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Hector Berlioz Symphonie Fantastique, Op. 14 “An Episode in the Life of an Artist“ 1. Rêveries - Passions (Reveries - Passions) (0:07) 2. Un bal (A Ball) (14:40) 3. Scène aux champs (Scene in the Fields) (20:58) 4. Marche au supplice (March to the Scaffold) (37:37) 5. Songe d'une nuit du sabbat (Dream of the Night of the Sabbath) (42:23) Herbert von Karajan, conductor The Philharmonia Orchestra Recorded in 1954 Like so many of his contemporaries, Herbert von Karajan recorded most of his repertoire multiple times, both Live and in the Studio. This series focuses on his earlier career, and gives listeners a chance to hear his early work in much higher quality sound. This “Symphonie Fantastique“ gives us a chance to hear him not only as a young conductor, but when he had the opportunity to work with great producers like Walter Legge. This is from his Columbia Years. There is plenty of dynamic range here, closer to the master tape then previous versions. You can turn it up as loud as you want, but beware! Von Karajan, like young Berlioz himself, holds nothing back when the opium visions kick in. Full Acoustic Restoration (2023): Paul Howard - The Yucaipa Studio We do not monetize on this channel and our posts are commercial free. If you wish to support for this kind of music restoration you can buy us a cup of coffee at: ******* For those new to this channel. Every once in awhile we feel compelled to give our new listeners a brief primer on what we are listening to on this channel. What we are hearing is the real acoustics of monaural recordings made before the 1960s. We do not hear in stereo. That is completely false. Hearing is a complex metabolic process that utilizes the nervous system in one of the most interesting ways in which it interacts with its environment. What we actually hear is a temporal relationship with people and things in our atmosphere; we identify the locations of things around us by the physical presence of objects through atmospheric (acoustic) displacement. Humans are less aware of this because of the role vision plays in this process, but we can close our eyes and still identify the location of sounds around us with complete accuracy. Microphones are just as sensitive to acoustic displacement as the human metabolic system. They are, in fact, based upon the same physics. Consequently, the principles used to make a stereo and mono recording in an acoustic environment are the same. The only difference is the presence of discreet panning. However, a monaural recording is acoustically identical to a stereo one. On this channel we apply a process of using software to emulate the metabolic process to identify the acoustic displacement of discreet sound in real time which is present in mono recordings. (It took almost twenty years to develop it.) This is then used to create a new mix based upon the original acoustics in a six-channel time-based matrix. The result is not “stereo“, but something that can be more accurate and natural to listen to. The acoustic information we hear is the same as it was in the original recording environment. The true test of this is the sound itself. A “Fake Stereo“ signal is never true: it breaks down on headphones, and looks like exploding galaxies on test equipment, (You can't fool an oscilloscope.). This is because steering of selective sampling cannot represent acoustics of real time in synthetic stereo. In our process one can listen on headphones and determine quite clearly where everything in the original recording is located. On test equipment the signal looks exactly like a high-quality stereo recording. The bottom line: everything you are listening to is actual acoustics: what the microphones actually picked up in real time.
