Maurizio Pollini - Chopin:24 Preludes - Import LP Record

Credits:

Maurizio Pollini

Description:

Chopin: Chopin Scheduled to be recorded 24 Preludes Op. 28 [Side A] 1) No. 1 in C major, 2) No.2 in A minor, 3) No.3 in G major, 4) No.4 in E minor 4) No. 4 in E minor 5) No.5 in D major 6) No.6 in B minor 7) No.7 in A major, 8) No.8 in F-sharp minor 8) No.8, f-sharp minor, 9) No.9, E major, 10) No.10 in C-sharp minor 11) No.11 in B major 12) No.12, G-sharp minor 13) No.13, F-sharp major 14) No.14 in E flat minor / [Side B] 1) No.15 in D flat major 2) No.16 in B flat minor 3) No.17 in A flat major 4) No.18 in F minor 5) No.19 in E flat major. 6) No.20 in C minor, 6) No.20 in C minor 7) No.21, B flat major, 8) No.22 in G minor, 9) No.23, F major, 10) No.24 in D minor Performers Maurizio Pollini (Piano) Recorded in Munich, June and July, 1974 A new LP series for audiophiles from Deutsche Grammophon, the "retro of the future. Emil Berliner Studios, using the most advanced pure analog technology,Remastered legendary masterpieces from the original 1/2" 4-track tapes Deutsche Grammophon releases "The Original Source Series" (The Original Source), a new series of LP reissues of classic recordings. Emil Berliner Studios in Berlin mixed and cut from 1970s 4-track 1/2-inch masters using their own state-of-the-art, 100% pure analog technology to achieve the highest sound quality. Optimal 180g-weight virgin vinyl vinyl. Original artwork & liner notes, with additional photos and recording materials inside the sleeve. Gorgeous gatefold version. Serial numbered limited edition. Pure analog mix & cut directly from the original 4-track 1/2" master tape Mixed by Rainer Mayar at Emil Berliner Studios and cut by Sidney C. Maier Commentary on the Original Source Series by Rainer Mayar, recording producer and managing director of Emil Berliner Studios Rediscovering old treasures sometimes takes years. 2023 marks the 125th anniversary of Deutsche Grammophon's founding, and the "Original Source Series" is the first time that legendary recordings from the 1970s are being released not as stereo 1/4-inch tape copies, but cut directly from 4-track 1/2-inch masters. The series will be the first to release cuts directly from the 4-track 1/2-inch masters, rather than copies of the stereo 1/4-inch tapes. As a result, quality has been pushed to its limits and listeners will enjoy these repertoire like never before. To better understand the background of this special series, it is worth turning to DG's development of recording technology, which began as early as 1970 with the recording of four-channel surround sound, a technique that was first used in the 1960s and 1970s.The recording format was four-track analog tape with left, right, front, and rear channels. After recording, these 4-track tapes were edited at DG's studio in Hanover. The takes were cut with scissors and joined together with adhesive tape. DG of course released these recordings on regular stereo LPs, but to do so, the engineers had to create stereo downmixes from the 4-track master tapes. DG made copies of these copies and sent them to factories around the world for local pressing and worldwide distribution. Copies of tapes do not sound as good as the original master tapes. So the idea was born to produce the highest quality product by using the original 4-track master for the lacquer disc cutting instead of the 2-track copy. Thanks to the team of experts at the time and their analog recording techniques, the sound is sensational. Two technical aspects had to be considered for this new series. First, the four-track tape was twice as wide as a regular two-track tape, requiring a special tape machine. It had to be capable of sending a preview signal to enable the disc cutting lathe to cut a perfect groove in the disc. Our tape machine was modified for this purpose and is probably the only one in the world today. Next, the front and rear channels must be mixed to stereo in real time. An entirely new custom-built mixing desk was essential. Emil Berliner Stadios designed a passive mixer, which provided the highest quality rendering without adding any noise to the signal. The "Original Source Series" is a pure LP with no tape copies, no unnecessary devices in the signal path, and of course no digital sound processing. This is the shortest way to get from the original master to the cutterhead. When compared to the original release vinyl, the sonic superiority is remarkable. Clearer, more detailed, better frequency response, and at the same time less noise, distortion, and compression. Please enjoy! (UNIVERSAL MUSIC/IMS)