Kirill Gerstein (born 23 October 1979) is a Russian-American pianist. He is the sixth recipient of the Gilmore Artist Award. An American citizen since 2003, Gerstein divides his time between the United States and Germany and is currently a professor of piano at the Musikhochschule Stuttgart.
After decades of playing together, the members of the Hagen Quartet are at the apex of their interpretative careers. Tonal and rhythmic coordination is totally effortless. The “baton passing”, from one instrument to the next, is impossibly smooth. The four members of the ensemble truly play like a single organism. At the same time, they still share with their listeners a tremendous pleasure of exploring together all the corners of the repertoire. Together with Kirill Gerstein, they are a genius couple.
The Hagen Quartet performs on instruments made by Antonio Stradivari, known as the “Paganini” Quartet, generously on loan from the Nippon Music Foundation. Kirill Gerstein plays a Steinway & Sons D-274 Piano, Serial Number 573968
Total time: 01:20:05
Maja Ellmenreich, Stephan Cahen
The Hagen Quartet performs on instruments made by Antonio Stradivari, known as the "Paganini" Quartet, generously on loan from the Nippon Music Foundation.
NativeDSD selectively creates higher DSD bitrates of label's releases using two methods (Merging Technologies Album Publishing and Singnalyst HQPlayer Pro), depending on the original edited master source. In order to understand the processes, a bit of background is appropriate. NativeDSD sells only recordings that were originally recorded in DSD or DXD (352.8KHz PCM). The overwhelming majority of these recordings were edited and post processed in DXD, then converted (modulated) into DSD deliverable bit rates. NativeDSD acquires the label's original DXD edited master, and using Merging Technologies Album Publishing, creates a first generation DSD64, DSD128, and DSD256, as well as a DXD FLAC deliverable. Additionally, on selected recordings, a 32bit PCM WAV file is extracted (the DXD PCM FLAC is 24 bits by format definition), and uses it to modulate a DSD512 using HQPlayer Pro. The exception to the above are the few label recordings (Yarlung, Eudora, Just Listen etc.) that record in DSD, and do no PCM post processing mixing, level balancing, EQ etc. That's doable by restricting post processing to just editing, where only the edit transition interval (typically 100ms or less) is PCM converted, leaving the DSD music content unaltered when rendered. For those recordings, the DSD edited master (the actual recording master with edits) is used with HQPlayer Pro to re-modulate the missing DSD bitrates. Why do any of this? It's to provide a DSD bitrate deliverable choice, allowing a customer to purchase the highest DSD bitrate their DAC will support. It's correct that there's no additional music content information contained in the higher DSD bit rate from the original DSD bitrate. What's different is the uncorrelated modulation noise content placement in the frequency spectrum. When a DSD original file is converted to DXD (PCM), the inherent DSD modulation noise is removed through the decimation filtering, and re-inserted when modulated back to DSD. The modulation noise (again, uncorrelated) is the carrier part of the DSD bitstream modulation, and an inherent part of the DSD bit stream.
While the spectorial shape is the same regardless of the DSD bitrate, it's effective start and end points move an octave higher for every doubling of the DSD bitrate. For DSD64, the uncorrelated modulation noise is about -110dB at 20KHz, rising to about -50dB at 100KHz. For DSD512, the modulation noise is about -110dB at 160KHz, and -50dB at 800KHz. What this allows is for the customer's DAC to use gentler, more Gaussian shaped reconstruction filters, with far improved phase response.
|Original Recording Format|
Kirill Gerstein plays a Steinway & Sons D-274 Piano, Serial Number 573968
Kammermusiksaal Köln and Radio Bremen Sendesaal
|Recording Type & Bit Rate||
|Release Date||November 29, 2019|
“With the Piano Quintet, we enter a different world. This combination was, In those days, a novelty, ‘invented’ by Robert Schumann. The liner notes (downloadable as well) describe its complicated origin. Self-critical as Brahms was (as well as being susceptible to comments) the piece has been worked and reworked several times, resulting in something remarkably monumental, to my mind with symphonically allures, similar to his First Piano Quartet.”
The Hagen Quartet strikes a decisively angular tone for Brahms’s final string quartet. The first movement has a strikingly brusque feel to it. This lets up slowly in the second movement, and in the third, the tone is sweet and tender.
The strong contrast between the expressive quality of the movements, as well as the wide range of tonal colors, make it clear why the Hagen Quartet is held in such high esteem. They are joined by Kirill Gerstein for the piano quintet, who fits in wonderfully with the other musicians, keeping pace with their versatile approach.
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