Mendelssohn: Violin Concerto - Bartok: Violin Concerto No. 2 (2011 - Remaster)

Available in Audiophile 96kHz/24bit

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Album Name Length Format Sample Rate Price
Mendelssohn: Violin Concerto - Bartok: Violin Concerto No. 2 (2011 - Remaster) 1:04:53 $17.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 Violin Concerto in E Minor, Op.64: I. Allegro molto appassionato - Cadenza - Tempo I - Presto 12:33 96/24 Album only
2 Violin Concerto in E Minor, Op.64: II. Andante - Allegretto non troppo 7:49 96/24 Album only
3 Violin Concerto in E Minor, Op.64: III. Allegretto ma non troppo - Allegro molto vivace 6:49 96/24 Album only
4 Violin Concerto No.2: I. Allegro non troppo 16:02 96/24 Album only
5 Violin Concerto No.2: II. Andante tranquillo 10:02 96/24 Album only
6 Violin Concerto No.2: III. Allegro molto 11:38 96/24 Album only

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© 2012 EMI Records Ltd.
℗ 1966 The copyright in this sound recording is owned by EMI Records Ltd. Digital remastering ℗ 2011 by EMI Records Ltd.

Soloist: Yehudi Menuhin
Conductor: Wilhelm Furtwangler
Orchestra: Berlin Philharmonic Orchestra, Philharmonia Orchestra

(In Mono)


Acclaimed violinist Yehudi Menuhin delivers first-rate performances of Mendelssohn’s Violin Concerto in E Minor and Bartok’s Violin Concerto No.2. His stunning tone, intensity and overall virtuosity are engaging and warm. Menuhin is joined by noted conductor Wilhelm Furtwangler, the Berlin Philharmonic Orchestra and the Philharmonia Orchestra. The set will go down as one of the finest violin performances of all time and Menuhin remains one of the most accomplished violinists of the century.

About the Mastering
Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI's archive in London and comparing different sources and any previous CD reissues. We consult each recording's job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.

In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.

Simon Gibson, January 2012