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  • Symphonic Music Adventure, Custom Audio Art of Systematism: 'Paphetique' Tchaikovsky Symphonies No.5&6 - Blu-ray Music by Alexander Jero with Art and 7.1 3-D Sound [Blu-Ray]
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Symphonic Music Adventure, Custom Audio Art of Systematism: 'Paphetique' Tchaikovsky Symphonies No.5&6 - Blu-ray Music by Alexander Jero with Art and 7.1 3-D Sound [Blu-Ray]


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Blu-ray Audio, November 5, 2012
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Editorial Reviews

Review

Video: Masterpieces from Greatest Artists of All Times (Slideshow 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 in E minor, Op. 64 by Pyotr Ilyich Tchaikovsky was composed between May and August 1888 and was first performed in St Petersburg at the Hall of Nobility on November 6 of that year with Tchaikovsky conducting. It is dedicated to Theodore Av;-Lallemant.
A typical performance of the Symphony lasts about 46 minutes. The Symphony is in four movements:
Andante ; Allegro con anima (E minor)
Andante cantabile, con alcuna licenza ; Moderato con anima ; Andante mosso ; Allegro non troppo ; Tempo I (D major)
Valse: Allegro moderato (A major)
Finale: Andante maestoso ; Allegro vivace ; Molto vivace ; Moderato assai e molto maestoso ; Presto (E major ? E minor ? E major)
Like the Symphony No. 4, the Fifth is a cyclical symphony, with a recurring main theme. Unlike the Fourth, however, the theme is heard in all four movements, a feature Tchaikovsky had first used in the Manfred Symphony, which was completed less than two years before the Fifth. The theme has a funereal character in the first movement, but gradually transforms into a triumphant march, which dominates the final movement. Tchaikovsky was attracted to this particular theme because the topic of the Fifth Symphony is Providence, according to the composer's notebook page dated 15 April 1888, which was about one month before he began composition of the symphony. The composer stated, in describing the introduction a complete resignation before fate, which is the same as the inscrutable predestination of fate." The changing character of the motto over the course of the symphony seems to imply that Tchaikovsky is expressing optimism with regard to providence, an outlook that would not return in his Sixth Symphony.

The Symphony No. 6 in B minor, Op. 74, Pathetique is Pyotr Ilyich Tchaikovsky's final completed symphony, written between February and the end of August 1893. The composer led the first performance in Saint Petersburg on 16/28 October of that year, nine days before his death. The second performance, under Eduard took place 21 days later, at a memorial concert on 6/18 November. It included some minor corrections that Tchaikovsky had made after the premiere, and was thus the first performance of the work in the exact form in which it is known today. The first performance in Moscow was on 4/16 December, under Vasily Safonov.
The first drafts were completed in the spring of 1891. However, some or all of the symphony was not pleasing to Tchaikovsky, who tore up the manuscript in one of his frequent moods of depression and doubt over his alleged inability to create.

----Definition / Description

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)

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)


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