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████ FrΘdΘric Chopin (Dead or Alive)-The Welte █▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄
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██ ██
██ artist....: FrΘdΘric Chopin (Dead or Alive) ██
██ album.....: The Welte Mignon Mystery Vol. IV ██
██ label.....: TACET 140 ██
██ genre.....: Classical ██
██ type......: Album ██
██ album year: 2006 ██
██ rip date..: 04.04.2008 ██
██ streetdate: 00.00.0000 ██
██ ██
██ tracks....: 29 ██
██ size......: 79,4 MB ██
██ language..: English ██
██ bitrate...: avg.Kbps / 44,1kHz / Joint-Stereo ██
██ source....: CDDA ██
██ ripper/sup: me /me ██
██ grabb/enco: EAC /Lame 3.97 ██
██ ██
██ url.......: n/a ██
██ ██
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▀▀▀▀▀▀▓█▓█▓▓▀█▓▄■ RELEASE INFORMATION ■▄▓█▀▓▓█▓█▓▀▀▀▀▀▀
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██ "This is the latest continuation of "The Welte-Mignon ██
██ Mystery" - from Germany?s Tacet label - Volume IV to be ██
██ exact. We?ve reviewed in the past here several different CDs ██
██ made from the amazing Welte piano rolls. (Put Welte in our ██
██ site search engine.) I don?t believe the earlier volumes of ██
██ this new series carried the statement on the jewel box that ██
██ the results are so "right" that "it need not fear comparison ██
██ with a living pianist." That is the point of the Dead or ██
██ Alive title of this CD. ██
██ To summarize, the Rube Goldbergish pneumatic-based ██
██ Welte-Mignon recording system, originally perfected in the ██
██ 1890s!, was far ahead of all other piano roll approaches in ██
██ fidelity to the original performances, and 100% better than ██
██ the scratchy gramophone and cylinder records of the period. ██
██ The "registration" (recording) equipment for the rolls, ██
██ which had been set up in Leipzig, Freiburg and New York ██
██ City, is long gone. But when the few remaining "vorsetzer" ██
██ mechanisms - with their 88 little mechanical fingers - are ██
██ perfectly adjusted and rolled up to the keyboard of a modern ██
██ Steinway grand, the resulting performance can be recorded in ██
██ modern stereo and it is extremely close to that of a live ██
██ performer at the keyboard. But not quite, at least to my ██
██ ears. But first, the unique idea behind this particular ██
██ collection of Welte rolls: In going thru the approximately ██
██ 4500 selections which exist in the Welte catalog, producer ██
██ and Tacet CEO Andreas Spreer discovered many Welte ██
██ recordists had chosen to register one of the Chopin Etudes. ██
██ In fact, only five were missing to complete both opus ██
██ numbers of the Etudes. He engaged pianist Peer Orth to ██
██ record those five on the same Steinway used with the Welte ██
██ vorsetzer to reproduce all the long-dead pianists? rolls. ██
██ The same digital recording equipment was used to record both ██
██ the "alive" and the "dead" selections. ██
██ Some of the past pianists represented are forgotten today, ██
██ but a couple whose style is identifiable do sound like the ██
██ standard recordings they also made. The one Etude performed ██
██ by Horowitz sounds exactly like his precise and virtuoso ██
██ style. The job of making a comparison between the alive and ██
██ dead would have been easier if just one single Etude ██
██ on a Welte roll had also been performed by Orth. But I ██
██ tackled the listening comparison , moving from track to ██
██ track to see if the five alive tracks stood out in any way ██
██ from the dead tracks. My summary of the distinctions comes ██
██ down to two qualities: First, there is still a somewhat ██
██ too-perfectly precise rhythm and phrasing on the rolls - the ██
██ live performances having a more human flow and very slight ██
██ departures from strict time. Secondly, there is the more ██
██ easily heard difference in dynamics - especially the attack ██
