This music-only Blu-ray discs delivers 7.1 DTS-HD Master Audio if and when connections are made with 1.3 and/or 1.4 HDMI cables. If connected with optical cables it will only deliver 5.1 or 6.1 standard DTS quality sound. For the purpose of this review I only used high-speed 1.3 cables connecting the Blu-ray player and the 7.2 AV receiver. I should mention that the present receiver is one of Onkyo s new generation of THX-certified products built around high quality Burr-Brown DACs. The DTS-HD MA encoding of this recording as connected with 1.3 HDMI cables produces a variable bit rate (VBR), bit-for-bit (lossless) stream that includes 7.1 channels with sample rates of 96 kHz. Just as well the DTS-HD MA-encoded files also contain a backward-compatible DTS Digital Surround 5.1 (and 6.1) core with a bit rate of 1509 kbps. However, this review concerns itself only with 7.1 DTS-HD MA channels reproduction. The unique acoustic reality experience that his recording affords to my ears as to the musical phrasing and playing of these two very complex scorings, the orchestral presence, instrumental sections separation, high and low dynamics and instrumental solos are far superior to anything I have heard on so-called true surround recordings. We are placed at the same location that the conductor assumes in the podium, we are not part of the audience - we hear what the conductor hears. Orchestral sound is very close and all around, especially the sound coming out of the two side-surround speakers. In my mind the use of these side speakers totally redefines surround sound; this is a new experience and something to behold. ----John Nemaric (Audiophile Audition Review)
Video: Masterpieces from Greatest Artists of All Times (1080p HD)
Audio: 7.1 DTS-HD Master Audio 24/96k
Systematism in Audio Arts represents Artistic View and Exploration of possibilities of Sound that started with Edison's invention of the phonograph in 1877 until the 1950s. Second stage of Stereo was based on inventions from the 1930s, reached the public in the mid-'50s, and has provided great listening Pleasure for four decades. Stereo improved the reproduction of timbre and added two dimensions of space: the left- right spread of performers across a Stage, and a set of acoustic cues that allow listeners to perceive a front-to-back dimension.
Current Age represented by Multichannel surround sound technology, natural involving presence in A way that is robust, reliable and consistent there each individual sound can has its Unique location in 3-dimensional space.
The Symphony No. 5 by Gustav Mahler was composed in 1901 and 1902, mostly during the summer months at Mahler's cottage at Maiernigg. Among its most distinctive features are the funereal trumpet solo that opens the work and the frequently performed Adagietto.
The musical canvas and emotional scope of the work, which lasts over an hour, are huge. After its premiere, Mahler is reported to have said, Nobody understood it. I wish I could conduct the first performance fifty years after my death. Conductor Herbert von Karajan said that when one hears Mahler's Fifth, 'you forget that time has passed. A great performance of the Fifth is a transforming experience. The fantastic finale almost forces you to hold your breath.
The symphony is sometimes described as being in the key of C? minor since the first movement is in this key (the finale, however, is in D). Mahler objected to the label: "From the order of the movements (where the usual first movement now comes second) it is difficult to speak of a key for the "whole Symphony", and to avoid misunderstandings the key should best be omitted.
The piece is scored for a large orchestra made up of:
woodwinds: 4 flutes (3rd & 4th doubling piccolos; for the last two bars of the Scherzo, all four flutes play piccolo), 3 oboes (3rd doubling English horn), 3 clarinets in B-flat (3rd doubling clarinet in D1 and bass clarinet), 3 bassoons (3rd doubling contrabassoon)
brass: 6 horns in F2, 4 trumpets in B-flat and F, 3 trombones, tuba
percussion: timpani, bass drum, snare drum, cymbals, triangle, tam-tam, whip, glockenspiel
strings: harp, violins I, II, violas, violoncellos, double basses
1. The part is written for a clarinet in D in the score, but as this instrument is now virtually obsolete, almost all clarinettists play this part on an E flat clarinet. In the Critical Edition of the score published in 2001 (see below), the editors have the second player taking the E flat clarinet part with the third doubling on bass clarinet only.
