专辑简介：拉氏上个世纪二十年代的钢琴自弹录音，想象一下拉氏自己弹自己的曲目是怎么样的？不是LP转录，是多盘母带蜡盘的集合，再经过专业Zenph Studios工作室的重制出来的数字母带，声音的HIFI性是惊人的，虽然是单声道，但是居然声音如此干净无噪音！大师就是大师！个人听过的最好的历史录音！！！没有第二，没有第二，没有第二（重要的事情说三遍）。只能说这个后代保存的东西太完美了！专业重制大师也太好了！
曲目列表：I received as a gift, from a friend, lovefully restored files (not vinyl sourced, you will understand, why not)of recordings made by the greatest pianist ever lived: Sergei Rachmaninov. The recordings are from 1921-1942, in 24/88.2 and with stunning sound. Enjoy!
Composer: Felix Mendelssohn, Fritz Kreisler, Johann Sebastian Bach, Nikolai Rimsky-Korsakov, Peter Ilyich Tchaikovsky, Sergei Rachmaninov
Performer: Sergei Rachmaninov
Vinyl (1921-42)
Format: Flac
Label: EMI
DR-Analysis: DR 12
Size: 606 MB
Scan: yes
Server: FileFactory
Zenph Studios applies its “re-performance” technology to a selection of Sergei Rachmaninov’s flat discs for RCA Victor, recorded between 1921 and 1942. I described the company’s process in an earlier review, and it bears reiterating. Zenph employs a software application that analyzes a recorded piano performance by separating its pianistic attributes from mechanical and environmental factors to an unprecedented degree of specificity and refinement. The information then is encoded to high-definition MIDI files that are played through a piano equipped to do so–in this case, a 1909 Steinway, painstakingly rebuilt by Faust Harrison Pianos.
How well do the Zenph re-performances replicate the originals In one instance, perhaps a little too well: the split note near the beginning of Rachmaninov’s 1942 Kreisler Liebesfreud here emerges clean as a whistle. Elsewhere, the phrasings, pedalings, dynamic relationships, and tempos appear accurate to an impressively high degree. However, certain rapid passages that project extraordinary lightness and point on disc sound slightly heavier via Zenph, such as The Flight of the Bumblebee’s buzzing runs. Crescendos yield more pronounced sustain pedal and darker colorations on the disc version of the Tchaikovsky/Rachmaninov Lullaby Op. 16 No. 1. Certain detaché articulations in the Mendelssohn Midsummer Night’s Dream Scherzo seem softer, less hard-hitting under Zenph’s watch.
The re-performances are programmed twice: first in surround-sound, then again in two-channel stereo from the perspective of the pianist at the keyboard. Given Rachmaninov’s perfectionist attitude in the recording studio, one wonders what he would have made of this fascinating and potentially controversial project.
