The Portuguese pianist Maria Joa?o Pires has long been associated with the music of Mozart. Her delicacy of touch, vibrancy of phrasing and sense of fantasy mark her out as one of the elect who can touch his keyboard music without coarsening or sim- plifying it. She has made two complete cycles of the sonatas; reissued here is the first one, from the days in the 1970s when she first appeared on the international scene and won over listeners with a graceful purity of approach that left more famous names trailing in her wake.The later cycle brought added refinement, but anyone who is captivated by this still undervalued corpus – too difficult for beginners, yet scorned by many professionals in search of gaudier glories – will want to hear this set.

OTHER INFORMATION:
• ‘Pires has always been something of a Mozar t specialist, and her playing is tasteful and cleanly articulated, the lyrical melodies sensitively shaped, the passage work fluent and even. Nothing she does is ever harsh or graceless.’ Gramophone, July 1990.

Engineered to enable the selection and comparison of sound captured by each microphone. (SACD layer only)

Microphone tracks can be selected because the same performance was recorded using different microphones. Tracks one to seven were recorded on the Neumann M-50C, and tracks eight to fourteen on the Brauner VM1. You can choose which of the tracks best suit your preferences. (Single-microphone performance time: 56:06)

Dynamic piano sounds overflowing with vitality elicited in a hall designed with a rich musical atmosphere and sound space.

In order to make the most of the musical power of expression of the performer, the piano and the piano tuner are extremely important factors, but the acoustics of the hall are also critical to the appeal of the piece. It is preferable for low frequency sound reverberations to fade quickly while high frequency sound reverberates for longer. Additionally, soft stage floors underneath the piano tend to produce a deep booming sound that causes the acoustic image to become indistinct. The Northern Alps Culture Center (Toyama Prefecture) was selected as the recording hall because such issues were addressed when it was constructed.

Definitive sound quality sought from the DSD recording stage to the clock generator, lines, and power cables used in mastering.

Very thick power cables were connected directly to the switchboard, and the highest quality ESOTERIC materials were used for the power cables and line cables used on the AD converter, the rubidium clock generator, and the hard disk drive. To reduce noise interference, devices were removed from racks and matched with compatible insulators. Our uncompromising approach was also extended to working times, with recordings taken on holidays and mastering done late at night to ensure a more stable power supply.

Artykuł MOZART <br />Piano Sonatas K.310, K.330, K.331 ‚Alla Turca‘ <br /> Maria Joao Pires pochodzi z serwisu Cleartone.

The reissue of classical music masterpieces by ESOTERIC has attracted a lot of attention, both for its uncompromising commitment to recreating the original master sound, and for using hybrid Super Audio CD (SACD) technology to improve sound quality. This series marks the first hybrid SACD release of DECCA classics title that has been mainstays of the catalog since its initial release on LP, until the present digital age of CD. This new audio version feature newly remastered DSD master.

ESOTERIC equipment used for re-mastering

The criterion of re-mastering is to faithfully capture the quality of the original master tapes. ESOTERIC’s flag ship D/A converters, model D-01VU, Rubidium master clock generator model G-0Rb and ESOTERIC MEXCEL interconnect cables and power cords, were all used for this re-mastering session. This combination of highly advanced technology greatly contributed to capturing the high quality sound of the original master tapes.

Experience by yourself…

Experience the legendary performance in this new Super Audio CD/CD format. Not only for new followers, but also for well experienced followers of these recorded materials. All will be equally impressed by the “soul” hidden within the notes, but never before found in previously released recordings in any format.

Nakład każdego tytułu to 1000 egzemplarzy w skali światowej. Płyty nie są wznawiane. Stanowią niezwykle poszukiwany i pożądany cel kolekcjonerów z całego świata.

Artykuł MOZART, FRANCK, BRAHMS <br />Sonatas for piano and violin <br />Augustin Dumay, Maria Joao Pires pochodzi z serwisu Cleartone.