℗ 2015 Wilson Audiophile Recordings
| Released | July 3, 2015 |
| Duration | 44m 03s |
| Record Label | Wilson Audiophile Recordings |
| Catalogue No. | WILSON9025 |
| Genre | Classical (Instrumental) |
Mussorgsky: Pictures at an Exhibition - Ginastera: Piano Sonata No. 1, Op. 22
Hyperion Knight
Available in 176.4 kHz / 24-bit, 88.2 kHz / 24-bit AIFF, FLAC and 2.8224 MHz DSD high resolution audio formats
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Pictures at an Exhibition
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1.1
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Promenade
Modest Mussorgsky; Hyperion Knight |
1:25 | |||
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1.2
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I. Gnomus
Modest Mussorgsky; Hyperion Knight |
2:29 | |||
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1.3
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Promenade
Modest Mussorgsky; Hyperion Knight |
0:55 | |||
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1.4
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II. Old Castle
Modest Mussorgsky; Hyperion Knight |
4:25 | |||
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1.5
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Promenade
Modest Mussorgsky; Hyperion Knight |
0:29 | |||
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1.6
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III. Tuileries
Modest Mussorgsky; Hyperion Knight |
1:05 | |||
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1.7
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IV. Bydlo
Modest Mussorgsky; Hyperion Knight |
2:40 | |||
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1.8
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Promenade
Modest Mussorgsky; Hyperion Knight |
0:46 | |||
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1.9
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V. Ballet of the Chickens in their Shells
Modest Mussorgsky; Hyperion Knight |
1:12 | |||
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1.10
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VI. Samuel Goldenberg and Schmuyle
Modest Mussorgsky; Hyperion Knight |
2:10 | |||
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1.11
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VII. The Market-Place at Limoges
Modest Mussorgsky; Hyperion Knight |
1:27 | |||
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1.12
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VIII. Catacombae (Sepulcrum romanum)
Modest Mussorgsky; Hyperion Knight |
1:15 | |||
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1.13
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VIII. Con mortuis in lingua mortua
Modest Mussorgsky; Hyperion Knight |
1:43 | |||
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1.14
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IX. The Hut on Fowl's Legs (Baba-Yaga)
Modest Mussorgsky; Hyperion Knight |
3:10 | |||
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1.15
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X. The Great Gate at Kiev
Modest Mussorgsky; Hyperion Knight |
4:41 | |||
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Piano Sonata No. 1, Op. 22
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1.16
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I. Allegro marcato
Alberto Ginastera; Hyperion Knight |
4:30 | |||
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1.17
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II. Presto misterioso
Alberto Ginastera; Hyperion Knight |
2:38 | |||
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1.18
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III. Adagio molto appassionato
Alberto Ginastera; Hyperion Knight |
4:10 | |||
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1.19
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IV. Ruvido ed ostinato
Alberto Ginastera; Hyperion Knight |
2:53 | |||
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Digital Booklet
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"Breathtakingly textured, rich and wonderful, this recording (of Pictures) showcases Hyperion’s world-class style at the keyboard.”
- The Absolute Sound
This digital-only reissue of a 1991 album from pianist Hyperion Knight has earned a well deserved reputation as a sonic treasure. Recorded at Skywalker Ranch for Wilson Audiophile, the original vinyl has been out of print for many years.
176.4 kHz / 24-bit, 88.2 kHz / 24-bit PCM and 2.8224 MHz DSD – Wilson Audiophile Recordings Studio Masters
This album is a high-resolution digital transfer of material originating from an analogue master source. Due to the nature of analogue tape recording, it may contain artifacts or audio which uses a limited amount of the available dynamic range / frequency bandwidth of high-resolution digital audio. As such, it is offered as a high-resolution documentation of a historical release. Produced by: Wilson Audiophile Recordings, LLC Original recording engineer: David A. Wilson Project manager: Daryl C. Wilson Analogue to high definition digital transfer: Bruce Brown, Puget Sound Studios Transfer editing: Bruce Brown, Puget Sound Studios Sonic evaluation: David A. Wilson, Sheryl Lee Wilson, Daryl C. Wilson Description of equipment and processes used for Master Tape transfers in Dave Wilson's Music Room: Each Master Tape was inspected, cleaned and treated with Last #9 and #10 preservatives. All of the Master Tapes were baked to reformulate the binding. This