The Main Source

Various - Das Mikrofon: Ein Querschnitt durch die Entwicklung des Mikrofons von 1927 bis heute
Various - The Microphone: Highlights of the evolution of the microphone from 1927 until today
EAC+LOG+CUE | FLAC: 296 MB | Full Artwork: 89 MB | 5% Recovery Info
Label/Cat#: Tacet # TACET 17 | Country/Year: Germany 1991
Genre: Classical, Technical | Style: -

As well as giving you a historic cross section, we would also like to provide you with an acoustic "insight" into the TACET label's production methods. TACET's philosophy that there is no recording technique or method which is absolutely perfect forever. Rather, it should be the job of a good recording team to use the best technical equipment available at any given time to experiment in the interests of the music, and to endeavor to provide the technical support in order to portray clearly the ideas of the composer and of the performing musicians. (…) Really audiophile sounds are only found where excellent musicians get the best out of excellent instruments and themselves. And the result is music! If you are not content to just listen to the excerpts on this album, you must simply listen to TACET's entire program.

Various - Das Mikrofon: Ein Querschnitt durch die Entwicklung des Mikrofons von 1927 bis heute
Various - The Microphone: Highlights of the evolution of the microphone from 1927 until today
EAC+LOG+CUE | FLAC: 296 MB | Full Artwork: 89 MB | 5% Recovery Info
Label/Cat#: Tacet # TACET 17 | Country/Year: Germany 1991
Genre: Classical, Technical | Style: -

As well as giving you a historic cross section, we would also like to provide you with an acoustic "insight" into the TACET label's production methods. TACET's philosophy that there is no recording technique or method which is absolutely perfect forever. Rather, it should be the job of a good recording team to use the best technical equipment available at any given time to experiment in the interests of the music, and to endeavor to provide the technical support in order to portray clearly the ideas of the composer and of the performing musicians. (…) Really audiophile sounds are only found where excellent musicians get the best out of excellent instruments and themselves. And the result is music! If you are not content to just listen to the excerpts on this album, you must simply listen to TACET's entire program.

1011 Woodland is the eighth studio album by British new wave band the Fixx, released in 1999. All but the last three tracks are re-recordings of previous songs done by the band, largely in an acoustic and modern form…

The Great Race is a 1965 American Technicolor slapstick comedy film starring Jack Lemmon, Tony Curtis, and Natalie Wood, directed by Blake Edwards, written by Blake Edwards and Arthur A. Ross, and with music by Henry Mancini and cinematography by Russell Harlan. The movie cost US$12 million ($79,431,238.10 in 2016 dollars), making it the most expensive comedy film at the time. Before the film was released, the soundtrack was re-recorded in Hollywood by RCA Victor Records for release on vinyl LP. Henry Mancini spent six weeks composing the score, and the recording involved some 80 musicians. Mancini collaborated with lyricist Johnny Mercer on several songs including "The Sweetheart Tree", a waltz released as a single. The song plays on along the film as the main theme without chorus (except in the entr' acte) and it was performed onscreen by Natalie Wood with the voice dubbed by Jackie Ward (uncredited). It was nominated for but did not win an Oscar for best song.

The Great Race is a 1965 American Technicolor slapstick comedy film starring Jack Lemmon, Tony Curtis, and Natalie Wood, directed by Blake Edwards, written by Blake Edwards and Arthur A. Ross, and with music by Henry Mancini and cinematography by Russell Harlan. The movie cost US$12 million ($79,431,238.10 in 2016 dollars), making it the most expensive comedy film at the time. Before the film was released, the soundtrack was re-recorded in Hollywood by RCA Victor Records for release on vinyl LP. Henry Mancini spent six weeks composing the score, and the recording involved some 80 musicians. Mancini collaborated with lyricist Johnny Mercer on several songs including "The Sweetheart Tree", a waltz released as a single. The song plays on along the film as the main theme without chorus (except in the entr' acte) and it was performed onscreen by Natalie Wood with the voice dubbed by Jackie Ward (uncredited). It was nominated for but did not win an Oscar for best song.

Perahia’s immaculate technique, stylistic surety, and classical symmetry are remarkably consistent. While his tone is always singing and rounded, lyrical melodies and decorative passages alike convey a slight diamond-like edge to the peak of crescendos or an emphatic accent. This helps achieve an attractive fusion of unruffled poise and dramatic tension. You hear this quite readily in the B-flat K. 456 concerto ‘s first movement, or in the carefully pedaled trills and restatement of the main theme in K. 595’s heavenly Larghetto, also sampled here. Perahia’s symbiotic musical rapport with Radu Lupu in the two-piano concerto and the two-piano version of the concerto for three pianos should not go unmentioned.

– Jed Distler

George Fenton delivers on his soundtrack for Anna and the King with an instrumental score that deftly mixes sweeping orchestrations with ethnic percussion. The main theme "Arrival at the Palace" begins with a very exotic violin solo that quickly blossoms into an epic orchestral movement seemingly ready to crescendo at a moment's notice (and it does!). Shorter cues such as "Letter of the Week" and "The House" are passages that perfectly convey the movie's exoticism and its melancholic moods. Throughout, Fenton's music seems to balance between excitement and sadness–the perfect sonic interpretation of The King and I's classic tale. Obviously, many folks will turn to this soundtrack for Joy Enriquez's Babyface-produced single "How Can I Not Love You," included at the very beginning of this disc. One hopes they'll stick around long enough to enjoy the film's score, one of Fenton's very best.