Відео

ウィーンフィルハーモニーが、まだまだローカルなオーケストラだった時代の記録です。これを見て聴くと、オーケストラはプロ野球チームみたいなもので、やはり「男だけの世界」だと痛感します。良い悪いでなく、そういうものなのです。 それにしても、ボスコフスキ率いるウィーンフィルは実に楽しげにスイングしています。早めのテンポも実に心地良い。しかもウィーンの香りが濃厚にします。今のウィーンフィルとは別世界です。

8:53 Viola Audition Section

Hey everyone - Brahms’ violin concerto captivates me in not its first or third movement but its beautiful Adagio second movement. The almost chamber music-like duet between the oboist and the violin soloist is very haunting and evokes a sense of reminiscing cheerful memories. You can hear this movement starting at 22:10 in this video. The balance in this mono 1949 Lucerne recording for this movement is interesting because the oboe sound is distant, which did feature the soloist and accompanying instruments more prominently. This might be because the mic was positioned at the front near the soloist and conductor and that woodwinds are quieter than brass, while the strings at the front are louder in closer proximity. I assume that with a more complex mic setup, you can feel the warmth of the oboe in that fabulous conversation with Yehudi Menuhin. This Lucerne recording has been stereo-ized utilizing the Haas effect. The reverb that you hear is of the original audio, while space has been added to enhance the simulated stereo. Hope you all enjoy this performance from 1949 of Brahms’ Violin Concerto with Yehudi Menuhin as soloist and Wilhelm Furtwängler conducting the Lucerne Festival Orchestra.

1人おばちゃんが心配そうな顔して見ているのが気になってます。笑😆

Hello everyone - When I first heard Arthur Rubinstein’s 1961 recording of Chopin’s first piano concerto with Stanislaw Skrowaczewski and the New Symphony Orchestra of London, I heard a really special part of Rubinstein that was not captured in most of his other recordings even though they were already good. It was pretty much picture perfect musically with that recording, which I think might have been from using a really good mic setup to absolutely complement his pianism and musicality. That performance was recorded in 24-bit, 176.4 kHz, very high resolution in the early stereo recording age. If it’s still a hassle technically nowadays to record in high res, imagine how that was like back then only 4 years after stereo was first widely introduced. I previously tried remastering a while back this video of Rubinstein performing Chopin’s second piano concerto but it was still in mono - being able to actually hear it in simulated stereo with the Haas effect amazed me and reminded me of his 1961 recording. There was never a too rough part here that I would detect in some of his other recordings, the same feeling that I had from his 1961 recording. The young Zubin Mehta shined here with the Israel Philharmonic. I think he was already the music director of the LA Phil at the time, their youngest ever. Hope you all enjoy this!

La mejor interpretación, según mi opinión, del piano concierto 21. Radu Lupu fue, es y será uno de los más grandes pianistas. Descansa en Paz.

Hey everyone - I’m back to remastering recordings in stereo by American pianist William Kapell, the latest his stunning rendition of Prokofiev’s third piano concerto with Antal Doráti and the Dallas Symphony from 1949. I was able to stereo-ize utilizing the Haas effect in a result that I am satisfied with staying true to the original audio. Though, I am a bit iffy if I want to continue remastering his concerto renditions because the piano sound can get lost when the orchestra plays forte passages especially with originally mono recordings. This particular rendition, although probably my favorite of his Prokofiev’s 3rd renditions, may have also been drawn from a radio broadcast because I heard distortion in some areas that is uncharacteristic of a studio recording. William Kapell is known primarily for his beautiful sensitivity with the piano; but in this Prokofiev rendition, he really showed his flashiness and it’s very, very refreshing to hear with a challenging concerto that can still lag musically for pianists if the unsettled feeling isn’t fully grasped. I hope you all enjoy this rendition as much as I do!

