (churches and halls) were we have plenty of time, and we've spent a fair amount of time before recording. We even had the luxury to have a room to be able to bring and use a surround monitoring system on location, with 5 Neumann KH120A monitors, finding the sound we want, and adjusting levels in advance. We used a minimalist one mic-one track; two for stereo, and five for the surround. Sometimes the L-R from the surround could be used for the stereo version as they are, and there has been no level adjustment at all during post."
The DSD 256fs stereo and multi-channel files offered are the session masters, with just fade in and outs added. The remaining DSD 128fs and 64fs files are Pyramix DSD Converter subsampled, exactly as they are processed for SACD 64fs and download 128fs file mastering preparation. No post processing sweetening or format conversions are employed.
Further information can be obtained from the Fernando Sor: Guitar Sonatas album booklet here at the Eudura label page.  Gonzalo Noqué - Eudora Records

Track 3

Three out of the five truly incredible musicians were already familiar with my minimal two microphone recording techniques as we had worked together on previous Sera una Noche recordings produced (with wine of course) in a little church in the Argentine countryside. The big difference on NAMA is the sound of the space and since there was NO SOUND, what we got was something very pure, immediate and "right in front of you"  So, while the first Sera una Noche recordings have a certain sonic magic, NAMA possesses a vivid reality all its own.
Just to remind the listener(s), the 5.6 MHz version of NAMA is an unedited, two omnidirectional microphone recording and what is most amazing to me is how I was able to capture Edgardo Cardozo's voice and guitar with such clarity.  I am really thankful that he and the other musicians are so understanding and appreciative of the way I work.  We were all super happy with the results and of course, I hope you are as well.   Todd Garfinkle - M-A Recordings   www.marecordings.com

Track  4

 I first met Mathias Landæus during a trip to Stockholm sometime around the end of the previous millennium when I had gone to Sweden to see what interest I could find there for MA. I was aware of Mathias` work beforehand, having been involved in music distribution while living in Japan. At that time, I had come in contact with Amigo Records, the well known Swedish jazz and world music label that, to this day, distributes ECM in Sweden. Amigo put out Mathias?first two recordings, "Blåbete" and "Darling" both of which were quite well accepted among Japanese jazz fans. In fact the Swedish scene in general is quite enthusiastically followed by Japanese jazz freaks and I would say, maybe more than in Sweden or any other country, except perhaps Germany.
At the time of this writing, as we approach the end of the first decade of the present millennium, despite the ever declining worldwide interest in Jazz, the Swedish scene is very much alive, partially because of the valiant efforts of the Moserobie jazz label, independently run by saxophonist, Jonas Kullhammar. Moserobie puts out self produced recordings by Sweden`s top jazz artists and in turn takes a distribution margin. Mathias has put out three CDs thru Moserobie, all of which can be found in Swedish shops through the fulfillment efforts of the Bonnier-Amigo publishing company. Moserobie also exports and has always had a great following in Japan being fervently imported by Disc Union. On the net, go to www.moserobie.com for more information.
His first recordings on Amigo, along with his very simple and beautiful cover illustrations, always left a very favorable impression on me and I would say, many others in Japan. His approach was then and now, personal and sensitive. Our discussions focused on whom to do the project with, location, etc and after some deliberation, ended up with what could be called a Swedish Super Trio including the Swedish Papa of Jazz Bass (and one of the top players in the world) Palle Danielsson, whose continuous work on ECM commenced in the 70s. In case some of you are not aware of Palle, he is probably most famous for his work with Keith Jarrett, being a member of Jarrett`s extremely popular European Quartet which also involved Jon Christensen on drums and sax player Jan Garbarek, both from Norway.
Mathias and I decided thru emails and telephone conversations, to do "Opening" in Studio 2 at the Swedish Radio station in Stockholm. I cannot over emphasize how great a decision that was. The studio is actually more like a concert hall with seats set up for live concert recordings. And, it has a great sound! And, while the place is not new, it has a warm, retro feel, making it very easy to work there. Off to one side is a simple and relaxing monitor room with B+W 801 speakers. The studio staff was accessible and more than willing to take care of our minimal needs, including my request for a platform to elevate Palle to a more strategic, sonically pleasing position, elevating him about 25 cm closer to the two MA Custom made, omni-directional, DC powered, line level mikes. The Hamburg Concert Grand Piano was in extremely good condition, tuned and ready for Mathias when he got there the first morning of the two day sessions. I arrived that same morning from Los Angeles and went directly to the Radio Station with no time to worry about jetlag or other bothersome issues. Todd Garfinkle - M-A Recordings  www.marecordings.com

