Alice Sara Ott – The Chopin Project
Label: |
Mercury Classics – 00028948115068 |
---|---|
Format: |
Vinyl
, LP, Album
|
Country: |
Europe |
Released: |
|
Genre: |
Classical |
Style: |
Contemporary |
Tracklist
A1 | Verses | |
A2 | Piano Sonata No.3: Largo | |
A3 | Nocturne In C Sharp Minor | |
A4 | Reminiscence | |
A5 | Nocturne In G Minor | |
B1 | Eyes Shut / Nocturne In C Minor | |
B2 | Written In Stone | |
B3 | Letters Of A Traveller | |
B4 | Prélude In D Flat Major ("Raindrop") |
Companies, etc.
- Manufactured By – www.gzvinyl.com
- Pressed By – GZ Media – 128701E
- Recorded At – E7 Studios
- Recorded At – Harpa Concert Hall
- Mastered At – Durton Studio
Credits
- Composed By [Based On Music Of Frédéric Chopin], Arranged By – Ólafur Arnalds (tracks: A1, A4, B1 to B3)
- Design, Art Direction – Jónas Valtýsson
- Executive-Producer – Dr. Alexander Buhr
- Mastered By – Nils Frahm
- Photography By – Héðinn Eiríksson
- Piano – Alice Sara Ott
- Producer, Synthesizer, Mixed By – Ólafur Arnalds
- Recorded By – Ólafur Arnalds
- Strings [String Quintett] – Þórarinn Baldursson*
Notes
Including a coupon.
Total playing time: 45:35
Tracks 1 and 7 (B2) based on Piano Sonata No.3 in B Minor, op. 58: III. Largo
Track 4 based on Nocturne No.20 in C Sharp Minor, op. posth.
Track 6 (B1) based on Nocturne No. 13 in C Minor, op. 48 No. 1
Track 8 (B2) based on Nocturne No. 8 in D Flat Major, op. 27 No. 2
Total playing time: 45:35
Tracks 1 and 7 (B2) based on Piano Sonata No.3 in B Minor, op. 58: III. Largo
Track 4 based on Nocturne No.20 in C Sharp Minor, op. posth.
Track 6 (B1) based on Nocturne No. 13 in C Minor, op. 48 No. 1
Track 8 (B2) based on Nocturne No. 8 in D Flat Major, op. 27 No. 2
Barcode and Other Identifiers
- Barcode: 00028948115068
- Matrix / Runout (Side A runout): 128701E/A www.gzvinyl.com - 4811506-A
- Matrix / Runout (Side B runout): 128701E2/B 4811506-B
- Label Code: LC 00171
Other Versions (5 of 11)
View AllTitle (Format) | Label | Cat# | Country | Year | |||
---|---|---|---|---|---|---|---|
Recently Edited
|
The Chopin Project (CD, Album) | Mercury Classics | 0028948114863 | Europe | 2015 | ||
Recently Edited
|
The Chopin Project (CD, Album) | Mercury Classics | B0023767-02 | US | 2015 | ||
New Submission
|
The Chopin Project (9×File, AIFF, Album, 24-bit 96 kHz) | Mercury (Universal ) | none | 2015 | |||
New Submission
|
The Chopin Project (LP, Album, Limited Edition, Test Pressing, Stereo) | Mercury Classics | 4811506 | Europe | 2015 | ||
New Submission
|
The Chopin Project (CD, Album) | Mercury Classics | UCCL-1181 | Japan | 2015 |
Recommendations
-
-
-
-
2016 UK & EuropeLP, Album
-
-
-
-
-
-
2014 EuropeLP, Album, Reissue
Reviews
-
Upsides, it looks beautiful and the tracks that are quiet are wonderful. But even just taking it out of the sleeve it was obvious that this was going to be a rough experience; the vinyl was filthy, covered in dust and paper shreds.
All downhill from there. Sadly this is a mediocre pressing that disappoints given how beautiful the music is. My copy is not as bad as some others here, but there are pops and crackles on the majority of tracks, even after an ultrasonic cleaning. Classical in particular demands a quiet, well-made pressing, and this album just is not where it should be in of quality control. -
This is once again proof of my thesis in the numerous reviews I have written that the people working in the pressing plants today either/and/or have no idea/motivation/knowledge, because how else can the countless miserable pressings be explained? The customer is supposed to carry out quality checks, and returns of faulty discs are already factored into the price. In other words, the customer has to pay for the mistakes made by the pressing plants. Somehow it all seems rather familiar ... Politics? The only power we have as consumers is to consistently return such pressings and avoid the label in question.
This pressing is also pretty much the worst I've heard. Even after several washes with Ultrasonic and Okki Nokki, there was hardly any real improvement. And that even with such a beautiful classical recording. An insult to the artists. A disregard for the creative work of these artists. And what must not be forgotten: a further contribution to the waste of resources and destruction of the environment. Because the production of vinyl requires an enormous amount of electricity and water. -
Should have read the comments first - vinyl quality is a desaster. so many crackles, sounds like an old fleemarket record. even tried woodglue cleaning with no effect. CD is better choice here.
-
Incredible composition and recording mired by awful vinyl quality. You're better off with the digital release, especially since Arnalds and Frahm are well-equipped for digital productions.
-
-
Edited 3 years agoGreat album but pretty noisy vinyl.
My first brand new copy had two small but deep enough scratches that made the record rather unlistenable, had to return it. My second copy has some pops especially on side B, maybe deep cleaning could solve it, but overall I think it's OK.
By the way, neither of copies had downoad coupon. -
This album was released around the time my son was born, in San Francisco. Brings back memories of those special first moments.
-
One of the more profound music experiences I have had, with the microphones so close to Sara that you can hear her moving on her chair, and hear her breathe. It's such an immersive experience! My record sounds great, no pressing issues. Compared to the 96k/24bit files out there it sounds wonderful.
-
-
Release
See all versions
Recently Edited
Recently Edited
For sale on Discogs
Sell a copy
14 copies from €20.50