Hey everyone - This rendition of Smetana’s Moldau by Czech conductor Rafael Kubelik and the Chicago Symphony from 1953 is one of the most stunning renditions that I’ve ever heard for this popular piece. I’ve long held Kubelik as one of my favorite conductors but hearing this recording was like a new musical discovery, and hearing it in simulated stereo is just amazing. The Mercury Living Presence record label is regarded to have one of the best early stereo recordings because of their very expensive tube mics that provide a silky smooth sound. I have long wondered, in all my attempts at stereo-izing mono recordings, how a simulation of stereo with this label would sound like. My previous attempts for other recordings involved some form of reverb which made things a bit muddy. Utilizing the Haas effect does not and I must say that it reminds me of a couple stereo recordings from the same label albeit no panning. This, to me, feels like a confirmation that I am staying true to the original mono audio. I hope you enjoy this stirring performance of the Moldau as much as I do.

Clear the road for his Majesty Frederick II, King of Prussia!

Taken on 1 Jan 1964, remember?

何百回と聞いた演奏なのに、聴けば聞くほど味がある名演の一つ。

Hey everyone - I’m back from a break to remastering mono recordings into stereo, starting with Yehudi Menuhin’s 1953 rendition of Beethoven’s violin concerto with Wilhelm Furtwängler and the Philharmonia Orchestra. This is my first time remastering an orchestral recording utilizing the Haas effect with my previous ones all of solo piano. The Haas effect of 1949 states that when one sound is followed by another with a delay of approximately 40 ms or less (below humans’ echo threshold), the two are perceived as a single sound. This provides an opportunity to stereoize the original mono audio without any artificial editing over the conversion process. Remastering a mono orchestral recording into stereo was a trickier process than doing a solo piano recording (William Kapell’s) as I needed to grasp that right space that a stereo recording would capture. After utilizing the Haas effect, I still did not hear enough of the stereo space so I needed to apply an extra plugin to expand that space while preserving the audio capture of all instruments. What you hear of the reverb here are that of the original mono recording. The audio is also downsampled from the original 24-bit 96 kHz down to 16-bit, 48 kHz - I wish I could post in 24-bit, 96 kHz but I just learned UA-cam only supports up to 16-bit, 48 kHz. It was quite a revelation hearing the result of this remaster, particularly with Menuhin and Furtwängler. Furtwängler is considered to be one of the top conductors in the 20th century but all of his recordings are in mono - he passed away a few years before stereo recording began. Menuhin is one of the best violinists I’ve ever heard from the same era. Hearing this as if I were there in-person was an amazing feeling. Hope you all enjoy this!

Very nice !!!! Thank you !!!!

As with so many of Furtwängler's performances, this is a most telling case-study of Romantic performance style at its best, in its masterfully buoyant treatment of tempo, which is in a constant state of adjustment, so as to obtain the optimal musical expression at every moment.

Greatest Olympic theme. Thanks for posting.

Extraordinaria interpretación. Para ponerla al lado de las mejores referencias grabadas de la novena de Beethoven (Furtwängler, Fricsay, Böhm, Solti, Bernstein...)

Is it 1965 yet

Holy the intensity! 14:30

佐渡さん、伸君に手を持ち上げさせて欲しくなかったな。

辻井さんかっこいい！人間技と思えない難しいピアノ演奏を拝見させていただきました。辻井さんの好きな言葉何があっても諦めないを実感しました。

This is Bernstein at his best, I love this performance. Very nice work remastering it.

Amazing vitality in that performance...Rubinstein was at the top of his powers at age 81.. Thanks for posting!!

Werktreue! Der Unbestechliche!! Karajan!!!

Превосходное исполнение!

THIS ONE is the greatest recording of all time.

Hey everyone - After more than a week of editing (tempo, pace, dynamics, articulations, etc) and playing the final MIDI product using my Yamaha digital keyboard sound, I’m excited to finally share my virtual performance of Chopin’s Andante spianato et grande polonaise brilliante, Op. 22. The notes in MIDI were originally sequenced/input live by Robert Finley. It has been such a fun ride going through one of my favorite Chopin pieces. For the keyboard visualization here, ChatGPT recommended a nice soft blue color for the Andante spianato and then a gold color for the polonaise. The gold HSL looked a bit weird so I opted for Polish flag colors instead. This was a great test for me in preparations of Chopin’s full first piano concerto that I will be mixing in MIDI with my upcoming project, to hopefully be completed by the end of the summer in September. Stay tuned for that and I hope you all enjoy this rendition of Chopin’s Andante spianato et grande polonaise brilliante, Op. 22.