Track 5/6

The Track 5  DSD 2 channel 64fs file presented here is the actual unedited/unprocessed session take from the 2 channel analog session mix using the Grimm 64fs AD converter. The multiple DSD 128fs and 256fs 2 channel files are up converted with the Merging - Pyramix DSD Converter. The Track 6 DSD 128fs and 256fs files were up converted using Jussi Laako's HQPlayer fifth order conversion modulators. There can be compared to the like ratio Pyramix converters of Track 5 for sound quality differences. The Track 6 DXD file was converted from the DSD 64fs master in Pyramix, in exactly the same mastering operation performed using Pyramix for DXD based mixing operations, if and when required by a label. All Channel Classics label recordings use an analog session mix and balance to produce the stereo mix. The majority of these recordings require no additional DXD mixing operations, or level adjustments, and remain DSD throughout the editing process.

The DSD 64fs multi-channel file is in keeping with the normal Channel Classics' mastering process of using the 2 channel analog mixed tracks for the Front left and Front Right channels, adding the orchestra center position mic as the Center Channel, and adding the rear left and right ambiance microphones as Surround left and Surround Right channels.

These session recording clips are offered to provide a best effort tool set for making listening comparisons of the effects of different DSD bit rate conversions. The results of field acoustic session recordings differ markedly from studio recordings, in that the natural ambiance and spacial information is recorded. Studio recordings, with their synthetic additions of reverb, EQ etc, have no basis in reality with respect to timing cues and low level spaciousness information, and make poor examples of objective sound quality. People have an accurate sense of correctness from a life long experience of spaciousness in a natural environment. This recording is particularly rich in spaciousness detail and instrument color. Both the inner detail and dynamic range contained in this content make these clips ideal for comparing the effects of different DSD bit rates and format conversions, from a highest sound quality DSD 64fs source.   Jared Sacks - Channel Classics Records   www.channelclassics.com

Track 7/8

A Technological account of Dreams and Prayers.

We capture sound in an array of 1s and 0s, and somehow it constitutes music recording. The music on Dreams and Prayers is living, not just a sequence of 1s and 0s. Record producing and engineering is to me the process of transcending the 1s and 0s beyond the artifacts of my own meddling and immersing myself in the music as I experience it in real life.

It’s not actually possible. It’s just a philosophy--not a reality--to be strived for, but not achieved. Or so I thought…

We recorded in DSD128, 5.6MHz-1bit; a technology utterly invisible to the ear. The air and image in this recording touch the stars like I have never imagined. I am ecstatic for our results, and immensely grateful finally to see music in the hands of this technology. We have in Dreams and Prayers a warmth untouched by any old record player and clarity unlike any digital recording I have heard. We have somehow captured a place in time where A Far Cry, together with David Krakauer and these four composers—all deeply spiritual individuals—have personally and collectively connected with the spiritual realm. To carry the sound for us was a humble church in Fall River, Massachusetts with about 5 seconds of natural stone ambience, and recording that sound were a handful of DPA, Schoeps and Neumann microphones (in both stereo and binaural) followed by a blissful pre-amplification and 128DSD A/D conversion by Merging Technologies’ Horus. Mixing and mastering were also carried out using the Merging’s audio production system: Pyramix.

This full length Heiliger Dangesang, op 132 String Quartet is presented in Tracks 7 in stereo natively recorded 128fs DSD, plus 64fs DSD, and DXD. In addition, Tracks 8 uses a separate binaural head microphone pair, producing a 64fs, 128fs DSD and DXD binaural recordings.

Thank you for welcoming this beautiful music into your home. As you listen, may your ears and your heart be deeply satisified!  Jesse lewis - Producer - A Far Cry

Track 9/10

Working with NativeDSD is a pleasure, and Yarlung looks forward to releasing a series of albums in Single, Double and Quad DSD shortly. We made these first album tranfers from AGFA 468 and RMGI 468 tape to Quad DFF files using the HAPI converter and Pyramix software from Merging Technologies. Tom Caulfield (a NativeDSD legend) helped us with setup and David Robinson from PFO generously loaned us the equipment. Thanks to their help the transfers went without mishap. More albums to follow.  Bob Attiyeh
Juego de Relojes, by Diego Schissi, performed by Smoke & Mirrors percussion ensemble, recorded in Zipper Hall at The Colburn School in Los Angeles Calcutta Sunrise, Badal Roy on tabla, recorded in Walt Disney Concert Hall in Los Angeles 

