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<div class="moz-cite-prefix">Thank you Steve for this very
interesting text! I used Google translate and it did as far as I
could tell convey the contents if not always the correct wording.<br>
It was especially interesting to red about your comments on the
remastered sound. It does seem this box is indeed worth investing
in.<br>
<br>
Thanks again!<br>
<br>
/Jorgen<br>
<br>
</div>
<blockquote
cite="mid:735433957.3213451.1442249033614.JavaMail.yahoo@mail.yahoo.com"
type="cite">
<div style="color:#000; background-color:#fff;
font-family:HelveticaNeue, Helvetica Neue, Helvetica, Arial,
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<div id="yui_3_16_0_1_1442248629990_3659"><span>Hi everyone,</span></div>
<div id="yui_3_16_0_1_1442248629990_3659"><span><br>
</span></div>
<div id="yui_3_16_0_1_1442248629990_3659" dir="ltr"><span
id="yui_3_16_0_1_1442248629990_4706">I wrote a review on
amazon.fr about this remastered edition, which might
interest you. Unfortunately, my english is far too bad to
translate it to you properly. Hope you can read french ! </span></div>
<div id="yui_3_16_0_1_1442248629990_3659" dir="ltr"><span>Best
regards,</span></div>
<div id="yui_3_16_0_1_1442248629990_3659" dir="ltr"><span>S.
Balboa.</span></div>
<div id="yui_3_16_0_1_1442248629990_3659" dir="ltr"><span> </span><a
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id="yui_3_16_0_1_1442248629990_4704">"Un jeune pianiste
canadien inconnu du grand..." a review of: The complete
columbia album...</a></div>
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jeune pianiste canadien inconnu du grand..." a
revie...</span></a>
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"molotov" says: Il est très fréquent,
particulièrement dans le monde de la musique,
que les légendes et les rumeurs finissent par
recouvrir une œuvre, au ...</div>
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<br>
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<div class="yahoo_quoted" style="display: block;">
<div style="font-family: HelveticaNeue, Helvetica Neue,
Helvetica, Arial, Lucida Grande, sans-serif; font-size:
16px;">
<div style="font-family: HelveticaNeue, Helvetica Neue,
Helvetica, Arial, Lucida Grande, sans-serif; font-size:
16px;">
<div dir="ltr"> <font size="2" face="Arial"> Le Jeudi 10
septembre 2015 12h49, Richard de Waard
<a class="moz-txt-link-rfc2396E" href="mailto:mail@rdewaard.nl"><mail@rdewaard.nl></a> a écrit :<br>
</font> </div>
<br>
<br>
<div class="y_msg_container">
<div id="yiv8998538116">
<div>
<div>The collection is already on iTunes. You can
listen to parts of tracks there.<br clear="none">
<br clear="none">
Richard</div>
<div><br clear="none">
Op 9 sep. 2015 om 20:57 heeft Kristian Johansson
<<a moz-do-not-send="true" rel="nofollow"
shape="rect"
ymailto="mailto:destept.kristian@gmail.com"
target="_blank"
href="mailto:destept.kristian@gmail.com">destept.kristian@gmail.com</a>>
het volgende geschreven:<br clear="none">
<br clear="none">
</div>
<div class="yiv8998538116yqt1677788202"
id="yiv8998538116yqt86729">
<blockquote type="cite">
<div>
<div dir="ltr">
<div>The book that comes with this box-set
looks very interesting and is to me a
factor in whether or not to buy it. Having
all the original LP-covers (in CD-format!)
