℗ 2015 Wilson Audiophile Recordings
| Released | April 7, 2015 |
| Duration | 53m 15s |
| Record Label | Wilson Audiophile Recordings |
| Catalogue No. | Wilson9127 |
| Genre | Classical (Chamber Music) |
Treasures for Clarinet and Piano
Charles West, Susan Grace
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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Clarinet Sonatine
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1.1
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I. Allegro
Pierre Gabaye; Charles West; Susan Grace |
3:06 | |||
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1.2
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II. Largo
Pierre Gabaye; Charles West; Susan Grace |
4:29 | |||
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1.3
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III. Prestissimo
Pierre Gabaye; Charles West; Susan Grace |
4:03 | |||
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1.4
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Petite Pièce, L. 120
Claude Debussy; Charles West; Susan Grace |
1:27 | |||
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1.5
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Erwinn, Fantasia for Clarinet
Georges Meister; Charles West; Susan Grace |
9:53 | |||
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1.6
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Canzonetta, Op. 19
Gabriel Pierné; Charles West; Susan Grace |
3:23 | |||
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1.7
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Hillandale Waltzes
Victor Babin; Charles West; Susan Grace |
10:19 | |||
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1.8
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Peregi verbunk, Op. 40
Leó Weiner; Charles West; Susan Grace |
4:45 | |||
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Préludes, Book 1, L. 117
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1.9
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No. 8, La fille aux cheveux de lin
Claude Debussy; Charles West; Susan Grace |
2:36 | |||
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1.10
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Boucolique
Eugene Bozza; Charles West; Susan Grace |
6:18 | |||
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1.11
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Piéce en forme de habanera
Maurice Ravel; Charles West; Susan Grace |
2:56 | |||
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Digital Booklet
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This is one of three albums Grammy nominated pianist Susan Grace made with Charles West, once called "the most recorded clarinetist in American academia." Now an audiophile reference, recorded at Skywalker Ranch, the album creates the illusion that these two superb musicians are performing in your living room. The digital-only reissue, originally released in 1991, includes works by Debussy, Ravel, Pierre Gabay and Gabriel Pierné, among others.
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. Executive producer: Sheryl Lee Wilson Musical producer: Bruce Leek Editing: Bruce Leek Technical direction: David A. Wilson Recording engineering: David A. Wilson Studio manager: Bob Edwards, LucasFilm Cover photo: Deborah Denker Booklet/liner design: Shane O’Toole Analogue mastering: The Mastering Lab Digital mastering: Bruce Leek To capture a clean, dynamic, harmonically rich instrumental presentation, a pair of Shoeps Omni microphones was employed. The microphones' signals were amplified by two superb pure class-A microphone preamps custom-built for Wilson Audio by John Curl. MIT cable carried the balanced line level signal to Wilson Audio’s UltramasterTM 30 ips analogue recorder. Subsequent digital master tapes were made through the Pygmy A/D converter on a Panasonic SV-3700. Playback reference monitoring was performed on Wilson Audio WATT ll/ Puppies, driven by a Spectral DMA-5O amplifier through MIT CVT Terminator cables.
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. Executive producer: Sheryl Lee Wilson Musical producer: Bruce Leek Editing: Bruce Leek Technical direction: David A. Wilson Recording engineering: David A. Wilson Studio manager: Bob Edwards, LucasFilm Cover photo: Deborah Denker Booklet/liner design: Shane O’Toole Analogue mastering: The Mastering Lab Digital mastering: Bruce Leek To capture a clean, dynamic, harmonically rich instrumental presentation, a pair of Shoeps Omni microphones was employed. The microphones' signals were amplified by two superb pure class-A microphone preamps custom-built for Wilson Audio by John Curl. MIT cable carried the balanced line level signal to Wilson Audio’s UltramasterTM 30 ips analogue recorder. Subsequent digital master tapes were made through the Pygmy A/D converter on a Panasonic SV-3700. Playback reference monitoring was performed on Wilson Audio WATT ll/ Puppies, driven by a Spectral DMA-5O amplifier through MIT CVT Terminator cables.
| Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.87 -7.83 to -0.85 | -24.57 -28.18 to -20.85 | -21.26 -25.00 to -18.00 | 12 11 to 14 | |
| 1 | I. Allegro | -1.23 | -20.94 | -18.1 | 13 |
| 2 | II. Largo | -3.37 | -24.39 | -21.2 | 12 |
| 3 | III. Prestissimo | -1.45 | -20.85 | -18.0 | 13 |
| 4 | Petite Pièce, L. 120 | -7.83 | -28.18 | -25.0 | 11 |
| 5 | Erwinn, Fantasia for Clarinet | -2.09 | -23.60 | -20.2 | 14 |
| 6 | Canzonetta, Op. 19 | -6.31 | -24.56 | -21.6 | 11 |
| 7 | Hillandale Waltzes | -1.57 | -23.44 | -19.3 | 13 |
| 8 | Peregi verbunk, Op. 40 | -5.02 | -25.15 | -21.9 | 12 |
| 9 | No. 8, La fille aux cheveux de lin | -5.52 | -28.07 | -24.5 | 12 |
| 10 | Boucolique | -0.85 | -23.16 | -19.8 | 14 |
| 11 | Piéce en forme de habanera | -7.32 | -27.96 | -24.3 | 12 |