Track 11

"This an extra track from the album: “Mozart & Chopin: Dialogue”. Mozart’s famous piano Sonata K.545, was described by Mozart himself as “Eine kleine Klavier-Sonate für Anfänger” (A little clavier sonata for beginners), but as Badura-Skoda points out, “Mozart maintained the highest standards when writing for students”; despite its apparent simplicity, the result is a masterwork, full of clarity and lightness, but also depth of emotion.
This album was recorded in Barcelona, in the Hall from the Conservatori del Liceu, using Merging’s Horus preamp and converter, Sonodore and Schoeps microphones, and natively recorded in DSD256."  Eudora Records

Track 12

Navis Classics is proud to present new recordings of the Bach Cello Suites. This brand new release, recorded in DSD256, is the first solo album of versatile musician and cellist Joachim Eijlander. Joachim received his musical training in Utrecht, Amsterdam and Berlin. As a dedicated chamber musician he has performed alongside many ensembles and musicians including the Borodin quartet, the Bennewitz quartet, Lisa Larsson, Stefan Metz, Zuill Bailey, Nino Gvetadze and Karl Leister. Joachim is co-founder of the international Rubens Quartet. He plays on a cello by Gaetano Chiocchi (Padua 1870) with a bow by Nikolaus Kittel (St. Petersburg 1860). This Prelude from the first Cello Suite comes from the spring release that includes suite no. 1, 3 and 4. Full album to be released on May 22. Other suites to be released in winter 2015! 

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Ricardo Gallén

Ricardo Jesús Gallén García studied guitar and ancient music at the Universities of Salzburg (Mozarteum) and Munich with the Masters Fisk, Eglhuber, Spiri, Gilbert, Huebscher and Clerch, graduating in 1999 in the Master Class (Konzertexam) at the Hochschule für Musik und Theater in Munich, Germany with Joaquín Clerch. He has given recitals and played in concerts with more than 25 orchestras under the direction of well-known conductors such as Maximiliano Valdés, Juan José Mena, Sergiu Comisiona, Leo Brouwer, En Shao, Monica Huggett or Jordi Savall,  throughout Europe and America, including Mexico, Costa Rica, Chile, Argentina, Cuba, the United States, Russia, Norway, Australia, New Zealand, Brazil, Egypt, Jordan, Lebanon and Israel, in concert halls like Royal Concertgebouw in Amsterdam, Auditorio Nacional in Madrid, Auditori and Palau de la Musica Catalana in Barcelona, Schostakovich Hall in Saint Petersburg or Tchaikowsky Hall in Moscow.

Ricardo Gallén García has recorded many works for the state radio and televisions in Spain, Finland, Belgium, Romania, Germany, Cuba, Mexico, Poland, Chile, South Korea, Hungary Australia and Bulgaria. Presently on the market are his first five Cds recorded for NAXOS, in which he performs music by Giuliani, Brouwer, Takemitsu, etc., as well as all of the concerts for guitar and orchestra by the Spanish master Joaquín Rodrigo. His first recording was among NAXOS' 50 top-selling records for 2001, and received sensational reviews in the specialized press. His sixth Cd (double cd) with the Bach Complete Lute Suites was released by Sunnyside Records in New York in June 2013.

He was featured on the cover of the August, 2000 issue of "Classical Guitar Magazine" in which he was interviewed by Cecilia Rodrigo, Joaquin Rodrigo's daughter. His biographical information has been included, among others, in the fifth edition of The Classical Guitar: It's Evolution, Players and Personalities Since 1800, written by the director of the Ashley Mark Publishing Company, Maurice J. Summerfield.

Ricardo Jesús Gallén García has received over twenty international prizes, including: 1st Prize at the 32nd Markneukirchen International Instrumental Competition 1997, in Markneukirchen, Germany, 1st Prize and a Special Prize for the best interpretation of the works of Enrique Igoa at the 14th Andres Segovia International Classical Guitar Competition 1998 held in La Herradura, Granada, 1st Prize at the 4th Alhambra International Guitar Competition 1998, 1st Prize and the Special Audience Prize at the 33rd Francisco Tárrega International Guitar Contest 1999, 1st Prize and five Special Prizes (Best Interpretation of a Cuban work, the Leo Brouwer Special Prize, the Cuban National Union of Writers and Artists Musicians Association Prize, the Music Recording and Publishing Company Prize and the Cuban Radio and Television Institute Prize) at the 11th International Guitar Competition held in Havana, Cuba in 2002.

