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Robert Silverman Beethoven Sonatas | Audio High

The time is here! We at the moment are making a set of 23 Beethoven piano sonatas obtainable to the general public in MQA, High-res, CD-quality, and MP3 formats (if there’s enough demand we might launch the other nine sonatas at a future date). The MP3 information can be found totally free, and the other recordings are available with a small donation to Silver Linings, our non-profit organization, 100% of which matches to varied tasks that this group funds. Please see the popup box for the minimum donation amounts for every file sort.

To make a donation and receive the high-quality information (e mail us for information!), please proceed under. To obtain the mp3 information at no cost, click on right here.

Select Your Donation Amount:Select donation quantity$30 – CD-quality, MP3$50 – MQA, high-res, CD-quality, MP3$100 – MQA, high-res, CD-quality, MP3$500 – MQA, high-res, CD-quality, MP3$1,000 – MQA, high-res, CD-quality, MP3Custom amountDonate
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To obtain the liner notes (that are additionally included with the music information), click right here.

Twice in a Lifetime

In 2010, Canadian pianist Robert Silverman took on a uncommon problem: to perform and document, for the second time, all 32 of Beethoven’s piano sonatas. Few have performed the complete suite of piano sonatas, and much fewer more than as soon as. In contrast to many pianists of earlier generations who usually took years to work via your complete cycle, Silverman accomplished this eight-concert collection of Beethoven sonatas over the course of only seven months in San Jose’s elegant Le Petite Trianon Theatre. That is like MadBum pitching all seven video games of the World Collection after which coming back a number of years later and doing it once more. No, that is higher.

These recordings are also historic in that they symbolize the first unique content recorded and produced for MQA* encoding. It’s only taken six years (we joke), however the MQA recordings at the moment are out there, along with CD-quality and commonplace high-resolution formats.

* MQA is a new audio format that gives music listeners a solution to hear studio high quality audio in a file that’s considerably smaller than commonplace high-res recordings but sounds higher. It’s groundbreaking. And it’s an enormous deal. Typical streaming audio codecs take away knowledge to keep file measurement down, but this comes at nice value. A part of this lost knowledge is timing info that helps our brains construct a 3D soundscape of the audio. With out these timing particulars, audio turns into flat and loses constancy. MQA doesn’t alter (or take away) any sound details, and it compresses high-resolution audio right into a file small enough for streaming. Enter: an entire new option to expertise music. MQA provides listeners the unique efficiency, because the artist meant it. MQA is just awesome. And now you possibly can hear Beethoven’s sonatas in MQA format. (In the event you can’t tell, we are excited.)

The concert collection was produced by Michael Silver, the owner of Audio High, who is a educated concert pianist himself. The sonatas have been recorded and mastered by Mark Willsher (an excellent audio producer and engineer whose credit embrace the soundtracks for The Lord of the Rings and The Hobbit films, as properly many other essential movies and albums). Remaining modifying was completed by Zach Miley.

Non-Profit Benefit

All proceeds from the live shows and recordings go to Audio High’s non-profit organization, Silver Linings ( Silver Linings is a 501(c)(3) organization whose mission is to reinforce individuals’s lives via music, film, and art and which has contributed to many causes, together with cystic fibrosis research, Stanford Hospital, and native music packages for teenagers. One venture funded by Silver Linings is a special room on the Stanford Youngsters’s Hospital where youngsters can go to see unique events, music performances, and films, including Pixar films earlier than they hit the theaters.

A portion of every sale at Audio High additionally goes to Silver Linings, and Audio High pays for all overhead costs, so 100% of the cash we increase via efforts like this goes to the causes we help.

Stereophile Evaluate (reprinted with permission)

Jason Victor Serinus from Stereophile sat down with Silver and Silverman to get their ideas on their shared ardour for Beethoven and how this unimaginable live performance collection got here to be:

Michael Silver first encountered the artistry of Robert Silverman in 2003, when he reviewed the latter’s Reside at the Chan Centre: 19 January 2003 (CD, OrpheumMasters KSP880, out of print, although restricted portions are nonetheless obtainable at this web site’s Robert Silverman e-commerce page). “I listened to it over and over,” he explained by telephone. “I just loved it, especially the Liszt B Minor sonata. I’d listened to a lot of interpretations of this particularly difficult piece, and I just loved what he did. And I still do. It’s a great performance.”

After they’d gotten to know each other, Silverman turned Silver’s audio shopper and good friend. “We have talked about doing this Beethoven for years,” says Silver. “Robert is a great pianist, very smart, with wonderful and interesting interpretations. We actually brought Robert to San Francisco to perform the complete Mozart sonatas a few years ago, but we didn’t record them.” These honors have as an alternative gone to Ray Kimber, whose eight-disc set of multichannel SACDs of the Mozart sonatas, mastered by Graemme Brown, ought to be out on Kimber’s IsoMike label by the top of 2010.

Reached in Vancouver, British Columbia, Silverman, now 78, explained that his curiosity in high-end audio started in his teenagers. “In the late ’50s, I owned a Leak DL10 mono amp. (Put it in—some people will remember it.) Eventually I got connected with Stereophile through a friend of Larry Archibald’s. Though them, I met all the other guys. My first Stereophile recording was Intermezzo, the Brahms album, in 1991 [CD, Stereophile STPH003-2].”

Beethoven and Silverman’s profession

Robert Silverman expounds at size on Beethoven’s masterworks for solo piano at Requested to sum them up, he declared Beethoven’s sonatas “absolutely central” to the canon of piano music.

“There have been many other great works written for piano, but Beethoven’s have never been surpassed. The only thing more exhilarating than studying them for the first time was restudying them again fifteen years later and seeing what I’d missed the first time around. It’s been an exploration of what a smart musician Beethoven was and how many things he took care of. No matter what insights you come up with, Beethoven is ahead of you.”

Silverman’s discography of more than 30 CDs and a dozen LPs includes a disc of Liszt works that acquired a Grand Prix du Disque from the Liszt Society of Budapest. His out-of-print 1990 recording of the Beethoven sonatas was short-listed for a Juno Award (Canada’s equivalent of the US’s Grammy Awards). A member of the school of the College of British Columbia for 30 years, Silverman served for five years in the 1990s as Director of the institution’s Faculty of Music, and was awarded an honorary Doctor of Letters degree in 2004. While he now devotes himself full-time to concertizing and recording, within the 2010-11 educational yr, e was also a visiting professor at the McGill College’s Schulich Faculty of Music.

“The question of building a career is something I come back to many times,” he stated towards the top of our speak. “I did what I did. I made a decision, for whatever cause, that I was going to show. I all the time enjoyed it, and I didn’t thoughts not having to worry about the place my next dime is coming from. I feel I do know me fairly nicely, and doubtless I did what I ought to have been doing.

“One place where I really was very lucky was that I got enough opportunities to make recordings that did get heard. While some pianists are too busy running around from one festival to another to have time to record, I’m leaving a legacy I’m fairly proud of. How many pianists get to record the Beethoven sonatas twice in their career? Besides Arrau, Barenboim, Brendel, and Kempff, I don’t think anyone else has traversed them more than once.”

The companies under have generously sponsored the Robert Silverman recordings so the general public can obtain this music free of charge.


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