Alison Stamp, Tallis Scholars - Allegri: Miserere
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Artist: Alison Stamp, Tallis ScholarsComposer: Gregorio Allegri
Composer: William Mundy
Composer: Giovanni Pierluigi da Palestrina
Conductor: Giovanni Pierluigi da Palestrina
Performer: The Tallis Scholars
Edition: Music CD
Audio: English (Original Language)
Format: Import, Original recording reissued
CD Release Date: 2001-04-10
Music Label: Gimell UK
Soundtracks:
- Miserere
- Vox Patris Caelestis
- Missa Papae Marcelli: Kyrie
- Missa Papae Marcelli: Gloria
- Missa Papae Marcelli: Credo
- Missa Papae Marcelli: Sanctus & Benedictus
- Missa Papae Marcelli: Agnus Dei I & II
Music reviews of Allegri: Miserere
Music Review: 12AX7 Anyone?
Rating: 5 Stars
This is perhaps the most holographic recording I've ever heard. We're talking STEREO here, not hokey multi-channel nonsense creating the sense of "ambiance" by chachaphonally tossing unrelated channels of sound to reflect from every surface possible.
This is the real thing.
Two eyes & your CNS 'resolves' depth by combining & extrapolating 'cues' that we see as distance. So is this true of high end audio recordings where the engineers were fully cognizant of how we hear 'dimension'.
Two ears & 1 brain. All that we require to hear depth. In fact, all we CAN use to hear depth for anything beyond this simple yet perfect 'design' corrupts our experience such that we no longer hear depth or placement of musicians but rather we hear chachaphony. Sometimes a pleasent & fun caca-phoney but caca-phoney nonetheless.
A true stereo recording takes the cues just as two ears would and if played back through TWO channels with the design of temporal accuracy at the fore, we will heard TRUE spatial placement of the room in which the recording was made.
In this recording, imagine yourself sitting about 6' in front of a pair of speakers with say, 20' or more BEHIND the speakers. This recording has 3 choirs. One in the fore, one centrally placed & one way in the distance. If your stereo can resolve space-time with any truism, you will hear NOTHING from the speakers (or rather, it seems that way). The first choir will be between the speakers. The 2nd, 6 feet BEHIND the speakers.The last choir is heard as if they are OUTSIDE. So far back they penetrate your walls.
This is what high end audio is about. It eschews confusing multi-channel, only recently did it even embrace digital audio AND most importantly, we love TUBES. Tubed amps/preamps & CD players have none of the coloration of their Silicon counterparts & are to this day, the most linear amplification device known to man (Linearity with NO correction like feedback & it's awful pollution of harmonics & destruction of slew & rise times, try placing a chart of curves of an op-amp or bipolar transistor vs. a triode, not even close).
Pick up an old Dynaco Stereo-70 & a pair of mini-speakers using soft domes & you're 3/4 of the way to the 'underground' truth. A microsociety that lives for music & it's ACCURATE reproduction. For there is no greater joy than when the musicians virtually stand in front of you. You will not hear this with multichannel or even transistor gear, no metal drivers or any other unnatural materials.
A showcase of original RCA masters now abound on many streaming audio websites. Some now play at high enough bitrates to support glorious fidelity.
Navigate through the eary 60s recordings when these discs were recorded with TUBES! I've just recently heard the Tebaldi Tosca on a 1957 RCA. Breathtaking reality as performers walk & sing, on & off stage. Spooky real. But remember to LISTEN & NOT download for MP3 is a sonic disaster with no intent on improving! Compression=depression in the high end audio. "Save yourself Elizabeth, stay away!"
Only through simplicity can we see art & only through a vacuum can music pass without coloration. For what can add color less than nothing?!
Description of Allegri: Miserere
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.Here's a wonderful introduction to Renaissance choral music, with two tried-and-true repertory standards and the Mundy, a gorgeously sensuous example of a lesser-known mid-16th-century work, whose complex polyphonic strands are rendered with compelling involvement by the Tallis Scholars. These performances were among the group's earliest recordings and helped catapult them into the forefront of specialists in this demanding repertoire. The Allegri became a favorite back in the 1970s, a sort of choral equivalent of Albinoni's Adagio, in which repetition serves as the driving force. The Tallis Scholars give it welcome variety through spatial placement in a large church and their colorful singing. Palestrina's Missa Papae Marcelli is one of that great composer's finest works. Its mastery of polyphony while clarifying the text is said to have convinced the Church to withhold its impending ban on polyphonic church music. The group sounds larger than its 21 members because of the acoustics, the clear diction of the Scholars, and the power of their singing, always transparent and involved. They use female sopranos instead of boys' voices, so there's more heft and color than we often hear from early-music groups. Vivid engineering makes the CD even more attractive. --Dan Davis
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