██ on notes at highest volume level. The Welte rolls sound ██
██ rolled off in this regard at both ends of the dynamic range. ██
██ Extremely soft ppp passages seem to be upgraded to pp ██
██ passages, and at the other end, there are simply no really ██
██ loud piano climaxes - they sound compressed compared to what ██
██ is heard from live pianist Orth. For example, the Welte roll ██
██ of Chopin?s Revolutionary Etude, by pianist Galston lacks ██
██ the fortissimo climaxes that make this work so compelling. ██
██ It is true, as the note booklet states, that most of the ██
██ previous Welte reissues were faulty in some regard and ██
██ failed to portray the accurate sound possible with the ██
██ system. Along these lines, Tacet?s CD has almost no noise ██
██ from the mechanism - as do most of the previous reissues. ██
██ However, about eight years ago Telarc released "A Window in ██
██ Time" - two CDs of Welte rolls cut by Rachmaninoff. (We have ██
██ them on our 1998 and 99 Best of the Year Lists in the ██
██ Archives.) But instead of using the original mechanical ██
██ system, the information on the piano rolls was transferred ██
██ to digital computer files and eventually fed into a ██
██ B÷sendorfer 290E Reproducing Piano to be recorded. The ██
██ quality of these three dozen tracks is quite similar to the ██
██ Tacet CD, though I hear less of the "too-perfect" quality. ██
██ But compare the final track of the series - Rachmaninoff ██
██ playing Chopin?s Scherzo in B-flat minor - with the ██
██ Revolutionary Etude on the Tacet disc. The big climaxes are ██
██ twice as loud and strong on the transfer using the ██
██ B÷sendorfer and digital technology, and I believe would ██
██ stand up better compared to a live pianist?s new recording ██
██ of the piece. The unusual Tacet CD remains fascinating ██
██ listening nevertheless." ██
██ ██
██ ██
██ ██
██ ██
██ ██
██ If you enjoyed this REC, BUY IT! otherwise delete it please ██
██ because the Artist deserves your support! ██
██ ██
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▀▀▀▀▀▀▓█▓█▓▓▀█▓▄■ TRACK LISTING ■▄▓█▀▓▓█▓█▓▀▀▀▀▀▀
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██ 01.╔tudes op.10 - op.10/1 P.Orth 02:25 ██
██ 02.╔tudes op.10 - op.10/2 P.Orth 01:44 ██
██ 03.╔tudes op.10 - op.10/3 I.J.Paderewski 05:13 ██
██ 04.╔tudes op.10 - op.10/4 R.Serkin 02:01 ██
██ 05.╔tudes op.10 - op.10/5 A.Schnabel 01:43 ██
██ 06.╔tudes op.10 - op.10/6 R.Ganz 03:43 ██
██ 07.╔tudes op.10 - op.10/7 A.Essipova 01:40 ██
██ 08.╔tudes op.10 - op.10/8 V.Horowitz 02:27 ██
██ 09.╔tudes op.10 - op.10/9 P.Orth 02:21 ██
██ 10.╔tudes op.10 - op.10/10 E.Schelling 02:34 ██
██ 11.╔tudes op.10 - op.10/11 T.Lambrino 02:59 ██
██ 12.╔tudes op.10 - op.10/12 G.Galston 02:51 ██
██ 13.╔tudes op.25 - op.25/1 A.Cionca 03:16 ██
██ 14.╔tudes op.25 - op.25/2 A.Schnabel 01:21 ██
██ 15.╔tudes op.25 - op.25/3 E.Schelling 01:53 ██
██ 16.╔tudes op.25 - op.25/4 P.Orth 02:08 ██
██ 17.╔tudes op.25 - op.25/5 P.Orth 03:54 ██
██ 18.╔tudes op.25 - op.25/6 A.Cory 02:11 ██
██ 19.╔tudes op.25 - op.25/7 E.Ney 05:15 ██
██ 20.╔tudes op.25 - op.25/8 T.Lambrino 01:15 ██
██ 21.╔tudes op.25 - op.25/9 E.von Sauer 00:56 ██
██ 22.╔tudes op.25 - op.25/10 J.LhΘvinne 03:18 ██
██ 23.╔tudes op.25 - op.25/11 R.Serkin 04:01 ██
██ 24.╔tudes op.25 - op.25/12 J.LhΘvinne 02:43 ██
██ 25.Anhang - op.10/3 Adam-Benard 04:25 ██
██ 26.Anhang - op.10/5 Horowitz 01:38 ██
██ 27.Anhang - op.25/2 Pachmann 01:37 ██
██ 28.Anhang - op.25/2 Serkin 01:32 ██
██ 29.Anhang - op.25/9 Paderewski 01:11 ██
██ ██
██ ██
██ ██
██ ▄ ▄ ■■ ▄ ▄ TOTAL: 74:15 mins ██
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██ More One Year is over, and we are proud of our 2700+ rels we did. ██
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██ Check out UTBDVD for latest music DVDr releases. Our new section ██
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