Copland: Appalachian Spring/Rodeo/Fanfare For The Common Man; Hindemith: Symphonic Metamorphosis

Louis Lane & Atlanta Symphony Orchestra

Copland Appalachian SpringRodeoFanfare For The Com
  • CAT # 60648-25

    1. Copland: Fanfare for the Common Man 3:18
    2. Copland: Rodeo: I. Buckaroo Holiday 7:18
    3. Copland: Rodeo: II. Corral Nocturne 3:41
    4. Copland: Rodeo: III. Saturday Night Waltz 4:02
    5. Copland: Rodeo: IV. Hoe-Down 3:15
    6. Appalachian Spring (Suite) 22:19
    7. Hindemith: Symphonic Metamorphosis: I. Allegro 4:12
    8. Hindemith: Symphonic Metamorphosis: II. Turandot, Scherzo 7:27
    9. Hindemith: Symphonic Metamorphosis: III. Andantino 3:54
    10. Hindemith: Symphonic Metamorphosis: IV. Marsch 4:40

Now available in 2-channel Soundstream SACD!

Known to audiophiles the world over for its stunning clarity, Louis Lane adn the Atlanta Symphony Orchestra's recording of Copland's Appalachian Spring, Rodeo and Fanfare for the Common Man is one of the earliest CDs available from Telarc (CD-80078). This glorious recording is paired with the great Robert Shaw's recording of Hindemith's Symphonic Metamorphosis from a two-record set (LP-10056/10057).

Telarc's first digital recordings utilized the Soundstream recording system, which is based on a sampling rate of 50kHz—as compared to a standard compact disc, which has a sampling rate of 44.1kHz. The higher rate of the Soundstream system offers an extended frequency response (up to 25kHz) and increased detail. To produce the original compact disc, the Soundstream signal had to be converted from 50kHz to 44.1kHz, a process that inherently causes a loss of quality—not only by lowering the frequency response, but also by the complex mathematical process needed to derive 44.1kHz from 50kHz. Until recently, no digital system has had the capability to capture the full quality the Soundstream process had to offer. The advent of Direct Stream Digital™ (DSD) technology and its frequency response of over 100kHz allows the Soundstream tapes to be remastered to DSD, presenting to the listener the true sound of the recording. Not only is the original bandwidth preserved, the sonic artifacts produced by the awkward sample-rate conversion are eliminated as well. The end result is the sound that the original recording team intended, brought dramatically to life more than 15 years later.

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