is another reason, even if one needs a
magnifying glass to read the text on them.<br
clear="none">
</div>
<div>But in the end it will to me come down
to how much the sound quality has improved
after remastering. I would be very
interested to know where to find some
samples of the remastered tracks.</div>
<div><br clear="none">
</div>
<div>best regards,</div>
<div>Kristian</div>
<div><br clear="none">
</div>
</div>
<div class="yiv8998538116gmail_extra"><br
clear="none">
<div class="yiv8998538116gmail_quote">On
Wed, Sep 9, 2015 at 12:06 PM, Richard de
Waard <span dir="ltr"><<a
moz-do-not-send="true" rel="nofollow"
shape="rect"
ymailto="mailto:mail@rdewaard.nl"
target="_blank"
href="mailto:mail@rdewaard.nl"><a class="moz-txt-link-abbreviated" href="mailto:mail@rdewaard.nl">mail@rdewaard.nl</a></a>></span>
wrote:<br clear="none">
<blockquote
class="yiv8998538116gmail_quote"
style="margin:0 0 0 .8ex;border-left:1px
#ccc solid;padding-left:1ex;">
<div>
<div>I was wondering what your
experiences are since it was
released. I just listened to the
remastered c minor partita but did
not notice a huge sound difference. <br
clear="none">
Are there other reasons why anyone
with a reasonable big GG music
library should buy this?</div>
<div><br clear="none">
</div>
<div>Regards,<br clear="none">
Richard<br clear="none">
<br clear="none">
</div>
<div>
<div class="yiv8998538116h5">
<div><br clear="none">
Op 31 mei 2015 om 18:20 heeft
Kristian Johansson <<a
moz-do-not-send="true"
rel="nofollow" shape="rect"
ymailto="mailto:destept.kristian@gmail.com"
target="_blank"
href="mailto:destept.kristian@gmail.com"><a class="moz-txt-link-abbreviated" href="mailto:destept.kristian@gmail.com">destept.kristian@gmail.com</a></a>>
het volgende geschreven:<br
clear="none">
<br clear="none">
</div>
<blockquote type="cite">
<div>
<div dir="ltr">
<div>I find it incredible
pleasing that Sony has
decided to produce this
new edition. First of all
I hope that there will be
a significant improvement
in sound quality. Not that
I personally have much to
complain about in that
respect with the current
issues, but if engineers
can use modern sound
technique to improve it by
working directly from the
master-tapes that would be
wonderful. I am leaving
aside the discussion
regarding what a better
sound really is, since
that is mainly up to each
ones individual taste, how
much noise-reduction
should be used, etc. </div>
<div>I hope there will be
some hi-quality samples to
download from Sonys site
or elsewhere for everyone
to judge themselves about
the sound quality.</div>
<div>I thought that the
DSD-technique was only
used for SACD-production,
but this new release will
be on regular CDs, or am I
wrong? </div>
<div><br clear="none">
</div>
<div>Secondly, the fact that
Sony deems it economically
viable to produce this
edition means that there
must be a large new public
still interested in Gould
and his recordings and
that in itself is nice to
know. </div>
<div>For people who recently
have become seriously
interested in the
recordings of Gould, this
must be the one edition to
buy. Perhaps the younger
generation will be content
with, or even prefer, to
have access to the
streamed music. Much has
been said (not on this
forum as far as I
remember) about the demise
of CD-records, but new
comprehensive editions
like this one, Karajan
60s, 70s.. Perahia 40
years etc, continue to be
released, so the record
companies must still make
money from them.
Apparently many people,
myself included, still
value the item.</div>
<div>But to people like
myself who already bought
all the recordings from
previous releases, I guess
weather buying the new
edition or not will come
down to not only the
question about improved
sound, but also what the
416-page book that comes
with it will offer. The
introduction by Kevin
Bazzana and rare photos
that are mentioned on the
Amazon UK site are factors
that make this new release
very interesting and
tempting to me at least.</div>
<div><br clear="none">
</div>
<div>One would hope there
will be some bonus
material added. But
unfortunately as far as I
can see there are none.
Probably it's more
complicated than I
imagine, but I would love
to see some outtakes from
any recording session
included. The New Listener
CD-ROM, if anyone
remembers that, came with
a couple of different
takes from the a-minor
fugue from WTC I, so to me
it does not seem totally
unrealistic to see a
couple of outtakes also
with a comprehensive
edition like the one now
planned by Sony. </div>
<div><br clear="none">
</div>
<div>The pricing of the USB
version seems strange to
me. Would anybody pay
significantly more for an
issue on USB only? Does
anybody know on what
format the music will be
on the USB-version? And if
the book then will be
included only as a
pdf-version?</div>
<div><br clear="none">
</div>
<div>regards,</div>
<div>Kristian</div>
<div><br clear="none">
</div>
<div
class="yiv8998538116gmail_extra"><br
clear="none">
<div
class="yiv8998538116gmail_quote">On
Wed, May 13, 2015 at
12:12 AM, Jörgen
Lundmark <span
dir="ltr"><<a
moz-do-not-send="true"
rel="nofollow"
shape="rect"
ymailto="mailto:jorgen.lundmark@mypost.se"
target="_blank"
href="mailto:jorgen.lundmark@mypost.se"><a class="moz-txt-link-abbreviated" href="mailto:jorgen.lundmark@mypost.se">jorgen.lundmark@mypost.se</a></a>></span>
wrote:<br clear="none">
<blockquote
class="yiv8998538116gmail_quote"
style="margin:0 0 0
.8ex;border-left:1px
#ccc
solid;padding-left:1ex;">
<div>
<div>Very
interesting
comments on sound
quality, Robert.
