Post by Cherubino November 10, 2009 (21 of 38)
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Martha said:
Hi Phil W.
It took me a long time to find this question that you asked, sorry.
The Philadelphia/Eschenbach/Ondine recordings were done in PCM 88.2KHz/24bit. Seven SACDs were released in MC in the last years. Unfortunately the last recording of Mahler 2nd Symphony as well as a new upcoming release with works by Tchaikovsky and Ewald will be in stereo only. We also recorded Mahler 8th Symphony in multichannel, hopefully it will be released at a later date.
I admire your persistence in staying with this for 2 plus years.
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Post by dspgolf November 10, 2009 (22 of 38)
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Martha said:
Hi Phil W.
It took me a long time to find this question that you asked, sorry.
The Philadelphia/Eschenbach/Ondine recordings were done in PCM 88.2KHz/24bit. Seven SACDs were released in MC in the last years. Unfortunately the last recording of Mahler 2nd Symphony as well as a new upcoming release with works by Tchaikovsky and Ewald will be in stereo only. We also recorded Mahler 8th Symphony in multichannel, hopefully it will be released at a later date.
Is the Orchestra still going release new recordings, even though Eschenbach is gone? Just curious am a big fan of these recordings.
Thanks.
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Post by seth November 10, 2009 (23 of 38)
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dspgolf said:
Is the Orchestra still going release new recordings, even though Eschenbach is gone? Just curious am a big fan of these recordings.
Thanks.
Good question.
The Dutoit era has been excellent so far. The recent performances of Berlioz's choral works would have made great recordings.
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Post by Martha November 22, 2009 (24 of 38)
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dspgolf said:
Is the Orchestra still going release new recordings, even though Eschenbach is gone? Just curious am a big fan of these recordings.
Thanks.
Cherubino said:
I admire your persistence in staying with this for 2 plus years.
All the Ondine recordings that were planned between the Philadelphia Orchestra and Christoph Eschenbach have been completed. I am not aware of any new recording plans of the orchestra with this label. The disc with works of Tchaikovsky and Ewald will be released in April, unfortunately not in multichannel.
Cherubino, no wonder I am still staying with this. I happen to be involved in these recordings!
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Post by hiredfox November 23, 2009 (25 of 38)
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Martha said:
All the Ondine recordings that were planned between the Philadelphia Orchestra and Christoph Eschenbach have been completed. I am not aware of any new recording plans of the orchestra with this label. The disc with works of Tchaikovsky and Ewald will be released in April, unfortunately not in multichannel.
Cherubino, no wonder I am still staying with this. I happen to be involved in these recordings!
I thought that Ondine recorded in DXD or DSD, not in lower resolutions. You mentioned 88.2kHz, in whom should we trust?
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Post by Peter November 23, 2009 (26 of 38)
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hiredfox said:
I thought that Ondine recorded in DXD or DSD, not in lower resolutions. You mentioned 88.2kHz, in whom should we trust?
Where did you get the information about DXD or DSD from?
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Post by stvnharr November 23, 2009 (27 of 38)
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hiredfox said:
I thought that Ondine recorded in DXD or DSD, not in lower resolutions. You mentioned 88.2kHz, in whom should we trust?
It was posted by Pentaman, or Erdo, some time ago that Pentatone does remote recordings in pcm 88.2khz. I think this was well before you came on board here.
This also holds true for the RCO Live discs. And it's printed right on them.
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Post by hiredfox November 23, 2009 (28 of 38)
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stvnharr said:
It was posted by Pentaman, or Erdo, some time ago that Pentatone does remote recordings in pcm 88.2khz. I think this was well before you came on board here.
This also holds true for the RCO Live discs. And it's printed right on them.
I knew about Polyhymnia* and 88.2 kHz (*record for Pentatone and RCO Live recordings). Hadn't realised they did Ondine as well, is that right? They do Cala for sure.
I have quite a few Ondines; they are all either DSD (early ones) or DXD (now).
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Post by Martha November 23, 2009 (29 of 38)
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hiredfox said:
I thought that Ondine recorded in DXD or DSD, not in lower resolutions. You mentioned 88.2kHz, in whom should we trust?
Hiredfox, you can trust me. Why should you?
Just check out the name of the producer of the Philadelphia Orchestra SACDs on Ondine...
Let me share with you the story of how these recordings began.
In 2005 I was asked by Christoph Eschenbach and Kevin Kleinmann to start the new series of recordings in Philadelphia. I presented the idea of recording in multichannel to Reijo Kiilunen, president of Ondine. He was very interested in it, since they too were preparing their first SACD release in Finland. Thinking of who could work with me on these new surround recordings, the choice fell on my former colleagues from Philips Classics, best known now as Polyhymnia. We had done much multichannel work together in Europe, since the earliest days, and I liked the challenge of continuing our sonic explorations in a new hall with a fantastic orchestra. The use of their electronically pristine microphone amplifiers would allow us to capture an amazingly transparent sound. The reasons for going for 88.2kHz instead of DSD were mainly practical ones. Besides our Ondine recordings, the Philadelphia Orchestra would also record all their performances for broadcast and archival purposes, an operation resulting in a large turnover of recorded material, which would now be in multichannel. It made sense to keep one format for all applications.
These were the beginnings. At that time and even earlier, when we were first recording in surround - even before the format was established - we were hoping multichannel would catch up as the superior way of presenting a sonic and musical event. I am delighted that you are still here discussing about our recordings, making it possible that multichannel recordings continue to be released.
Thank you!
(and apologies for the long posting)
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Post by stvnharr November 23, 2009 (30 of 38)
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Martha said:
Hiredfox, you can trust me. Why should you?
Just check out the name of the producer of the Philadelphia Orchestra SACDs on Ondine...
Let me share with you the story of how these recordings began.
In 2005 I was asked by Christoph Eschenbach and Kevin Kleinmann to start the new series of recordings in Philadelphia. I presented the idea of recording in multichannel to Reijo Kiilunen, president of Ondine. He was very interested in it, since they too were preparing their first SACD release in Finland. Thinking of who could work with me on these new surround recordings, the choice fell on my former colleagues from Philips Classics, best known now as Polyhymnia. We had done much multichannel work together in Europe, since the earliest days, and I liked the challenge of continuing our sonic explorations in a new hall with a fantastic orchestra. The use of their electronically pristine microphone amplifiers would allow us to capture an amazingly transparent sound. The reasons for going for 88.2kHz instead of DSD were mainly practical ones. Besides our Ondine recordings, the Philadelphia Orchestra would also record all their performances for broadcast and archival purposes, an operation resulting in a large turnover of recorded material, which would now be in multichannel. It made sense to keep one format for all applications.
These were the beginnings. At that time and even earlier, when we were first recording in surround - even before the format was established - we were hoping multichannel would catch up as the superior way of presenting a sonic and musical event. I am delighted that you are still here discussing about our recordings, making it possible that multichannel recordings continue to be released.
Thank you!
(and apologies for the long posting)
Martha,
Thanks for the story.
Pity that the sacd's stopped after 7, and that all the recordings have taken a hiatus. I thought they were all wonderful, even if I already had 2 or 3 other sacd's of the same piece.
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