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01 |
Allegro Con Brio |
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05:46 |
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02 |
Adagio Ma Non Troppo |
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06:56 |
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03 |
Scherzo: Allegro |
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03:06 |
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04 |
La Malinconia: Adagio; Allegretto Quasi Allegro |
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08:15 |
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05 |
Allegro |
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10:24 |
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06 |
Allegretto Vivace E Sempre Scherzando |
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09:03 |
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07 |
Adagio Molto E Mesto |
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12:33 |
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08 |
Theme Russe: Allegro |
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08:11 |
| Location |
Telarc Collection |
| Disc 1 |
: CD-80229 |
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| Studio |
American Academy of Arts and Letters, NYC; Mechanics Hall, Worcester, Massachusetts |
| Catalog |
CD-80229 |
| Packaging |
Jewel Case |
| Recording Date |
5/16/1992 |
| Spars |
DDD |
| Sound |
Stereo |
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| Classification: |
TELARC CLASSICAL |
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| Composer/Artist |
Ludwig van Beethoven (1770 - 1827) |
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Credits
Art Direction – Ray Kirschensteiner
Cello – Paul Katz (2)
Composed By – Ludwig van Beethoven
Design, Art Direction – Anilda Carrasquillo
Engineer – Jack Renner
Ensemble – The Cleveland Quartet
Executive-Producer – Robert Woods (2)
Liner Notes – Steven Ledbetter
Photography By [Cover] – Andrew Russetti
Producer, Edited By – Judith Sherman
Supervised By [Production Supervisor] – Elaine Martone
Technician [Assistance] – Henk Kooistra, Michael Bishop
Viola – James Dunham
Violin – Peter Salaff, William Preucil
Notes
Total Playing Time: 64:14
**** Technical Information ****
Recorded at American Academy and Institute of Arts & Letters, New York City, July 25-30, 1991 and at Mechanics Hall, Worcester, Massachesetts, May 12-16, 1992
Microphones: Schoeps MK-2
Console: Neotek, custom built
Digital Recording Processor: Ultra-Analog 20-Bit, 128 times oversampling A/D, custom engineered by Kenneth Hamann
Microphones & Interconnecting Cables: Music Interface Technologies Proline and Monster Cable Prolink Series I & M[Sigma]2
Monitor Speakers: B&W 801 Matrix, Series II
Monitored through Madrigal Audio Labs Proceed PDP-II D/A
Power Amplifier: Krell KSA-250, Pure Class A
Exclusive Control Room & Recording Hall Acoustic Treatment: RPG Abfussors & Diffusors
Digital Editing: digidesign Sound Designer II
During the recording of the digital masters and the subsequent transfer to disc, the entire audio chan was transformerless. The signal was not passed through any processing device (i.e., compression, limiting, or equalization) at any step during production.
Special thanks to Jerry G. Forestieri, Eastman Violin, Inc. for the instruments pictured on the covers.