Do you have a link for it? I'm always keen to hear Webern performances I haven't heard before. I see Boulez recorded and performed sporadically here and there. For some of those other conductor's compositions the CPO series occasionally releases something. This was a nice surprising major label release for Boulez:
Mahler*, Petra Lang, Royal Concertgebouw Orchestra*, Riccardo Chailly – Symphony No. 3 / Bach Suite Label: Decca – 470 652-2 Format: 2 x SACD, Hybrid, Multichannel, Stereo Country: Europe Released: 2004 Genre: Classical Style: Romantic, Modern
Hong Kong Universal Music will be its first 4 classical music SACD on June 15, 2022.... The SACDs will be pressed in Japan and while HK Universal Music has its own web store, sales will likely be restricted to shipping addresses in HK and Macau. As with more most HK Universal Music SACDs of non-local artists, they will show up on importcds.com, who usually have the best prices for them.
This looks like an interesting new (upcoming) Pentatone SACD release (I can't yet find the release date). It features pianist Francesco Piemontesi (who has previously recorded for the Avanti label), conductor Jonathan Nott (who has previously recorded for the Tudor label) and the Orchestre de la Suisse Romande in Piano Concerti from Schoenberg & Ravel and a piece by Messiaen.
6th Listen, Brahms Symphony No. 1, Alto Rhapsody, and Schicksalslied, Bruno Walter & the Los Angeles Philharmonic Orchestra (aka the Columbia Symphony Orchestra West Coast), Indian Summer Stereo Recordings, Disc #1 (of 6), Sony Japan SACD: I got this SACD box set for Christmas 2019. It has become my reference for recordings of Brahms Four Symphonies. As of January 2022, Sony Japan have now released all four symphonies on (modestly priced) individual SACDs as well. I get chills listening to Bruno Walter and his Los Angeles players interpretation of the opening drumbeats and soaring strings in the 1st movement (Un poco sostenuto) of Brahms Symphony No. 1. I hear faint tape hiss. This was originally an analogue recording. I love the contribution of the Los Angeles woodwinds in this opening movement. I hear a great deal of drama and passion in Walter's interpretation of this first movement. I love the way that the recording engineers have recorded the bite and (rich) tonality of the Los Angeles strings. I love the bite and tonality of the Los Angeles brass section as well. I love the pizzicato (string) sections of this movement. I love the way that the Los Angeles string players interpret the music. I once heard Daniel Barenboim describe this movement as an "Agitation of Syncopations," and I could not describe it better. I love the way that Walter and his Los Angeles players interpret the gentle ending of the movement (which creates a nice contrast with the Sturm und Drang of the opening of the movement). The drama and passion in the interpretation and the beauty of the recorded sound have never been equaled. I love the contribution of the Los Angeles horns in the opening of the 2nd movement (Andante sostenuto). I love the rich, burnished sounding strings. I love the contribution of the Los Angeles woodwinds. I love the oboe solos. I love the dialogue that I hear between the woodwinds and the strings. My eyes always become moist when I listen to Walter's interpretation of this slow movement. I love the way the Los Angeles strings buzz and glow. The remastering sounds remarkably clear and true. I can make out individual instrumental lines in the mix. I love the violin solo that I hear in the movement. Now I hear a beautiful dialogue (developing) between the solo violin and a solo horn. Now the woodwinds have joined them. I love the pizzicato playing from the Los Angeles string players. The solo violin closes the movement. I would dearly love to know who the solo violin player is. He or she has a most lovely "singing" tone. I love the way that Walter and his Los Angeles players interpret the opening of the 3rd movement (Un poco allegretto e grazioso). I love the way they interpret the rhythms in this movement. I love the subtlety of the "Ode to Joy" quotations. I love the way the strings buzz and glow. I love the drama and passion that I hear in the