℗ 2015 Wilson Audiophile Recordings

Contrasts in Concerts: Falla - Fauré - Kodály - Dvořák

Roger Drinkall, Dian Baker

Available in 176.4 kHz / 24-bit, 88.2 kHz / 24-bit, AIFF, FLAC and 2.8224 MHz DSD / DSF high-resolution audio formats

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    • FLAC 176.4 kHz | 24-bit
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Suite Populair Espagnole  
I. El Paño moruno
Manuel de Falla; Roger Drinkall; Dian Baker
II. Nana
Manuel de Falla; Roger Drinkall; Dian Baker
III. Canción
Manuel de Falla; Roger Drinkall; Dian Baker
IV. Polo
Manuel de Falla; Roger Drinkall; Dian Baker
V. Asturiana
Manuel de Falla; Roger Drinkall; Dian Baker
VI. Jota
Manuel de Falla; Roger Drinkall; Dian Baker
Elegie in C Minor, Op. 24
Gabriel Fauré; Roger Drinkall; Dian Baker
Cello Sonata, Op. 4  
I. Fantasia. Adagio di molto
Zoltán Kodály; Roger Drinkall; Dian Baker
II. Allegro con spirito
Zoltán Kodály; Roger Drinkall; Dian Baker
Polonaise for Cello and Piano in A Major, B. 94
Antonín Dvořák; Roger Drinkall; Dian Baker
Digital Booklet
Total Playing Time    47:08
Cellist Roger Drinkall and his pianist wife Dian Baker, once one of America's leading duos, were proficient on an extensive repertoire, as they demonstrate on this 1995 album. The duo lovingly interprets iconic, unique and endearing works for cello by four composers, both sonatas and smaller works, including Dvořák's brilliant Polonaise in A Major.
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.

Technical Notes:
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.

Description of the equipment used in the Provo, Utah “Wilson Music Room” that Wilson Audiophile Recordings, LLC put to use for sonic evaluation:

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

Executive producer: Sheryl Lee Wilson
Musical producer: Bruce Leek
Production coordination: Daryl C. Wilson
Technical direction: David A. Wilson
Recording engineering: David A. Wilson, Bruce Leek
Editing: Bruce Leek
Original mastering: Bruce Leek, Wilson Audiophile Mastering Lab; Provo, UT
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
Cover design and layout: Daryl C. Wilson
Fazioli piano: Baldisson Performance Pianos; Bountiful, UT
Special thanks: Management of Maurice Abravanel Hall: Salt Lake City, UT; Bruce Brown, Puget Sound Studios; Gerri Sito, Page Turner

High-Resolution Audio Credits:
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

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