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01 |
Quartet in A Minor, Op. 13 I. Adagio - Allegro Vivace |
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07:52 |
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02 |
II. Adagio Non Lento |
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07:15 |
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03 |
III. Intermezzo. Allegretto Con Moto - Allegro Di Molto |
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04:18 |
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04 |
IV. Presto - Adagio Non Lento |
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09:29 |
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05 |
Octet in Eb Major, Op. 20 I. Allegro Moderato, Ma Con Fuoco |
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14:13 |
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06 |
II. Andante |
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07:16 |
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07 |
III. Scherzo. Allegro Leggierissimo |
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04:30 |
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08 |
IV. Presto |
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05:54 |
| Location |
Telarc Collection |
| Disc 1 |
: CD-80142 |
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| Studio |
Houghton Chapel, Wellseley College |
| Catalog |
CD-80142 |
| Packaging |
Jewel Case |
| Recording Date |
11/26/1986 |
| Spars |
DDD |
| Sound |
Stereo |
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| Classification: |
TELARC CLASSICAL |
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| Composer/Artist |
Felix Mendelssohn (1809 - 1847) |
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Companies, etc.
Phonographic Copyright (p) – Telarc Records
Copyright (c) – Telarc Records
Manufactured By – Digital Audio Disc Corp.
Recorded At – Houghton Chapel
Credits
Art Direction – Ray Kirschensteiner
Cello – Elizabeth Anderson (tracks: 5 to 8), Paul Katz (2)
Composed By – Felix Mendelssohn-Bartholdy
Design – Alan Davis (7)
Edited By – Rosalind Ilett
Engineer – Jack Renner
Ensemble – Meliora Quartet (tracks: 5 to 8), The Cleveland Quartet
Executive-Producer – Robert Woods (2)
Liner Notes – Steven Ledbetter
Producer – Elizabeth Ostrow
Producer [Assistant] – Elaine Martone
Technician [Assistance] – Edward Abbott, John Newton
Viola – Atar Arad, Maria Lambros (tracks: 5 to 8)
Violin – Calvin Wiersma (tracks: 5 to 8), Donald Weilerstein, Ian Swensen (tracks: 5 to 8), Peter Salaff
Notes
Total Playing Time: 60:49
*** Technical Information ***
Recorded in Houghton Chapel, Wellesley, College, Wellesley, Massachesetts on November 23-26, 1986
Microphone: Sennheiser MKH-20
Digital Recording Processor: Sony PCM-1610
Console: Studer Model 960
Monitor Speakers: B&W 801F
Power Amplifiers: Threshold Model S/1000 Stasis, Series II
Microphone & Interconnecting Cables: Monster Cable Prolink Series I & Interlink
Controln Room Acoustic Treatment: Sonex from illbruck/usa
Digital Editing: Sony DAE 1100
During the recording of the digital masters and the subsequent transfer to disc, the entire audio chain was transformerless. The signal was not passed through any processing device (i.e., compression, limiting or equalization) at any step during production.