interpretation. I love the contribution of the Los Angeles woodwinds. I love the drama that I hear in the opening of the 4th movement (Adagio, Piu andante, Allegro non troppo). I love the pizzicato playing from the Los Angeles string players. I love the way that Walter and his Los Angeles players interpret the development section of this movement. I love the way they interpret the "Ode to Joy" quotations. I love the buoyancy of the rhythms that I hear in their interpretation of this movement. The buoyant rhythms remind me of Brahms "Saint Anthony" Variations as well as Brahms "Academic Festival Overture." I love the way that Walter and his players interpret Brahms "Agitation of Syncopations" (as Daniel Barenboim aptly puts it). I hear wonderful rhythm from the strings as they play pizzicato. I can't help but to clap and snap along with the music! I hear so much soul and passion from the Los Angeles players! Walter has a such a wonderful way with tempo, pacing and phrasing. I love the "heavenly" sound that he achieves with individual players and with the full orchestra. I love Walter's amazing ear for detail. He and his Los Angeles players unleash every ounce of passion and soul in their beings in the monumental, cosmic conclusion of the piece! The acoustics of American Legion Hall in Hollywood California (where this was taped in 1959) sound very flattering. The recording sounds crystal clear...like sitting in the Hall where this was taped. Listening to this SACD remastering is like listening to the mastertape itself! This is my Reference Recording of Brahms Symphony No. 1. I hear great drama and tension in Walter's interpretation of the opening of Brahms "Alto Rhapsody." Mildred Miller is the soloist. I feel like I have been transported to American Legion Hall. I love the contribution of the Los Angeles woodwinds. I love the way the Los Angeles players dialogue with Ms. Miller. I love the elegiac quality that I hear in the interpretation and I love the contribution of the male chorus. I love the pizzicato playing from the Los Angeles strings. I love the way that Walter and his Los Angeles players interpret the gentle, elegiac conclusion of the piece. This was taped in American Legion Hall on January 11, 1961. I love the way that Walter and his Los Angles players interpret the noble opening of Brahms "Schicksalslied." I love the restraint and taste that I hear in the interpretation. I love the beautiful sound of the Los Angeles strings. I love the contribution of the Los Angeles drums. I love the contribution of the Occidental College Concert Choir. I love the pizzicato playing from the Los Angeles strings. I love the way that the orchestra and chorus dialogue with one another. I love the drama and passion that I hear in the interpretation! This was taped in American Legion Hall, Hollywood, California on January 9, 1961. If you want "authentic" Brahms performance, this is it! Bruno Walter was a contemporary of Johannes Brahms (Walter was 20 when Brahms passed in 1897). Walter was schooled and instructed by Brahms friends and associates. Walter knows this style of music making (like few others). It's imbedded in his musical soul! I find it miraculous that a contemporary of Brahms lived long enough to give us (these) modern stereo recordings of the composer's art. I find Walter's "Indian Summer" Stereo recordings a unique and astounding treasure and the closet thing we modern listeners have to a time machine, to allow us to hear and appreciate the music making of the Nineteenth Century! Columbia's John McClure produced these recordings. Sony commissioned this new remastering to co-ordinate with the Bruno Walter Complete Columbia Album Collection (the "Big Box"). The tape transfer from the original Analog Master Tapes, Mixing and DSD Remastering was done by Andreas K. Meyer and Jennifer Nulsen of Swan Studios New York in 2019. American Legion Hall, Hollywood, California
Some say that the stage of the hall is relatively small (for an orchestra that plays Mahler symphonies), though I have no idea if it is right.
If I am not mistaken, for the Walter recordings, the seats in American Legion Hall were removed and the orchestra were seated on the hall floor.
