Multichannel Recordings of Classical ♫ Music only | Tell us about the ones you fell for !

[jcarys]

The latest for me is John Wilson/Sinfonia of London playing Rachmaninoff. I particularly like the Symphonic Dances on this, and I'm just playing back the Atmos version on Tidal. I expect that I'll get the Chandos SACD for my own collection.

 

[Kal Rubinson]

I'm using the Oppo 103 as my library server. I think I've got a bit over 175 multichannel SACDs (and a few stereo SACDs), along with ~40 DVD-As and ~30 BD audio albums now. They all reside on an SSD that's plugged into the USB port on the front of the unit. It's not a large library, but it's still growing. There really aren't that many SACDs on the market the last time I looked--about 5000 titles total.

That collection is small enough to get away with using the Oppo as library server even though it is rather crude. Triggered by your comment about the library and the extent of the number of titles, I filtered my collection and found a little over 1800 multichannel DSF albums but I cannot distinguish between ripped SACDs and downloaded files. It is the latter that have ballooned. Not all are worthy but I am very circumspect about deleting them as I still rediscover good stuff long forgotten.

 

[Kal Rubinson]

The latest for me is John Wilson/Sinfonia of London playing Rachmaninoff. I particularly like the Symphonic Dances on this, and I'm just playing back the Atmos version on Tidal. I expect that I'll get the Chandos SACD for my own collection.

I find it hard to warm up to Wilson's Rachmaninoff, well played and well recorded as they are.

 

[Chris A]

That collection is small enough to get away with using the Oppo as library server even though it is rather crude.

I'm open to suggestion. My focus has been on physical media. as you can see. The amount of data for audio files I thought was large for downloads (multichannel), however my relatively new fiber service has changed my perspective on this.

I should share more multichannel titles...

I have been completing my acquisition of multichannel Beethoven piano sonatas and finished just recently. Since I dialed in the setup for minimum phase growth a few years ago (i.e., less than 90 degrees of phase swing from 100 Hz up to 20 kHz, all channels), multichannel piano has been truly breathtaking at times, and certainly mesmerizing. I found the Mari Kodama SACDs on Pentatone to be surprisingly good. There are 10 discs available across 9 albums, and all of them cause me to sit and just listen.

I continue to be amazed by this composer, and the sound of his sonatas arranged by early, middle and late periods presages the changes that were to occur after his passing.

Chris

 

[Scytales]

There really aren't that many SACDs on the market the last time I looked--about 5000 titles total.

Incidentally, there are now over 16,000 SA-CD releases as of today.

I have been completing my acquisition of multichannel Beethoven piano sonatas and finished just recently. Since I dialed in the setup for minimum phase growth a few years ago (i.e., less than 90 degrees of phase swing from 100 Hz up to 20 kHz, all channels), multichannel piano has been truly breathtaking at times, and certainly mesmerizing. I found the Mari Kodama SACDs on Pentatone to be surprisingly good. There are 10 discs available across 9 albums, and all of them cause me to sit and just listen.

I continue to be amazed by this composer, and the sound of his sonatas arranged by early, middle and late periods presages the changes that were to occur after his passing.

As far as Beethoven piano sonatas are concerned, I have listened again this disc featuring the master's first three after several years from my previous listening :

I was deeply impressed by Igor Tchetuev's interpretation, that is so transparent to the nuances. The pianist's articulation highlights every piece of bits of Beethoven's works, yet Tchetuev do not fell into the trap of sterile virtuosity. A sense of poetry transcend the technical performance. The sound recording is not bad either. I believe Tchetuev has played this sonatas on a Fazioli, which seems unusual to me and add an extra interest to this release. Under the fingers of Tchetuev, the first three sonatas appear greater and more interesting than their status of early works might suggests.

This disc is part of an integral of the recordings of all Beethoven's piano sonatas. I have others disc from this series, but I have yet to listen to them again.

 

[Chris A]

Under the fingers of Tchetuev, the first three sonatas appear greater and more interesting than their status of early works might suggests.

I've found that I listen to Beethoven's first three sonatas quite often relative to his others, if for no other reason the themes that are easier to listen to and to identify with. Same thing for his first three symphonies. I think it's characteristic of his "classical" early training and influence of others, particularly Haydn, who apparently was a mentor.

His late period sonatas are more involved for the ear than his first two period sonatas. I think the late sonatas involve more active listening but bring even more benefit to the listener. He begins to experiment with the sonata form and begins to use fugues in his last sonatas (30-32). Some of these sonatas are quite difficult for the performer (e.g., "Hammerklavier", no. 29, is noted for its difficulty).

I can't overemphasize the importance of the phase-flattening through the crossover regions to eliminate all-pass phase growth--on the enjoyment of this music. (More background on this here.)

Chris

 

[hvbias]

I've found that I listen to Beethoven's first three sonatas quite often relative to his others, if for no other reason the themes that are easier to listen to and to identify with. Same thing for his first three symphonies. I think it's characteristic of his "classical" early training and influence of others, particularly Haydn, who apparently was a mentor.

His late period sonatas are more involved for the ear than his first two period sonatas. I think the late sonatas involve more active listening but bring even more benefit to the listener. He begins to experiment with the sonata form and begins to use fugues in his last sonatas (30-32). Some of these sonatas are quite difficult for the performer (e.g., "Hammerklavier", no. 29, is noted for its difficulty).

I can't overemphasize the importance of the phase-flattening through the crossover regions to eliminate all-pass phase growth--on the enjoyment of this music. (More background on this here.)

Chris

Good observations on Beethoven's form. I like Mari Kodama in the early sonatas, but I find her interpretations dry in many middle and all the late sonatas. My ASR thread on favorites performances here: https://www.audiosciencereview.com/...-favorite-beethoven-piano-sonata-cycles.4906/

This is a very good surround release for superb classical era music played on period instruments. Very good price as well from BIS.

 

[Chris A]

I have to say that my multichannel recordings of Mr. Brautigam on fortepiano remind me of spinet pianos. I don't like listening to them (even though they may be historically relevant).

There is a reason why later piano makers (like Steinway, et al.) using larger and much more highly tensioned string assemblies came into the forefront so rapidly about 2-3 decades after the passing of Beethoven. There really is no contest.

Chris