Post by jdaniel June 18, 2012 (1 of 18)
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My favorite of all Respighi "hits," for IMHO it's "musical" values. Although not as well-recorded as Maazel's in Cleveland, or pile-driving as Reiner's I've never tired of this DGG. Whether one chooses to pay .99 for the thousands of mint Lp's still floating around, or $64 for the hybrid SACD, do take a breath and give it a try. Was amused to see it listed after all these years.
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Post by Claude June 19, 2012 (2 of 18)
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I received it yesterday and added it here.
The SACD, which uses a new DSD transfer from the master tape done this year at Emil Berliner Studios, sounds good, but I was a bit underwhelmed by the difference with my old DG Galleria CD. Maybe because the recording used a lot of microphones, the sonic potential is more limited.
The SACD has one flaw. On track 3 (I pini del Gianicolo), the bird sounds that are part of the score and present on the CD are missing here. It looks like they are not on the master tape but were added in the masterings for the releases of this album, and the people at Emil Berliner forgot to add them for this SACD.
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Post by jdaniel June 19, 2012 (3 of 18)
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Claude said:
I received it yesterday and added it here.
The SACD, which uses a new DSD transfer from the master tape done this year at Emil Berliner Studios, sounds good, but I was a bit underwhelmed by the difference with my old DG Galleria CD. Maybe because the recording used a lot of microphones, the sonic potential is more limited.
The SACD has one flaw. On track 3 (I pini del Gianicolo), the bird sounds that are part of the score and present on the CD are missing here. It looks like they are not on the master tape but were added in the masterings for the releases of this album, and the people at Emil Berliner forgot to add them for this SACD.
Ooops for sure. You'll have to buy one of those bubbly bird whistles and have your kid blow it in another room. At the appropriate time of course. : )
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Post by tailspn June 19, 2012 (4 of 18)
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Claude said:
The SACD has one flaw. On track 3 (I pini del Gianicolo), the bird sounds that are part of the score and present on the CD are missing here. It looks like they are not on the master tape but were added in the masterings for the releases of this album, and the people at Emil Berliner forgot to add them for this SACD.
The audio recording of those bird songs is copyrighted. Just like the cannons in the 1812. A label has to purchase them. Really.
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Post by Claude June 19, 2012 (5 of 18)
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"Respighi takes the opportunity to include the actual sound of a nightingale, something that had never been done before. (The score mentions a specific recording that can be played on a phonograph: the "Brunswick Panatrope")."
http://en.wikipedia.org/wiki/Pines_of_Rome
If it's a recording that Respighi knew in 1924, it must be in the public domain now.
If you mean another recording used for the Ozawa performance in 1977, they could have used a different one for this reissue, in case of copyright problems.
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Post by tailspn June 19, 2012 (6 of 18)
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If the tape/performance that was used for the origin of this re-release did not contain the bird song, then one must be added during mastering of this release. The "one" that is used by orchestras for performance today, and labels for mastering is copyrighted. Universal's options were to pay for the use of "bird song", leave it out, or go out in the parking lot and record some birds. Write them and ask.
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tailspn said:
The audio recording of those bird songs is copyrighted. Just like the cannons in the 1812. A label has to purchase them. Really.
A music publisher can claim copyright in recordings until it is blue in the face, and even then not give up the ghost.
That said, from what I can discern online, the recording Respighi requested - Italian HMV Catalog No. R-6105 - is a recording of two bird songs, one made in 1910, another made in 1913. Years would put it completely out of copyright in the USA - and in every other jurisdiction I know of.
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Post by seth June 19, 2012 (8 of 18)
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Ubertrout said:
A music publisher can claim copyright in recordings until it is blue in the face, and even then not give up the ghost.
That said, from what I can discern online, the recording Respighi requested - Italian HMV Catalog No. R-6105 - is a recording of two bird songs, one made in 1910, another made in 1913. Years would put it completely out of copyright in the USA - and in every other jurisdiction I know of.
I also doubt anyone would spend money to fight to extend the copyright.
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Post by tailspn June 19, 2012 (9 of 18)
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I'm sorry, I did not make myself very clear. I'm not talking about the music copyright, or the original 1910/1913 songbirds recordings. I'm talking about a modern recording of songbirds, that a company recorded and OWNS, and rents out for performances. An orchestra playing the Respighi rents the CD for a fixed number of performances at X dollars. It's cued up and played by an orchestra percussion member. A label wanting to record that same music, and wanting that birdsong included, pays a different rate, just like musicians are paid on a different scale for a recording, than a performance.
It appears the original DGG recording did not include the songbirds for financial or legal reasons. Songbirds were edited into the original CD release, but those rights were evidently not extended to subsequent releases. Universal most likely chose not to pay the songbird recording owners the licensing fee for financial reasons, and left it out. Anyone actually think they just forgot it?
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@tailspn, thanks for the clarification. Interesting and sensible.
Why not just use the original shellac, which is out of copyright? Sounds too bad?
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