Today marks 1 year since this titan of classical piano performance left us. May we all continue to revisit the moments of divine musicianship he left us. Thank you, Andre. We still miss you and are grateful that you shared time and space with us all.

It's great to be able to play the piano like you do. How do your left arm fit into the keys to play? I wonder if you could use a fake finger made of a harder rubber and wrap tightly around your arm to achieve a similar effect to a real finger.

26:30秒の所どうやってだしてるんだ？ 理解できないすごすぎるこんな音だせるの他いるのかなだれか

Great!

THE BEST PERFORMANCE! BRAVO! 👏👏👏

WAYNE! Tremendous job of tweaking! Thank you!

My god, thrilling!

Happy Independence Day 🇺🇸 I arranged and recorded a few traditional American songs last night to mark today - these were recorded separately as my best take for each piece, and I unfortunately had to record via my iPhone built-in mic because my Yeti mic didn’t want to be detected (it was earlier in the day for One Summer’s Day). There is a fun history behind these arrangements as back in 4th grade at Los Molinos, my class teacher (Mrs. Decker) used to start everyday teaching us traditional American songs with herself playing the classroom upright piano. And for 5th grade, my class was part of this cool school choir (me included) singing When Johnny Comes Marching Home and Anchors Aweigh. Both were really fun experiences which I am remembering in this piano video for today. I hope you all enjoy this video and have a fabulous, safe, restful, and celebratory holiday today 🎹

… I always cry at 16:37 🥰

Hey everyone - I have been wanting to record Joe Hisaishi’s “One Summer’s Day” from Spirited Away over the summer and finally did so today on a summer’s day with my updated mic placement. I am still undecided whether I want to stick with this new mic placement sound or not or return to my old placement. I hope you all enjoy this nevertheless and have a good rest of the day!

Excellent re-mastering. Thank you for a wonderful job.

Perché non traducete dall’inglese?

Fantastico !! It was recorded in 1 - 3 August, 1973 in The Great Concert Hall.

辻井さんの演奏は、今は亡き大ピアニスト Van Cliburn氏の演奏に匹敵します。私が 大好きな奏法です。

Hey everyone - this latest remastered audio of American pianist William Kapell is part of my long-term non-commercial project (dubbed the Kapell Stereo Series that you can find on my UA-cam channel) to remaster as many of his recordings in stereo as I can in consideration of the Haas Effect. The Haas effect of 1949 states that when one sound is followed by another with a delay of approximately 40 ms or less (below humans’ echo threshold), the two are perceived as a single sound. This provides an opportunity to stereoize the original mono audio without any artificial editing unless minimal editing is needed for some original files. What you hear in this one and all my videos is the original audio except in stereo. I choose specifically William Kapell due to his incredible artistry and musicality, for someone whose life was tragically cut short right before the beginning of the stereo era due to a plane accident coming home from abroad. I will also at some point remaster recordings by other notable pianists who recorded in the pre-stereo era. Hope you all enjoy this beautiful live rendition by William Kapell from 1953 of Scarlatti’s famous Sonata in E Major, K. 380 🎹

Hey everyone - I was looking through past competitors of piano competitions, with the ongoing Bachauer International Piano Competition in Salt Lake City (USA), and I came across Minoru Nojima of Japan who recently passed away in 2022. This is one of the most compelling renditions of the famous Liszt’s “La Campanella” that I’ve ever heard. Nojima made his debut at age 10 with the NHK Symphony, well before him participating in the 1969 Van Cliburn International Piano Competition and placing second behind Cristina Ortiz of Brazil. Although Nojima did not record extensively, he did tour in the U.S., Europe, and Asia with many orchestras, chamber recitals, and solo recitals. At the time of his passing Nojima was serving as president of the Tokyo College of Music. I encourage you to check out the full bio via my video descriptions. Hope you all enjoy this stunning rendition of Liszt’s La Campanella performed by Minoru Nojima.

Incredible!

