Really pleased for you Lindsay……you have some great kit, well deserved🙏
Earlier I promised some Wolfgang.
A Norwegian violinist with the Arcangelo.
As you will have noticed I’m obsessed with textures well I have no worries, they abound all the way on here particularly on the Rondeau on the 5th Violin concerto from lowest register, through the middles all the way to the treble but mostly in the candenza in the 1st Violin concerto where Vilde’s notation is superbly defined. Now the violin can often present a challenge in the treble, cliche but sweet as a nut but not a hint of shrill just sublime melody. Now the comparisons between the 282 and 252 often talk about how the dynamics on the latter are restrained compared with the former. No, not at all in fact because of how the scales are presented I’m forming the impression that the dynamics on the 252/300 pairing are more apparent but not over emphasised in relation to the rest of music. On the opening allegro aperto to the 5th Concerto the dominant opening A Major chord just hits right home before a sweeping run down the scale setting the scene for what follows in the rest of the work.
Tomorrow some Beethoven - solo piano.
mate you must be very pleased doing 252 and 300 at the same time, epic stuff
A 1979 recording AAD. The inevitable Moonlight, the Appassionata, and the Pathetique. Delivery chosen because whatever system I’ve heard this recording on the top notes can bite somewhat. On the Allegro on the Appassionata the treble just soars, maximum impact but doesn’t pierce, but most the sheer brilliance of Ashkenazy’s playing is apparent chord by chord, scale by scale and note by note. When the right is playing a series of chords and left doing a counterpoint and vice versa when the right hand is providing a melody everything is perfectly in place.
At the Proms this year someone said there was music before Beethoven and music after Beethoven - I get that.
This is one I’ve wanted to try ever since the 252/300 arrived because it has a compulsive groove driven by the legendary Steve Gadd on drums and Nathan East on bass. Groove and timing superb but it’s not the perfect recording the bass guitar sometimes confused with the bass drum. Still not perfect but far more definition of Nathan’s playing. But wow does it rejoice for a little more volume without a hint of stress. More definition, the late great Billy Preston’s Hammond brings a sublime introduction to Little Queen of Spades to prompt Eric’s plaintive blues vocal, Gadd’s backbeat perfectly placed. There’s a view in some parts that EC’s capability on guitar is overrated, but he’s never been a technical player it’s always been about his feel and touch and here it’s so apparent. But although primarily an electric blues set in homage to Mr J it’s the acoustic From Four till Late that is the highlight the 2 guitars so subtly compelling. In so many ways this is Eric’s finest hour.
There’s going to be a short break now until the Superline comes back from its holiday and then we’ll try some vinyl.
Excellent album! I will have to dig out my physical copy to watch the DVD.
Yes the DVD is very good😎
[quote=“LindsayM, post:81, topic:30444”]
Today (2nd) on CD by the Eagles - The Long Road Out Of Eden.
[/quote] - that was 8 Sep.
I’m not a burn in junkie but yes things change a little over the first few weeks, and randomly went back to the Eden. Don Henley’s voice is so god given, and Joe’s guitar parts - well, say no more.
But here’s another thought it’s widely held on here that one of the advantages of the 300 over the 250 is the increased insight at lower volumes, but equally I’ve found that I can go louder with less stress. But you just understand music more.
Over the next couple of weeks the Superline will be back from its holiday break in Wiltshire, so the vinyl will be back on line, plus one or possibly two more changes.
As ever enjoy the music guys.
Absolutement. My thoughts and reaction to this aspect of the 300 too.