was done in an incubator at 135 degrees and then they were left to cool back down to room temperature. All splices were inspected and repaired, if necessary. Each transfer was executed on the UltraMaster, a one-of-a-kind Studer A80 designed and built by John Curl with custom electronics. Each Master Tape was stored by Wilson Audiophile “tails-out” in which Puget Sound Studios did a library wind to the take-up reel. All levels were set according to included EQ sheets and each 1 kHz tone was further set at precisely 1 kHz, via a custom varispeed adjustment. This provided the exact speed the Master Tapes were recorded at. A total of five different analogue-to-digital converters were used to provide samples for the Wilsons to evaluate. Ultimately an EMM Labs ADC-8 Mk IV, custom modified by Andreas Koch, was chosen by Dave and Daryl Wilson for the transfers from the UltraMaster using the original Master Tapes into a Sonoma DSD workstation for capture and editing. Monitoring from the Sonoma DSD workstation was routed though a modified Playback Designs MPS-5 via USB-X with Light Harmonic USB cable. All DSD files were transferred into a Merging Technologies Pyramix DSD/DXD Masscore workstation for sample rate conversion, format conversion and metadata tagging. The Pyramix Hepta filter was used for conversion to PCM. Files were then listened to for quality assurance. Speakers: Wilson Audio Alexandria XLF, two Thor’s Hammers Electronics: Apple Mac Mini, Amarra & Audirvana Plus, Weiss INT202, Audio Research DAC8, VTL 7.5 mk3 preamp, VTL Siegfried mk2 amplifiers, 2 Wilson Audio W.A.T.C.H. controllers Cables: Audioquest Firewire, Transparent Opus
This album is a high-resolution digital transfer of material originating from an analogue master source. Due to the nature of analogue tape recording, it may contain artifacts or audio which uses a limited amount of the available dynamic range / frequency bandwidth of high-resolution digital audio. As such, it is offered as a high-resolution documentation of a historical release. Produced by: Wilson Audiophile Recordings, LLC Original recording engineer: David A. Wilson Project manager: Daryl C. Wilson Analogue to high definition digital transfer: Bruce Brown, Puget Sound Studios Transfer editing: Bruce Brown, Puget Sound Studios Sonic evaluation: David A. Wilson, Sheryl Lee Wilson, Daryl C. Wilson Description of equipment and processes used for Master Tape transfers in Dave Wilson's Music Room: Each Master Tape was inspected, cleaned and treated with Last #9 and #10 preservatives. All of the Master Tapes were baked to reformulate the binding. This was done in an incubator at 135 degrees and then they were left to cool back down to room temperature. All splices were inspected and repaired, if necessary. Each transfer was executed on the UltraMaster, a one-of-a-kind Studer A80 designed and built by John Curl with custom electronics. Each Master Tape was stored by Wilson Audiophile “tails-out” in which Puget Sound Studios did a library wind to the take-up reel. All levels were set according to included EQ sheets and each 1 kHz tone was further set at precisely 1 kHz, via a custom varispeed adjustment. This provided the exact speed the Master Tapes were recorded at. A total of five different analogue-to-digital converters were used to provide samples for the Wilsons to evaluate. Ultimately an EMM Labs ADC-8 Mk IV, custom modified by Andreas Koch, was chosen by Dave and Daryl Wilson for the transfers from the UltraMaster using the original Master Tapes into a Sonoma DSD workstation for capture and editing. Monitoring from the Sonoma DSD workstation was routed though a modified Playback Designs MPS-5 via USB-X with Light Harmonic USB cable. All DSD files were transferred into a Merging Technologies Pyramix DSD/DXD Masscore workstation for sample rate conversion, format conversion and metadata tagging. The Pyramix Hepta filter was used for conversion to PCM. Files were then listened to for quality assurance. Speakers: Wilson Audio Alexandria XLF, two Thor’s Hammers Electronics: Apple Mac Mini, Amarra & Audirvana Plus, Weiss INT202, Audio Research DAC8, VTL 7.5 mk3 preamp, VTL Siegfried mk2 amplifiers, 2 Wilson Audio W.A.T.C.H. controllers Cables: Audioquest Firewire, Transparent Opus
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -5.35 -14.25 to -2.30 | -25.60 -33.71 to -20.83 | -22.01 -30.90 to -17.00 | 12 11 to 14 | |
| 1 | Promenade | -3.27 | -21.78 | -19.1 | 11 |
| 2 | I. Gnomus | -2.83 | -23.73 | -20.1 | 13 |
| 3 | Promenade | -14.25 | -33.71 | -30.9 | 12 |
| 4 | II. Old Castle | -9.60 | -31.14 | -27.9 | 14 |
| 5 | Promenade | -4.52 | -23.21 | -19.2 | 11 |
| 6 | III. Tuileries | -6.58 | -27.61 | -24.1 | 12 |
| 7 | IV. Bydlo | -2.79 | -23.21 | -19.8 | 13 |
| 8 | Promenade | -5.30 | -26.15 | -21.2 | 11 |
| 9 | V. Ballet of the Chickens in their Shells | -6.40 | -26.95 | -23.5 | 14 |
| 10 | VI. Samuel Goldenberg and Schmuyle | -3.37 | -24.17 | -20.7 | 12 |
| 11 | VII. The Market-Place at Limoges | -4.13 | -22.42 | -19.8 | 11 |
| 12 | VIII. Catacombae (Sepulcrum romanum) | -4.81 | -28.58 | -23.4 | 14 |
| 13 | VIII. Con mortuis in lingua mortua | -13.19 | -33.49 | -30.7 | 12 |
| 14 | IX. The Hut on Fowl's Legs (Baba-Yaga) | -3.09 | -20.83 | -17.7 | 11 |
| 15 | X. The Great Gate at Kiev | -2.30 | -20.84 | -17.0 | 11 |
| 16 | I. Allegro marcato | -3.42 | -21.51 | -18.1 | 11 |
| 17 | II. Presto misterioso | -3.64 | -26.20 | -23.2 | 12 |
| 18 | III. Adagio molto appassionato | -5.16 | -29.65 | -23.6 | 14 |
| 19 | IV. Ruvido ed ostinato | -2.92 | -21.15 | -18.2 | 11 |