Audiophilepure

https://www.stereophile.com/content/dan-dagostino-master-audio-systems-relentless-line-preamplifier

After a walk with my dear friend Anna Frank, who some months back spent time alone with Pink Floyd in my music room, I invited her to take another listen to the 2023 50th Anniversary remaster of The Dark Side of the Moon (24/192 FLAC, Legacy Recordings/ Qobuz). After declaring that the impending doom of “On the Run” left her short of breath, she reported that she heard elements of hi-hat, keys, and bass lines that she had “actually not noticed before.” Individual instruments sounded crisper and more location-specific, and the album’s concluding heartbeat had a lower depth of tone than heard previously. “I’ve listened to this album 100+ times, but I loved this listen more than any,” Anna declared.

I felt similarly when I turned to a beloved fave, the final movement of Mahler Symphony No.4 performed by soprano Kathleen Battle and the Vienna Philharmonic, conducted by Lorin Maazel (16/44.1 MQA, Sony (Columbia)/Tidal). The expanse and warmth of the hall, the natural acoustic surrounding the voice, and every small vocal nuance stood out as never before. For an alternative to the Mahler heavies, play this movement and the rest of the Fourth Symphony and discover a succession of rare instances when Mahler allowed himself to be happy for more than a few minutes at a time.

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