Wilson Audiophile Recordings
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New from Wilson Audiophile Recordings, Gershwin By Knight, featuring acclaimed pianst Hyperion Knight.
Hyperion Knight plays a most unusual hand-crafted concert grand piano in invigorating fashion. Buy this recording just to hear the piano, which has a more powerful lower register than even a Bosendorfer Imperial. The 9 foot concert grand Falcone is noted for its harmonic richness as well as its left hand power.
Schoeps omnidirectional condenser microphones, in a spaced pair, were used in conjunction with vaccum tube record amplifiers to capture a harmonically rich and accurate sound.
Hyperion Knight was born in Berkeley, California, and began his musical studies at age 4. He made his performing debut at age 14 with the Beethoven G Major concerto. His advanced musical training took place at the San Francisco Conservatory of Music and later, the Cleveland Institute of Music. He won the Arthur Loesser award upon graduation, receiving a master's and a doctor musical arts degree at age 22. He has been a prize winner at both the International Stravinsky Awards and the Ohio Federation of Music Clubs piano competition.
The music brought together on this album represents many of the most popular of George Gershwin's creations. Earl Wild's Virtuoso Etudes are transcriptions of some of the most beloved Gershwin songs of the early American theatre. These, along with Wild's "Fantasy on Porgy and Bess," and Gershwin's own arrangement of "Rhapsody In Blue," trace Gershwin's evolution from a commercially successful song writer to a composer of serious intent who was quite conscious of his posterity.
This recording took place in December 1992 at Symphony Hall in Salt Lake City, Utah. The hall is noted for its clean acoustics, linear reverberation, and mid-range focus. As in most other Wilson Audio chamber and solo piano recordings, the perspective is close . . . as though the instruments are performing in your listening room.
The microphone preamps, designed and built by John Curl, are sophisticated, fully class A, direct-coupled units.
The master tape was recorded on the UltramasterTM, Wilson Audio's exclusive 30 ips analog recorder. This instrument, designed and built by John Curl, is fully direct-coupled, and exhibits a record/playback Frequency bandwidth of over 45 KHz. 3M 996 mastering tape was used. Location monitoring was on a pair of Wilson WATT III/ Puppy II precision loudspeakers powered by a Spectral DMA-80 amplifier. At Wilson Audio, master tapes, and refs were evaluated on both the WATT/Puppy and on the WAMM series VII, powered by a variety of amplifiers including Mark Levinson, Audio Research, Krell, Spectral, Jadis, Rowland and Audio Note. Excellent compatibility was realized with all of these designs.
This recording was made and mastered using the multi-patented CVT (Constant Velocity Transmission) technologies provided under license to Wilson Audio Specialties by MIT. The use of these technologies preserves details in the recording and mastering process that result in a record or CD with increased clarity and transparency. This ensures a more natural and lifelike representation of the original event. CVT and MIT are registered trademarks of Music Interface Technologies of Auburn, California.
Both analog and digital mastering were performed at Wilson Audio's mastering facilities in Provo, Utah.
The Wilson Audio Disk Mastering facility combines a superbly crafted and carefully modified German (Neumann) lathe and cutterhead with totally custom designed electronics. The signal path scrupulously adheres to the audiophile maxim that "less is more." Starting with a Studer A-80 mastering playbackdeck with Ultramaster TM electronics - and MIT CVT Proline Terminator Series cabling throughout, the Neuman SX-74 cutter head is driven by Audio Research V-140 hybrid triode vacuum tube amplifiers.
|1. Porgy and Bess (version for piano): Introduction|
|2. Porgy and Bess (version for piano): Act I: Summertime|
|3. Porgy and Bess (version for piano): Act II: Oh, I can't sit down|
|4. Porgy and Bess (version for piano): Act I: My Man's Gone Now|
|5. Porgy and Bess (version for piano): Act II: I Got Plenty O' Nuttin'|
|6. Porgy and Bess (version for piano): Act II: Buzzard Song|
|7. Porgy and Bess (version for piano): Act II: It Ain't Necessarily So|
|8. Porgy and Bess (version for piano): Act II: Bess, You is My Woman Now|
|9. Porgy and Bess (version for piano): Act III: There's a Boat Dat's Leavin' Soon for New York|
|10. Porgy and Bess (version for piano): Act III: Oh Lawd, I'm on my way|
|11. Rhapsody in Blue (version for piano)|
|12. Girl Crazy: Embraceable you (version for piano)|
|13. Lady, be Good! (version for piano): Fascinating Rhythm (version for piano)|
|14. Lady, be Good! (version for piano): The Man I Love|
|15. Girl Crazy: I got rhythm (version for piano)|