Hey everyone - here is the full final mix in realistic MIDI of John Williams’ “Bugler’s Dream and Olympic Fanfare” ahead of the Paris Games. In keeping with my own tradition, I mix Olympics music in MIDI by John Williams for every edition of the Games, with this time the Bugler’s Dream and Olympic Fanfare. A fun and wild ride with the mixing process as always. One thing I didn’t do was save my files from Tokyo 2020 ‘21 (more importantly my mixing session) in a proper place, so I did the full mixing from scratch. I will have this year’s session properly saved so we will see how the mix of this piece will be like in 4 years from now ahead of LA 2028. For Milano Cortina 2026 (Winter Games), I will be working on another piece by John Williams to be determined. This 2024 mix highlights the glockenspiel, a texture that is a staple of John Williams’ music in general (especially his Harry Potter ones). For those who have seen video footage of Paris from my previous video, they are also included in this one if you scroll to the second half. This wraps up my MIDI mix of Olympics music for now until 2026. I’m currently also working on an upcoming piano video as I re-adjust my mic placement to update the sound so stay tuned! 🇫🇷

Hey everyone - in keeping up with my tradition from Rio 2016 of mixing Olympics music in MIDI by John Williams, I am once again uploading a new mix of one of my favorites (Olympic Theme and Fanfare). I started using public domain videos for Tokyo 2020 (‘21) to go along with the music and I am continuing this here for Paris 2024. This is only half of the music as it’s extremely hard finding good public domain videos; and having visited Paris (and Tokyo), I always wish I could’ve taken more videos and pictures. I was not a fan of taking pics back then, but I definitely know its importance nowadays for memory keeps. Paris was/is more than what’s shown here (as with Tokyo) but I nevertheless hope you enjoy this latest MIDI mix along with a rough visual overview of Paris 🇫🇷

Hey everyone - NBC had the same opening theme section format 4 years later for the Sydney 2000 Olympics, the first Olympics that I remember pretty extensively. Their opening segment in 2000 as a whole had an upgrade with James Earl Jones’ first appearance as narrator along with compelling background music. I cannot upload the whole segment due to copyright but I encourage checking out the intros that NBC had done in this one and over the years. In this theme section at the end of the segment, I paired it up once again with the original unpublished stereo file for the Olympics coverage theme (Bugler’s Dream) that was used but not in good quality from the original primetime broadcast. I also remastered the stereo file for this 2000 edition to sort of update the sound. In 2004, NBC kept the opening segment format with narration but discontinued this theme section and switched to a similar but shorter one throughout the Games from then on. Hope you enjoy these re-creations of the theme segment from Atlanta 1996 (via my profile) and Sydney 2000. Stay tuned for another Olympics theme video 🇫🇷

Do you have his January 31, 1963, performance of the same Liszt E-flat Concerto?

プロコさんは何でこんなヘンテコリンな曲を作ったんだろう😮何で演奏家は演奏するんだろう？演奏出来るならしてみろ!したるわ！みたいな感じなのかな🥺辻井さんの演奏で一番好きです

Hey everyone - To follow-up from yesterday, all NBC videos archived and uploaded onto UA-cam from 1996 are in mono (and it’s possible our local broadcast was also in mono), so I did some digging to see if there was actually a stereo version of the NBC Olympics opening theme or not from the time. NBC studio was already in stereo after making the transition from mono in 1988 for the Seoul Olympics. It turns out the original file (from 1992) was in stereo and this track you hear here was released as part of an internal CD not available to the public. Their version, as I remember, was different from the official Bugler’s Theme/Olympic Fanfare in that we only hear the timpani in the beginning and not the cymbals and tubular bells. This theme was, of course, re-used in 1996 and 2000. This is probably the closest to hearing that Dolby Surround (tag you see on the bottom right). Hope you all have fun with this one and I am looking forward to the upcoming Paris Games 🇫🇷

Imo, no one plays this concerto the way Watts does. I have the album with him and Bernstein, and I heard André play it live in 1980 and 2006. All three offerings reveal the growth and maturity and deep love for the music. I am celebrating André Watts today on the 78th anniversary of his birth, and the reality of his transition still touches me today as much as it did on July 12th of last year. Again, I still say thank you, sir.❤❤