Tracklist

I. ANECHOIC RECORDING PROGRAM
1	MOZART: Overture - "Le Nozze di Figaro"	4:19
2	MENDELSSOHN: 4th mov. - Symphony No.3 in a minor, Op.56 "Scottish", bars 396-490	2:20
3	BIZET: Menuet - "L'Arlesienne" Suite No.2	4:13
4	Johann & Josef STRAUSS: Pizzicate-Polka	2:35
5	GLINKA: Overture - "Ruslan and Lyudmila"	5:22
6	VERDI: Prelude to Act 1 - "La Traviata"	3:27
7	BRUCKNER: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 517-573	1:41
8	DEBUSSY: Prelude a l'Apres-Midi d'un Faune, bars 1-20	1:55
II. ANECHOICALLY RECORDED SAMPLES FOR EVALUATION
9	HANDEL/HARTY: No.6 - Water Music Suite, bars 1-11	0:21
10	MOZART: Overture - "Le Nozze di Figaro", bars 1-18	0:16
11	BEETHOVEN: 4th mov. - Symphony No.9 in d minor, Op.125 "Choral", bars 1-7	0:10
12	BRAHMS: 1st mov. - Symphony No.4 in e minor, Op.98, bars 354- 362	0:17
13	BRUCKNER: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 560-573	0:28
14	TCHAIKOVSKY: 1st mov. - Symphony No.4 in f minor, Op.36, bars 1-6	0:20
15	MAHLER: 4th mov. - Symphony No.5, bars 1-3	0:25
16	DEBUSSY: Prelude a l'Apres-Midi d'un Faune, bars 1-3	0:22
III. SAMPLES OF SOUND WITH SIMULATED REVERBERATION
Mozart: Overture - "Le Nozze di Figaro", bars 1-18
17	a) Addition of Wien Musikvereinssaal's reverberation	0:17
18	b) Addition of Amsterdam Concertgebouw's reverberation	0:17
19	c) Addition of Boston Symphony Hall's reverberation	0:17
Bruckner: 1st mov. - Symphony No.4 in E-flat major "Romantic", bars 560-573
20	a) Addition of Wien Musikvereinssaal's reverberation	0:29
21	b) Addition of Amsterdam Concertgebouw's reverberation	0:28
22	c) Addition of Boston Symphony Hall's reverberation	0:28
Debussy: Prelude a L'Apres-Midi d'un Faune, bars 1-3
23	a) Addition of Wien Musikvereinssaal's reverberation	0:23
24	b) Addition of Amsterdam Concertgebouw's reverberation	0:23
25	c) Addition of Boston Symphony Hall's reverberation	0:23
IV. INSTRUMENTAL COMBINATIONS AND SCORE-READING
BRAHMS: 1st mov. - Symphony No.4, bars 386-407
26	1. Full orchestra (Timp. + Hrn. + Trp. + Fl. + Ob. +Cl. + Fg. + Cb. + Vc. + Vla. + Vln. II + Vln. I]	0:33
27	2. Timp.	0:32
28	3. Timp. + Hrn. + Trp.	0:31
29	4. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg.	0:32
30	5. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb.	0:32
31	6. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. + Vc.	0:32
32	7. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. + Vc. + Vla.	0:32
33	8. Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. + Vc. + Vla. + Vln. II	0:33
34	9. Full orch. (Timp. + Hrn. + Trp. + Fl. + Ob. + Cl. + Fg. + Cb. + Vc. + Vla. + Vln. II + Vln. I)	0:33
V. DIFFERENCES IN SOUND RECORDING METHOD
MOZART: Overture - "Le Nozze di Figaro", bars 1-50
35	(a) Omni-directional Single-point pickup recording	0:53
36	(b) Omni-directional Single-point pickup + Time-coherent recording	0:53
37	(c) Uni-directional Single-point pickup recording	0:53
38	(d) Multi-mike setup recording	0:53
39	(e) Multi-mike setup + Time-coherent recording	0:53
BRUCKNER: 1st mov. - Symphony No.4 in E-flat
40	(a) Omni-directional Single-point pickup recording	0:48
41	(b) Omni-directional Single-point pickup + Time-coherent recording	0:48
42	(c) Uni-directional Single-point pickup recording	0:47
43	(d) Multi-mike setup recording	0:48
44	(e) Multi-mike setup + Time-coherent recording	0:48
VI. TEST SIGNALS FOR MEASUREMENT OF ROOM ACOUSTICS
45	1001 Hz Sine Wave Channel Check (L-R) -15dB	0:29
46	1001 Hz Sine Wave -l5dB	0:29
47	1 kHz, 5 Hz - 22.05 kHz Sweep -20dB	1:07
48	1001 Hz Toneburst (EIJ) 0dB	0:29
49	1001 Hz Toneburst (EIAJ) 0dB	0:29
50	Impulse I (I Sample) 100ms ±20% (random) cycle. 256times OdB	0:29
51	Impulse II (I Sample) 4S ±20% (random) cycle, 8times OdB	0:27
52	Pulsive Signal (40ms) 7S ±20% (random) cycle, 4times OdB	0:30
53	White Noise Uniformly distributed noise in the M-.sequence OdB	2:02
54	L: 25Hz, 31.5Hz, 40Hz -20dB / R: 31.5Hz -16dB	0:16
55	L: 50Hz, 63Hz, 80Hz -20dB / R: 63Hz -16dB	0:13
56	L: 100Hz, 125Hz, 160Hz -20dB / R: 125Hz -16dB	0:13
57	L: 200Hz, 250Hz, 315Hz -20dB / R: 250Hz -16dB	0:13
58	L: 400Hz, 500Hz, 630Hz -20dB / R: 500Hz -16dB	0:13
59	L: 800Hz, 1 KHz, 1.25KHz -20dB / R: 1 KHz -16dB	0:13
60	L: 1.6KHz, 2KHz, 2.5KHz -20dB / R: 2KHz -16dB	0:13
61	L: 3.15KHZ, 4KHz, 5KHz -20dB / R: 4KHz -16dB	0:13
62	L: 6.3KHz, 8KHz, lOKHz -20dB / R: 8KHz -16dB	0:13
63	L: 12.5KHZ, 16KHz, -20dB / R: 16KHZ -16dB	0:10
64	Pink Noise -14dB	0:27

