Martha De Francisco

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Martha de Francisco Martha de Francisco is a record producer and recording engineer who specializes in Classical music. She is a professor for Sound Recording at McGill University in Montreal. An internationally acknowledged leader in the field of sound recording and record production Martha has recorded with some of the greatest classical musicians of our time for the major record labels and in the best concert halls. She has credits on over 300 recordings, mostly for worldwide release, many of which have been distinguished with the most prestigious awards. A graduate from the renowned Tonmeister program at the Musikhochschule Detmold, Germany, Martha was one of the pioneers of digital recording and editing in Europe during the 1980s. In her many years on staff as producer/engineer/editor with Philips Classics, she developed long lasting working relationships with many prominent artists. Martha has been entrusted with the recording legacy of world-class soloists and orchestras from Alfred Brendel to the Philadelphia Orchestra. She has worked with such artists as Jessye Norman, Claudio Arrau, Simon Rattle and the Vienna Philharmonic Orchestra, Kent Nagano and the Montreal Symphony Orchestra, John Eliot Gardiner, the English Baroque Soloists and the Monteverdi Choir and Neville Marriner and the Academy of St.Martin-in-the- Fields. She has recorded in a variety of venues throughout the world, including the Musikverein in Vienna, Carnegie Hall in New York, the Moscow Conservatoire, Bayreuth Festspielhaus, Suntory Hall in Tokyo and the Cathedral of Notre Dame in Paris. Martha is a frequent lecturer at international professional conferences as well as a guest lecturer at leading schools for higher education in Audio in locations as varied as Banff, Moscow, Düsseldorf, Bogotá and New York. Her research topics include the latest surround-sound techniques, music recording with virtual acoustics and the aesthetics of recorded music. .

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Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Soﬁe von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Soﬁe von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
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Concertgebouw Future in Doubt Representative Soft -Pedaled the Dy- Go Off in the 1812 Overture We'd Bet- Namic Range Attribute of Digital
39 Classical Radio Facing New Digital Woes Disks' Extended Dynamic Range Creates Problems By IS HOROWITZ justly proud of the cleanliness of when it takes up the topic "Signal their broadcast signals and their fi- Processing for Broadcasting." NEW YORK--Hybrid digital - delity to the original programs now The meeting will be held at the analog recordings that manage to face an increasing need to compro- WQXR Auditorium, 229 West 43rd pack in a few more dBs of dynamic mise dynamics. If the permissible Street, Oct. 5 at 7 p.m. Classical sta- range than conventional LPs are peak is exceeded, the signal im- tions will be represented by Richard creating some new problems for pinges on a dial neighbor's territory, Koziol and Matt Biberfeld of quality conscious classical radio. something the FCC frowns upon to WNCN, and Doc Masoomian and The very attribute that is consid- the point of imposing sanctions. Too Robert Sherman of WXQR. They ered one of digital recording's quiet a signal. on the other hand. will be joined on the panel by Herb strongest selling points- extended places the program "down in the Squire and Dene Hallum of country dynamic range -is the one that gives mud" of near inaudibility. station WHN -AM, and Bob Deitsch radio the most trouble. Broadcasters are glad that rela- and Larry Berger of local rocker Compression of the signal, or sub- tively few classical recordings so far WPLJ. jective gain riding, becomes a fact of tax the practical limits, although Biberfeld says WNCN's approach radio life when up to 68dB of dy- they wonder to what extent the to the dynamics problem is to rely HOT OFF THE PRESS -A first copy of Deutsche Grammophon's new "Turan- namic range.
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