He was Eliot Fisk’s Assistant Professor in “Mozarteum” University in Salzburg for five years and he is currently Professor at the HFM “Franz Liszt” in Weimar, Germany.

Recently he got the “Andres Segovia” Medal Award given by the Andres Segovia Foundation in Spain.

Budapest Festival Orchestra

Ivan Fischer is founder and Music Director of the Budapest Festival Orchestra. The partnership between Iván Fischer and his Budapest Festival Orchestra has proved to be one of the greatest success stories in the past three decades of classical music. Intense international touring and a series of acclaimed recordings for Philips Classics, later for Channel Classics have contributed to Iván Fischer's reputation as one of the world's most visionary and successful orchestra leaders.

He has developed and introduced new types of concerts, "Cocoa-Concerts” for young children, "Midnight Music” concerts for students, "Surprise” concerts where the programme is not announced, "One Forint Concerts” where he talks to the audience, open-air concerts in Budapest attracting tens of thousands of people. He has founded several festivals, including a summer festival in Budapest on baroque music and the Budapest Mahlerfest which is also a forum for commissioning and presenting new compositions.

As a guest conductor Fischer works with the finest symphony orchestras of the world. He has been invited to the Berlin Philharmonic more than ten times, he leads every year two weeks of programs with the Royal Concertgebouw Orchestra, and appears with leading US symphony orchestras, including the New York Philharmonic and the Cleveland Orchestra.

Earlier music director of Kent Opera and Lyon Opera, Principal Conductor of National Symphony Orchestra in Washington DC, his numerous recordings have won several prestigious international prizes.

Ivan Fischer studied piano, violin, cello and composition in Budapest, continuing his education in Vienna in Professor Hans Swarowsky’s conducting class. Recently he has been also active as a composer: his works have been performed in the US, Holland, Hungary, Germany and Austria, and he staged successful opera performances.

Mr. Fischer is a founder of the Hungarian Mahler Society, and Patron of the British Kodály Academy. He received the Golden Medal Award from the President of the Republic of Hungary, and the Crystal Award from the World Economic Forum for his services to help international cultural relations. The French Government named him Chevalier des Arts et des Lettres. In 2006 he was honored with the Kossuth Prize, Hungary’s most prestigious arts award. He is honorary citizen of Budapest. In 2011 he received the Royal Philharmonic Award and the Dutch Ovatie prize. In 2013 he was awarded Honorary Membership of the Royal Academy of Music in London.

As of August 2011 Ivan Fischer is music director of the Konzerthaus Berlin and principal conductor of the Konzerthausorchester Berlin.

A Far Cry

Megumi Stohs, one of the Criers and also the label manager, explains: “Crier Records was born from the desire to take A Far Cry’s concert programming to the next level. Having our own label provides the utmost flexibility to create and release our musical experience to the world in a way that is beautiful inside and out, and to find a unique expression for every project. We are thrilled now to share our whole process – from the spark of a Crier's idea, to the creation of a program, through the rehearsing, the concert, the recording process, and finally the completed realization of that initial spark: something you can hold in your hand and share with the world.”

A Far Cry – a tightly-knit “collective” of 17 musicians, self-conducted, based in Boston – was declared an “increasingly essential ensemble” by Jeremy Eichler of the Boston Globe in his review of the concert that formed the basis of the group’s new recording, Dreams & Prayers, the debut release on its new label, Crier Records (CR1401). Dreams & Prayers century-hops over a millennium of music, juxtaposing A Far Cry’s own arrangements of music by Hildegard von Bingen and Ludwig van Beethoven with recent works by Mehmet Ali Sanlikol (created for and premiered by A Far Cry) and Osvaldo Golijov (an arrangement receiving its first recording by A Far Cry). This premiere release on Crier Records consists entirely of premiere recordings.

Audiophile quality will be a hallmark of Crier Records; every release will be made using DSD128 (5.6MHz) technology, and released in both standard and high resolution versions.    

Josep Colom

I was born in Barcelona in 1947. Unusually for that period in Spain, music was a big part of our everyday family life, as far back as I can remember. Thanks to this, and the unconditional emotional and financial support I received from my parents, who were not themselves professional musicians, I was able to choose my career path at an early age, and have enjoyed it ever since.