Notes

Masahiko Enkoji conducting OSAKA PHILHARMONIC ORCHESTRA

Recording/Aufnahme/Enregistrement:28 July (Juli/juillet) 1987, Minoo Civic Hall, Osaka

Recording Director/Aufnahmeleitung/ Directeur artistique: Katsuhiro Tsubonou / Yoshiharu Kawaguchi/DENON

Recording Engineer/Tonmeister/Ingenieur du son: Norio Okada, Katsuhiro Miura/DENON

Technology/Technologie/Technologie:Takeaki Anazawa, Keizo Inokuchi/DENON

Editing/Schnitt/Montage sonore:Gen'ichi Kitami/DENON

Design of anechoic room and measurement/Entwurf des schalltoten Raums und Messung/ Conception de la chambre sourde et mesures: Takayuki Hidaka, Kenji Kageyama, Sadahiro Masuda/ Takenaka Komuten, Co.,Ltd.

Construction of anechoic room/Bau des schalltoten Raums/Construction de la chambre sourde:Takenaka Komuten, Co.,Ltd.

This recording was made possible thanks to the technical cooperation provided by the Technical Laboratories of Takenaka Komuten, Co.,Ltd./Diese Aufzeichnung wurde ermoglicht durch die technische Kooperation der Technical Laboratories der Takenaka Komuten, Co..Ltd./ Cet enregistrement a ete realise grace a la collaboration technique des laboratoires Ltd/de Takenaka Komuten, Co.,Ltd.

Barcode and Other Identifiers

• Barcode: 081759017105

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