Re: JV gets MBL 101 X-treme'd [Berlin Phil]
- Hi Marty
The aspect of the architect to let people gather around the musicians
has proven successful and the acoustics are very good too. The
amphitheater style supports acoustics and sharing the music with as
many visitors as possible and making the music a central part of the
gathering - all these aspects are integrated perfectly.
Musicians and architects do no longer discuss this controversely here.
It is simply the modern opposite of the private concerts when the king
financed some composers and had the music played at court.
>Philharmonie, there is a great virtual tour at the orchestra website.
> Although I just posted a few comments about the sound of the
I hope this link is successful:
>some of the hall seats, click on "saal" in the lower portion of
> To get a user adjustable perspective from either the stage or from
whatever image comes up. Then use the mouse and screen controls to
navigate accordingly. I think you'll quickly appreciate why the hall
is so unusual and controversial (at least it was when it was built in
> ----- Original Message ----
> From: Robert Greene <regonaudio@...>
> To: email@example.com
> Sent: Saturday, August 30, 2008 8:30:55 PM
> Subject: [regsaudioforum] Re: JV gets MBL 101 X-treme'd [Berlin Phil]
> I would be really interested in some comments on the acoustics,too.
> The one time I have been in Berlin, the Philharmonic
> was sold out. so though I have heard them elsewhere
> I have never heard them in their own hall.
> Any thoughts/comments would be appreciated!
> --- In regsaudioforum@ yahoogroups. com, "amadeuswus" <Edward_Wu@ ..>
> > Hi Marty,
> > I had a similar reaction when I heard the Berlin Philharmonic in
> > Boston's Symphony Hall a few years ago. In Bruckner 9, the
> > laid down the most manic fortissimo tremolos I had ever heard,
> > drowning out the brass! They played like precision madmen.
> > Last fall, Berlin's Mahler Das Lied von der Erde in Symphony Hall
> > just as impressive, chamber music with eighty voices.
> > What did you think of the acoustics of the Philharmonie, if you
> > separate it from the playing?
> > Edward
> > --- In regsaudioforum@ yahoogroups. com, Marty <mbw817@> wrote:
> > >
> > > On Brahms, the strings played as if they were possessed at
> times, but
> > they also played with every subtlety and grace one could hope
> > > for. And the horns! Just stunning.
DG recently used the "Scoring Stage" in Berlin for
Zimerman/Rattle/Berlin Phil's recording of the Brahms 1st piano
The tonmeister was Ulrich Vette and the booklet praised the special
acoustics of this space.
The orchestral sound has tremendous heft. You really hear the
reserves of power in the Berlin basses. The piano sounds a little
spread out (at least if one's speakers are 90 degrees apart), but
overall this recording is kind to the music.
I am curious if others here have heard it.
--- In firstname.lastname@example.org, Goran Finnberg <mastering@...>
> > It is well known that the Philharmonie is a difficult place to
> The DECCA/London balance engineers always refused to use that hall
> their recordings instead preferred to use the Jesus-Christus-Kirche,achoustic
> Church of Jesus Christ, in Berlin that has a most excellent
> suited for all kinds of symphony orchestra recording work.to the
> This is the same hall used by DGG before the Philharmonie existed.
> I prefer the early DGG recordings using the Jesus-Christus-Kirche
> Philharmonie which appears very dead sounding to my ears on almostevery
> CD I have as recorded in the Philharmonie.good on
> EMI also uses the Jesus-Christus-Kirche most of the time.
> The Beethoven Triple Concerto, an old favorite, still sound very
> CD, EMI CDM7 69032-2 as recorded in the Jesus-Christus-Kirche in
> september 1969.
> Goran Finnberg
> The Mastering Room AB