Something Gould
himself no doubt
thought a lot
about.<br
clear="none">
<br clear="none">
I have to say
though that your
own example of
Caruso makes the
idea of
sound-improvement
valid. If you
compare the
original 78s with
the very best
(most sensitively
made) digital
remasterings I'd
be very surprised
if most listeners
wouldn't agree
upon the
superiority of the
latter. I wouldn't
say it's a
question of trying
to achieve
something that was
not there in the
first place. It's
not a question of
making perfect,
but making the
original shine the
best it possibly
can. And since we
are dealing with
technologies that
has been improving
over the years --
you can show that
say the best
modern microphone
is better equipped
to register sound
than the
equivalent
produced 50 years
ago for example --
this is not a
question of
wishful thinking.<br
clear="none">
<br clear="none">
Now, this is not
the same as saying
that every new
edition is better
than the previous
one. In popular
music you have the
stupid idea of
increasing the
mean volume by
reducing the
dynamics; in
classical music
too many releases
of historical
recordings sound
lifeless because
the background
noise has been too
severely cut. It's
a question of
sensitivity and
knowledge by the
person making the
remastering. There
are many excellent
examples of
contemporary
remasterings that
do sound better
than previous
editions:
"Horowitz at
Carnegie Hall",
Karajan's 1960s
Beethoven edition
and his Mahler 5th
to name three
examples. And of
course there are
several other
examples that is
actually less
impressive.<br
clear="none">
<br clear="none">
The very idea of
improving
something
digitally is I
would say is very
much in Gould's
spirit. Changing
the original --
ignoring the
"sacred" original
-- was something
he approved of.
Since I prefer
Gould to stay
Gouldian I
wouldn't want
producers to go
that far. But if
they can manage to
bring me closer to
the original
masters I would be
very happy. What
that constitutes
is of course open
to debate. Sound
quality is
sometimes a tricky
area to agree
upon.<br
clear="none">
<br clear="none">
Regards,<br
clear="none">
Jorgen<br
clear="none">
</div>
<div>
<div>
<blockquote
type="cite">
<div><font
size="2"
face="Arial"><font
size="3"
face="Courier
New">This
brings us back
to a
persistent
theme in GG's
art and
pychology:
perfectionism.
His retreat
from the
concert </font><font
size="3"
face="Courier
New">stage and
advance into
the studio,
with its
technical
wizardry, were
his
declaration of
making </font><font
size="3"
face="Courier
New">perfectionism
a central
virtue of what
he wanted to
achieve.</font></font></div>
<font size="2"
face="Arial">
</font>
<div> </div>
<div><font
size="3"
face="Courier
New">I've
grumbled
before that
IMHO,
sterility is
the
unavoidable
handmaiden of
perfectionism.
To achieve </font><font
size="3"
face="Courier
New">the
perfect
requires the
loss of
spontaneity,
risk, daring,
thrill -- like
crossing
Niagara on a </font><font
size="3"
face="Courier
New">guaranteed
solid bridge
with sturdy
handrails
rather than a
tightrope.</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">So 33
years after he
died, many of
us still long
and dream for
an even more
perfect
edition of his
</font><font
size="3"
face="Courier
New">keyboard
work.</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">Although
they, too,
were ear art
produced by
the same
brain/spirit
and the same
fingers, it's
</font><font
size="3"
face="Courier
New">interesting
that nobody
ever asks for
audio-improved
"more perfect"
re-masterings
of the radio </font><font
size="3"
face="Courier
New">documentaries.
It's facile to
say, "Well,
one was
keyboard
music, the
other was
dialogue montage."</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">One of my
thrills in
recorded music
is early
capturings of
great talents.
I have two
editions of
the </font><font
size="3"
face="Courier
New">first RCA
Caruso
sessions, both
in 33 1/3 LP
vinyl. The
first was
RCA/Camden
(NJ)'s
"standard" </font><font
size="3"
face="Courier
New">lavishing
of
state-of-the-art
analog
technology. </font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">(Caruso
"made" RCA's
phonograph;
before his
voice came out
of the sound
horn, the
public had
only mild </font><font
size="3"
face="Courier
New">curiosity
about this new
arcade
gimmick. I
think RCA paid
the unknown
Italian $25 to
sing about 12
</font><font
size="3"
face="Courier
New">songs.)</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">The
second, issued
soon after,
was the
Stockham
Soundstream
version -- the
first digital
remastering of
</font><font
size="3"
face="Courier
New">any
music, the
pioneering
effort of
the technology
that soon
nearly
completely
took over the
</font><font
size="3"
face="Courier
New">recorded
music
industry, and
nearly
extincted the
vinyl analog
system. D</font><font
size="3"
face="Courier
New">igitizing
Caruso
produced no
miracles by
itself. But
Thomas
Stockham had
analyzed the
Caruso </font><font
size="3"
face="Courier
New">recordings
and concluded
that much or
most of the
squawk and
noise and hiss
weren't due to
old age or 80
</font><font
size="3"
face="Courier
New">years of
dust in the
cylinder
grooves, but
due to the
acoustic
characteristics
of "shouting"
and </font><font
size="3"
face="Courier
New">pointing
accompanying
instruments
into the giant
sound
collection
horn in the
era before </font><font
size="3"
face="Courier
New">electric/electronic
microphones.
