Mozart: Symphonies Nos. 40 & 41

Available in Audiophile 96kHz/24bit

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Album Name Length Format Sample Rate Price
Mozart: Symphonies Nos. 40 & 41 56:52 $17.98
Buy Individual Tracks
# Track Title Length Format Sample Rate Price
1 Symphony No, 40 In G Minor, K.550 - I. Molto allegro 8:41 96/24 Album only
2 Symphony No, 40 In G Minor, K.550 - II. Andante 8:56 96/24 Album only
3 Symphony No, 40 In G Minor, K.550 - III. Menuetto & Trio 4:14 96/24 Album only
4 Symphony No, 40 In G Minor, K.550 - IV. Allegro assai 5:03 96/24 Album only
5 Symphony No. 41 In C Major, K.551 ('Jupiter') - I. Allegro vivace 9:17 96/24 Album only
6 Symphony No. 41 In C Major, K.551 ('Jupiter') - II. Andante cantabile 9:08 96/24 Album only
7 Symphony No. 41 In C Major, K.551 ('Jupiter') - III. Menuetto (Allegretto) & Trio 4:48 96/24 Album only
8 Symphony No. 41 In C Major, K.551 ('Jupiter') - IV. Molto allegro 6:45 96/24 Album only

Price as configured: $17.98

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© 2012 EMI Records Ltd.
℗ 1963 The copyright in this sound recording is owned by EMI Records Ltd. Digital Remastering ℗ 2011 by EMI Records Ltd.

On this masterfully engineered audiophile download, Otto Klemperer, a master of Mozart’s works, leads the Philharmonia Orchestra through engaging interpretations of his most cherished symphonies. Arguably one of the greatest conductors in the world, Klemperer brings excitement and technical control to these familiar compositions. Exuding with brilliance, the performances heard on this album are full and balanced.

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