Description
Tracklist:
: Concerto For Piano And Orchestra No. 1 In B-flat Minor Op. 2
2-1: Intermezzo In A Minor Op. 118/1
2-2: Intermezzo In A Major Op. 118/2
2-3: Capriccio In C-sharp Minor Op. 76/5
2-4: Intermezzo In E Major Op. 116/4
2-5: Rhapsody In E-flat Major Op. 119/4
: 3 Movements from Petrushka
3-1: Andante In F Major Andante Favori
: Piano Sonata In A Major D 959
CD 1:
Original LP: LM/LSC-2954 Released February 20, 1967
Recorded: Boston, Symphony Hall, December 12, 1966 [1]; December 14, 1966 [2/3]
Producer: Richard Mohr
Recording Engineer: Anthony Salvatore
Matrix Nos.: TRA5-6274 [1]; TRA5-6275 [2/3]
LP Matrix Nos.: TRRM-6277 [1], TRRM-6278 [2/3] (mono); TRRS-6279 [1], TRRS-6280 [2/3] (stereo)
P 1967 Sony Music Entertainment
CD 2:
Original LP: LM/LSC-2970 Released March 25, 1968
Recorded: New York City, Webster Hall, December 12, 1967 [15]; December 14, 1967 [68]; December 13, 1967 [7/8]; December 15, 1967 [8]
Producer: Richard Mohr
Recording Engineer: Anthony Salvatore
Matrix Nos.: URA1-7274 [1]; URA1-7275 [2]; URA1-7276 [3]; URA1-7277 [4]; URA1-7278 [5]; URA1-7271 [6]; URA1-7272 [7]; URA1-7273 [8]
LP Matrix Nos.: URRM-7280 [15], URRM-7281 [68] (mono); URRS-7282 [15], URRS-7283 [68] (stereo)
P 1968 Sony Music Entertainment
CD 3:
Original LP: LSC-3124 Released November 1969
Recorded: New York City, Town Hall, June 17, 1969 [1]; June 18, 1969 [25]
Producer: John Pfeiffer
Recording Engineer: Michael Spellman
Matrix Nos.: XRA1-5865 [1]; XRA1-5861 [2]; XRA1-5862 [3]; XRA1-5863 [4]; XRA1-5864 [5]
LP Matrix Nos.: XRRS-5879 [1/2]; XRRS-5880 [35] (stereo)
P 1969 Sony Music Entertainment
Note on last page in booklet:
Several generations of master tapes were available for the remastering of CDs 1 and 2. What all tapes had in common was an effect that sound engineers call compressor or limiter. This effect is primarily used to make the audio signal appear louder by cutting off the high dynamic peaks, making room for a louder overall level. This process has nothing to do with the data reduction/compression known from mp3 files, but is an effect intentionally created by the mastering engineer. In the analogue range, the audio signal could also be allowed to saturate the tape, which intentionally leads to distortions. Here these effects are particularly audible in the louder passages on CDs 1 and 2. Nowadays one would pursue different aesthetics when mastering and would probably use less compression to get a greater dynamic range in the recording.
