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Yehudi Menuhin, BPO – Mendelssohn: Violin Concerto / Bartok: Violin Concerto No.2 (1966/2012) [Official Digital Download 24bit/96kHz]

Yehudi Menuhin & Berlin Philharmonic Orchestra, Wilhelm Furtwängler (1966/2012)
Mendelssohn: Violin Concerto / Bartók: Violin Concerto No. 2 [EMI Remaster 2011]

FLAC (tracks) 24 bit/96 kHz | Time – 1:04:53 minutes | 639 MB | Genre: Classical
Studio Master, Official Digital Download | Artwork: Front cover | @ Warner Classics/Erato

Acclaimed violinist Yehudi Menuhin delivers first-rate performances of Felix Mendelssohn’s Violin Concerto in E Minor and Béla Bartók’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.

01 – Mendelssohn: Violin Concerto in E Minor, Op.64: – I. Allegro molto appassionato – Cadenza – Tempo I – Presto
02 – Mendelssohn: Violin Concerto in E Minor, Op.64: – II. Andante – Allegretto non troppo
03 – Mendelssohn: Violin Concerto in E Minor, Op.64: – III. Allegretto ma non troppo – Allegro molto vivace
04 – Bartók: Violin Concerto No.2 – I. Allegro non troppo
05 – Bartók: Violin Concerto No.2 – II. Andante tranquillo
06 – Bartók: Violin Concerto No.2 – III. Allegro molto
Yehudi Menuhin – violin
1-3 – Berlin Philharmonic Orchestra, conducted by Wilhelm Furtwängler.
5-6 – Philarmonia Orchestra, conducted by Wilhelm Furtwängler.

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



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