Audiophilepure

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” In Concerto No.2, I could clearly hear the trumpet dancing with the harpsichord, despite the latter being way down in the mix. As it hung in space, each instrument had a world-class three-dimensionality that I laid at the feet of the inner light portrayed by the Liszt Concertos. As with the Liszt Sonata, I think this was a very slight added richness, but it served — served, I say — the cause of musical realism, helping instruments pop from the fabric of the recording. I strongly feel that this helped to reproduce much of the human magic that’s lost when live music is compressed through the tiny point in space that is a microphone.”

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