Post by Fugue September 25, 2010 (1 of 26)
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The new release of Bartok's three Piano Concertos is RBCD only--why, just why? Those pieces are not properly represented on SACD, and with Jean-Efflam Bavouzet as the pianist, this could have been the definitive set. *sigh
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Post by Claude September 25, 2010 (2 of 26)
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Post by Jonalogic September 26, 2010 (3 of 26)
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Fugue said:
The new release of Bartok's three Piano Concertos is RBCD only--why, just why? Those pieces are not properly represented on SACD, and with Jean-Efflam Bavouzet as the pianist, this could have been the definitive set. *sigh
Fugue Hi
I would only comment that the Kocsis performances (1 and 2 only) on Capriccio are excellent. Sound is a bit scrunchy, though.
Jon
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Post by Claude September 26, 2010 (4 of 26)
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The CD booklet (download linked in my previous post) says "Chandos 24bit recording", but AFAIK the recording credits list only BBC Orchestra staff.
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Recording producers Brian Pidgeon and Mike George
Sound engineer Stephen Rinker
Assistant engineers Vanessa Nuttall (9 December), Owain Williams (10 December), and Jeremy Oxley (1 April)
Editor Rachel Smith
A & R administrator Mary McCarthy
Recording venue Studio 7, New Broadcasting House, Manchester; 9 & 10 December 2009
(Piano Concertos Nos 1 and 3) and 1 April 2010 (Piano Concerto No. 2)
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http://www.bbc.co.uk/orchestras/philharmonic/about/players/
So it could be that the release is just an afterthought of a radio broadcast, and that the recording was only made in stereo.
This would explain why Chandos releases it on CD and hi-rez stereo download instead of SACD, because many classical SACD buyers now expect multichannel sound on new productions.
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Claude said:
This would explain why Chandos releases it on CD and hi-rez stereo download instead of SACD, because many classical SACD buyers now expect multichannel sound on new productions.
If you read the SACD issue of Gramophone in the Fall of 2005, you will recall an interview of Brian Couzens in which he more or less declares that he will release as SACDs those performances which will benefit from surround sound. He said that certain halls are not conducive to it and he would never create a "fake" ambiance....either it is there to be recorded or it is not.
So it seems to me (ever gullible as I am) that taking the man at face value, he does sacd when a surround mix will benefit the quality of the recording - otherwise it will be RBCD.
From this one might infer that he thinks RBCD stereo is pretty much equal to SACD stereo, but that if the hall warrants it, then a "surround" mix to capture the ambiance of the venue will be part of the project because the incremental benefit is worth the expenditure to record and release as an SACD.
I for one would really enjoy a new Bartok piano concerti release on SACD....but yeah, I would want it to be mch - recorded to place the listener something like 10 rows back from the stage
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Post by Peter September 26, 2010 (6 of 26)
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Claude said:
So it could be that the release is just an afterthought of a radio broadcast, and that the recording was only made in stereo.
My understanding is these are more than just an afterthought. Bavouzet has been touring these for some time - I have a very fine off-air performance with the team in Stresa, coupled with Casella's Second, also on Chandos and available as a 24/96 download.
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Post by krisjan September 26, 2010 (7 of 26)
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Two of Chandos's prior SACD releases (Macmillan and Faure) were recorded in the same hall as the Bartok. Apparently it was good enough for those Mch releases so I'm not buying that excuse. I believe it is strictly a marketing decision - they don't think they can recoup the extra costs of an SACD Mch release with this repertoire. Too bad.
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Post by Peter September 26, 2010 (8 of 26)
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Perhaps the BBC part of the operation doesn't want to pay for multichannel recording?
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krisjan said:
I believe it is strictly a marketing decision - they don't think they can recoup the extra costs of an SACD Mch release with this repertoire. Too bad.
Bartok regarded as less marketable than Suk? wow!
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Post by krisjan September 26, 2010 (10 of 26)
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Yep. Suk = tonal, romantic, easy-listening. Bartok = highly chromatic, sometimes thorny, challenging listening. No contest for the "average" classical music consumer.
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