<B>RACHMANINOFF: Piano Concerto 2</B><BR>With: Prelude in g-sharp, Op.32 No.12; Etudes-Tableaux, Op.33 Nos. 1, 2, 9; <I>Variations on a Theme of Corelli</I>, Op.42<BR>Hélène Grimaud, piano; Vladimir Ashkenazy, Philharmonia Orchestra<BR>Teldec 8573-84376-2 (CD). 2001. Friedemann Engelbrecht, prod.; Eberhard Sengpiel, Andreas Florczak, engs. DDD. TT: 70:33<BR>Performance <B>*****</B><BR>Sonics <B>*****</B>
Separate preamplifiers and power amplifiers have long been considered standard audiophile fare, but sometimes the economy and convenience of an integrated amp can't be beat. Have you ever used one?
One of the more interesting displays at Home Entertainment 2001 was a small booth belonging to West Hollywood, CA–based <A HREF="http://www.aix.com/new">AIX Media Group</A>, which was manned by company president Mark Waldrep. At the show, Waldrep <A HREF="http://www.stereophile.com/news/11035/">discussed his work</A> in creating DVD-Audio recordings with multiple perspectives, selectable by the listener via remote control.
According to a new comparison of online music business models and companies prepared by <A HREF="http://www.redherring.com/research">Red Herring Research</A>, Napster simply cannot exist without the complete consent of the recording industry, and the company's recent attempts to appease the copyright infringement concerns of the industry have so far failed. The study also finds it highly unlikely that the company's peer-to-peer model will find success, given the history of its relationship with the recording industry, its declining membership, and impending competition from services like MusicNet and Duet.
In <I>1984</I>, George Orwell's chilling tale of life in a totalitarian society, good citizens are expected to master the art of "doublethink," the ability to embrace two contradictory ideas at the same time. As evidenced by legal actions undertaken by their organization in late May, executives of the <A HREF="http://www.riaa.com">Recording Industry Association of America</A> would make excellent role models in an Orwellian state.
As John Atkinson points out in his "As We See It" from last month, <A HREF="http://www.stereophile.com//asweseeit/355/">Trumpets to the Back of Me?</A>, there appears to be a long, hard road ahead for audiophiles as record labels struggle to make something out of the multi-channel future. As JA puts it, "The last thing I want is to have trumpets and drums attacking me from behind, yet almost without exception, that is what record producers seem to feel is an essential part of the DVD-Audio and SACD experiences."
Some long-time <I>Stereophile</I> readers were outraged when the magazine put a photo of a computer soundcard on its cover in September of 2000 <A HREF="http://www.stereophile.com//digitalsourcereviews/280/">(click here for the review and controversy)</A>. And then, John Atkinson added insult to injury by doing another <A HREF="http://www.stereophile.com//digitalsourcereviews/299/">soundcard review</A> last November. Some readers may have been scratching their heads about why we did it, but at least one manufacturer is getting the message.
On May 23, the <A HREF="http://www.juilliard.edu">Juilliard School of Music</A> announced the selection of 18 instrumentalists who will form the core of the newly-created Juilliard Jazz Orchestra. As orchestra members, the musicians will benefit from tuition-free study at the school's recently established Juilliard Institute for Jazz. The creation of the institute—a collaboration of the Juilliard School and the "Jazz at Lincoln Center" program—is an indication that the prestigious institution is further acknowledging the importance of jazz, an indigenous American genre that many critics have called "the classical music of the 20th century."
We get e-mails every week asking what is the best way to create a decent system for a reasonable amount of money (say around $1500 complete). What would be your advice?
It's sometimes amazing how courtroom adversaries can become bosom buddies. This week's example: on May 21, <A HREF="http://www.vivendiuniversal.com">Vivendi Universal SA</A> agreed to acquire Internet music portal <A HREF="http://www.mp3.com">MP3.com Inc</A>. for $372 million (423 million euros) in cash and stock—or $5.00/share for MP3.com stockholders. The announcement followed Vivendi's April 5 <A HREF="http://www.stereophile.com/news/11015/">acquisition</A> of Emusic.com for $24 million. The targeted companies' boards of directors unanimously approved both deals. MP3.com will continue to offer music from non-Universal labels, according to a company press release.