In my youth, I won a number of competitions. The Jaén and Santander International competitions (1977 and 1978 respectively) helped me begin to make a name for myself in Spain; many years later, the Spanish Ministry of Culture awarded me the National Music Prize, an accolade I’m particularly proud to have won because it represents the appreciation and endorsement of my colleagues in the profession. During the 1980s I gradually made more and more public appearances, and these days, as well as performing as a recital soloist and chamber musician, I play regularly with virtually all the Spanish orchestras under the baton of excellent conductors, at the country’s leading venues and festivals. I also play abroad quite frequently, especially in France, where I lived for a number of years during the 70s while studying at Paris’s École Normale de Musique, founded by Alfred Cortot. I’ve also made most of my recordings in France, for the Mandala label, with albums of music by composers as diverse as Brahms, Franck, Blasco de Nebra, Mompou and Falla, among others. RTVE has recently released both a DVD of a performance I gave of Prokofiev’s Third Piano Concerto and a CD of works by Chopin, Debussy and Ravel – live recordings from the Radio Clásica archive issued as part of a series entitled Grandes pianistas españoles. Despite the occasional imperfection here and there, I prefer live recordings for the greater authenticity they offer.

Throughout my career many other musicians have influenced my artistic development. One in particular that I’d like to mention is the composer (and, at the time, pianist) Joan Guinjoán who, when I was only nineteen, helped me develop a much more rational and structured way of approaching music and performance.

My reserved, introverted temperament means I feel most at home in the world of recital and chamber music, although I’ve never wanted to forego the chance to enjoy the wonders of the concerto repertoire. I’m not going to try to list all the orchestras, conductors, quartets and other musicians with whom I’ve shared great moments of music-making, because inevitably I’d leave some of them out, but I value each and every one of them immensely.

Teaching has become an increasingly important part of my life. Coming into contact with younger musicians has enabled me to rediscover the great piano repertoire with renewed enthusiasm. As well as giving regular masterclasses, I’ve also taught at the University of Alcalá de Henares since its music department opened in 1990, and at the Saragossa Conservatory and Valencia’s Musikeon, while in September 2012 I took up a post at Barcelona’s Liceu Conservatory.

I consider it a great privilege to be able to make music, and I am grateful to all those who have made the effort over the years to come and share this daily miracle with me.

Josep Colom

Joachim Eijlander

Joachim Eijlander, born 1975, received his first cellolessons from the Czech cellist Jan Hollinger. After finishing his studies in Utrecht, Amsterdam and Berlin, he settled as a musician in Rotterdam. He performed with the most distinguished musicians like Inon Barnatan, Karl Leister and Zuill Bailey.

Joachim is co-founder of the Rubens Quartet, an internationally celebrated string quartet. With this ensemble, he performs all over the world. Joachim taught cello and chambermusic at various conservatories, music universities as well as international music festivals in Europe and the United States. Together with Anastasia Safonova, Joachim performs the sonata-repertoire for cello and piano.

Thanks to the “Nationaal Muziekinstrumenten Fonds”, the dutch national music instrument foundation, Joachim plays on a beautiful Gaetano Chiocchi cello (Padova 1870) and with an exceptional bow made by Nikolaus Kittel (St.Petersburg 1860).

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Free Track Download STEREO MULTI
1. Sor, Guitar Sonatas - study op. 6_9
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64fs 128fs 256fs 64fs 128fs 256fs
2. Sor, Guitar Sonatas - Exercise-op. 35_22
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64fs 128fs 256fs 64fs 128fs 256fs
3. Puente Celeste - Nama - Chiquita
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64fs 128fs DXD
4. Mathius Landeus -Opening- What a Wonderful World
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64fs 128fs DXD
5. Mahler 1 finale - session recordings
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64fs 128fs 256fs 64fs 128fs
6. Mahler 1 finale - session recording DXD
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128fs 256fs DXD
7. String Quartet Heiliger Dangesang, op 132 Stereo files
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64fs 128fs DXD
8. String Quartet Heiliger Dangesang, op 132 Binaural files
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64fs 128fs DXD
9. Smoke & mirrors Vanish -Juego de Relojes
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64fs 128fs 256fs
10. Suryodaya - Calcutta Sunrise
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64fs 128fs 256fs
11. Mozart & Chopin - Dialogue, Mozart's famous piano Sonata K. 545
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64fs 128fs 256fs 64fs 128fs
12. Bach solo cello Suite no. 1 Prelude
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64fs 128fs 256fs
13.
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256fs

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