2. Mahler uses a Solo obbligato Horn in the Scherzo. However, this is not counted as a seventh horn because only four other horns play in that movement.
The score appeared first in print in 1904 at Peters, Leipzig. A second "New edition", incorporating revisions that Mahler made in 1904, appeared in 1905. Final revisions made by Mahler in 1911 did not appear until 1964 (ed. Ratz), when the score was re-published in the Complete Edition of Mahler's works. In 2001, Edition Peters published a further revised edition (ed. Kubik) as part of the New Complete Critical Edition Series. This edition is the most accurate edition available so far. Previous editions have now gone out of print.
The work is in five movements:
1.Trauermarsch (Funeral March). In gemessenem Schritt. Streng. Wie ein Kondukt (C-sharp minor)
2.Stuumlrmisch bewegt, mit groumlszligter Vehemenz (Moving stormily, with the greatest vehemence) (A minor)
3.Scherzo. Kraumlftig, nicht zu schnell (D major)
4.Adagietto. Sehr langsam (F major)
5.Rondo-Finale. Allegro - Allegro giocoso. Frisch (D major)
The first two movements constitute Part I of the symphony (as designated by Mahler in the score), the long Scherzo constitutes Part II, and the last two movements constitute Part III.
The piece is generally regarded as Mahler's most conventional symphony up to that point, but from such an unconventional composer it still had many peculiarities. --Alexander Golberg Jero
Modern recording techniques have come alarmingly far in just a few short years. I've had the pleasure of having several commercial recordings released, and my earliest days in the recording studio were spent amid the flutter of reel to reel tapes. Later, exciting 'improvements' like audio Betamax (yep, you read that right) and then digital media like ADATs came into play. Over the past couple of decades-plus, we've seen the advent of hard drive recording systems, with the ubiquitous use of bells and whistles like ProTools, which can make even amateurs (are you listening, Ashlee Simpson?) sound at least passable, what with pitch correction, WAV editing and the like. Casual listeners to modern day product might be quite surprised to see how a recording is assembled, and assembled is, for better or worse, the correct term. Even back in the days of analog recordings, it wasn't unusual for rhythm tracks to be laid down first, often with 'scratch'; vocals, and then for the vocalist to come in to take their final version at a later date. While editing was certainly a more involved procedure back in the day, tape editors became so facile with their 'archaic' medium that even syllables could be fairly seamlessly fixed for a final product. (Anyone wanting a good laugh should listen to John Barry's commentary on You Only Live Twice, where he details the editing lengths they had to go to get a final take of Nancy Sinatra's vocal on the title tune). However, as often as pop, rock and even Broadway cast recordings were 'assembled' in the halcyon days of the 1950's, 1960's and 1970's, even after the advent of hard drive recording, you could count on one genre to preserve at least a semblance of the 'live' ensemble experience, and that was of course classical music. Not anymore. Choral composers like Eric Whitacre have pioneered the idea of a 'virtual choir' where people separated by continents are able to 'join together' to sing via such media as YouTube. And now we are introduced to an 'assembled' orchestra under the 'virtual baton' of Alexander Jero. Jero has been a pioneer in audio Blu-ray and has released several outstanding discs where he's licensed previously recorded material and repurposed for hi-def audio in often rather striking surround versions. Jero is recording a glut of classical warhorses anew, hiring college students to come into his private studio to work under his own baton. However, these are not live ensemble recordings in the traditional sense. Jero brings sections in separately, and records them, often utilizing previous recordings as reference material. He then assembles the final product in the mixing room. It's an unusual approach for a genre as hopefully organic as classical music, and listeners' reactions may be colored by the knowledge that high tech wizardry has at least helped to craft the architecture of any given performance.----Jeffry Kauffman (Blu-ray.com)