(The horn
mechanically
wiggled the
groove-cutting
needle.)</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">This
collection-horn
trouble could
be identified
and filtered
out
mathematically
by computer.
The </font><font
size="3"
face="Courier
New">result
"jumped"
Caruso several
decades toward
the era of
sensitive
electric/electronic
microphones --
</font><font
size="3"
face="Courier
New">from
Caruso's
recording tech
to Billie
Holiday's
electric/electronic
microphone
tech.</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">Suddenly
modern ears
can hear what
all the gossip
and buzz about
Enrico Caruso
was all about.
It </font><font
size="3"
face="Courier
New">ain't
perfect --
still lots of
crude squawk
and hiss and
noise -- but
Stockham had
rescued the
lost spirit,
the </font><font
size="3"
face="Courier
New">emotion,
the concert
thrill of
Caruso circa
1903.</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">The whole
issue of what
makes a
perfect or an
aesthetically
valuable
recording, or
what truly
best </font><font
size="3"
face="Courier
New">represents
a performing
artist, is
very
under-discussed
and
under-thought-out.
Some treasures
</font><font
size="3"
face="Courier
New">are not
rendered
"better" by
applying new
popophonic
dysenstereo
36-bit
12-channel
audio techno.
Their </font><font
size="3"
face="Courier
New">value or
treasure had
been there
from the
first,
courtesy of
the performers
themselves.</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">I guess
another way of
saying this --
I started
buying GG
stuph around
1971 -- is I
never heard a
GG </font><font
size="3"
face="Courier
New">recording
I didn't like.
And never
yearned for a
new
remastering
that would
technologically
"improve" </font><font
size="3"
face="Courier
New">the old
recording and
make me love
it more. I've
bought and had
Happy Thought
about new
editions, but
</font><font
size="3"
face="Courier
New">the magic
was in the
recordings I
first heard,
the magic
hasn't been
improved
since.</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">Bob <br
clear="none">
Massachusetts
USA</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">P.S.
Winter finally
ended and boy
am I happy.
Off-list I'd
be happy to
dicuss the
existence or
non-existence
of Climate
Change, and
Whose Fault it
is.</font></div>
<div> </div>
<div><font
size="3"
face="Courier
New">P.P.S.</font></div>
<div><font
size="3"
face="Courier
New">What up
recently, if
anything, with
lossless
digital
technologies
like FLAC?</font></div>
<div> </div>
<div> </div>
<div> </div>
<div>
<div><font
face="Arial"><font
size="2"
face="Courier
New"><strong>News,
Global
Warming,
Mozart,
Sports,
Intergalactic
Travel,
sausages, <br
clear="none">
VOLCANOS!!!
opera,
PIRATES!!!
Filth in
Extinct
Lingos, </strong></font></font></div>
<div><font
face="Arial"><font
size="2"
face="Courier
New"><strong>Big
Integers &
BOINC: </strong></font><a
moz-do-not-send="true" rel="nofollow" shape="rect" href=""><font
size="2"
face="Courier
New"><strong><a class="moz-txt-link-freetext" href="http://VleeptronZ.blogspot.com/">http://VleeptronZ.blogspot.com/</a></strong></font></a><br
clear="none">
<font size="2"
face="Courier
New"><strong>Remarkable
Older Stuph: </strong></font><a
moz-do-not-send="true" rel="nofollow" shape="rect" href=""><font
size="2"
face="Courier
New"><strong><a class="moz-txt-link-freetext" href="http://Vleeptron.blogspot.com/">http://Vleeptron.blogspot.com/</a></strong></font></a><br
clear="none">
</font><font
size="2"
face="Arial"><br
clear="none">
</font></div>
</div>
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<br clear="none">
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<div><br clear="none">
</div>
-- <br clear="none">
<div>/Kristian</div>
</div>
</div>
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</blockquote>
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clear="none">
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</blockquote>
</div>
<br clear="none">
<br clear="all">
<div><br clear="none">
</div>
-- <br clear="none">
<div class="yiv8998538116gmail_signature">/Kristian</div>
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