Mahler Symphony No. 2, Leopold Stokowski & the London Symphony Orchestra and Chorus, w/ Brigitte Fassbaender, mezzo-soprano, Margaret Price, soprano, Originally RCA, Dutton-Vocalion (stereo/multi-channel) SACD: I like the drama that I hear in Stokowski's interpretation of the opening of the 1st movement (Allegro maestoso) of Mahler's Symphony No. 2. I love the contribution of the organ, the London Symphony woodwinds and the harps. I also love the contribution of the London brass. I love the way that Stokowski and his London Symphony Orchestra players interpret the (strong) rhythms in this opening movement. I love the crisp sound of the London Symphony percussion players. They add a great deal of excitement and pizazz to the performance. I love the way that Stokowski maintains a sense of drama and excitement throughout this movement. I also hear a wonderful quality of lyricism that contrasts nicely with the drama and grandiosity. This has to be one of the most startling, engrossing, electrifying interpretations of this movement that I have yet come across. I like the lyricism and sense of fun that I hear in the opening of the 2nd movement (Andante moderato). I love the contribution of the London Symphony percussion players in this movement. I love the way that the recording engineers have captured the beauty of the London Symphony string sound. I love the drama that I hear in Stokowski's interpretation. I love the pizzicato playing from the London strings and the way they capture a sense of fun in their interpretation. I hear a wonderful quality of Mahlerian lyricism. I love the contribution of the London Symphony woodwinds and the harps. I love the snappy rhythms that I hear in Stokowski's interpretation of the 3rd movement (Scherzo). I love the snappy sounding contribution of the London Symphony percussion players in this movement. I love the way that Stokowski's interpretation captures the humor in this movement. I also love the theatricality that I hear in Stokowski's interpretation. I love Brigitte Fassbaender's interpretation of settings of poems from Das Knaben Wunderhorn in the 4th movement (Urlicht). I hear many elements in these "Wunderhorn" settings that I also hear in Mahler's Symphonies No. 3 & 4 (which seem to be sequels thematically to Symphony no. 2). I love the way that Stokowski brings out the drama in this movement. I love the contribution of the harps in the dramatic opening of the 5th movement (Scherzo). I love the pizzicato playing from the London strings and the dialogue that they engage in with the brass players. I love the contribution of the London Symphony woodwinds. I love Stokowski's choices of tempi and phrasing in his interpretation of this movement. I love the way that these choices heighten the drama and tension in the music. I love the lyricism, excitement and nobility that I hear in the interpretation. I love Stokowski's use of orchestral color and texture to heighten of the sense of drama in the music. I love the contribution of the bells. Moreover, the London Symphony woodwinds sound enchanting. I love what they add to the interpretation. I love the hushed entry of the London Symphony Chorus. I love the soaring beauty of Margaret Price's entry. I love the way that the soloists and the chorus explore the "Wunderhorn" themes in the music. I love Brigitte Fassbaender's interpretation of the "Wunderhorn" settings in this movement. I love the drama and passion that I hear from the chorus! I love the lovely duet between Ms. Fassbaender and Ms. Price singing settings of poems from Das Knaben Wunderhorn. I love the way that the London Symphony Chorus support the soloists. I love the way that Leopold Stokowski guides and supports the entire endeavor! What a performance! This was recorded in Walthamstow Town Hall, London in 1974. The recording was produced by RCA's Richard Mohr. The SACD was remastered from the original analogue tapes in stereo and quadrophonic sound (I listened to the stereo mix) by Michael Dutton in 2020. Stokowski conducted this performance of Mahler's Symphony No. 2 at the age of 92! I am so astonished and I would dearly love to hear Stokowoski's thoughts on the other Mahler Symphonies. Would that he had recorded all of them, but at least we have this recording of Stokowski's interpretation of Mahler's 2nd. Stokowski and Mahler seem (after listening to this recording) made for each other! I bought this SACD over a year ago (along with a couple of other Stokowski Dutton-Vocalion Quad SACDs). I reviewed Dutton-Vocalion's SACD of Stokowski's recording of Beethoven's Symphony no. 3 a year ago and it has taken me a year to finally get around to listening to this SACD of Mahler's 2nd. I am glad that I did! I am incredibly thankful and grateful to Michael Dutton and Dutton-Vocalion for bringing this Stokowski (quad) recording back!
This marks the One-Year Anniversary of this thread. I cannot thank all those who have participated in it enough and I look forward to the next year of discussion about Classical SACD!
I concur with the enthusiastic assessment of the Stokowki Mahler recording, and it's even better in quad. I know many dislike these early quads because they do not simply capture the room acoustics as modern surround recordings tend to do but often add discrete information as if you are sitting in the orchestra. When in the mood, I personally like these more intrusive recordings. I can also recommend these other Stokowski SACDs, three of which are also early quads.
The Vaughan Williams goodies keep coming. Tower Records Japan just released a new 5 SACD set of recordings of the Vaughan Williams Symphonies conducted by Adrian Boult (originally EMI recordings): HRAudio.net - Vaughan Williams: 9 Symphonies - Boult
I checked via the search function but couldn't find much in the way of an answer so I hope this thread will be able to help me: Esoteric Recordings from Japan has a rather healthy catalogue of classic... er... classical titles. They come with a certain hype and with a very high price tag (in the EU and US, at least). Can anyone who has had the chance to play them shed some light on the quality/SQ? Thank you in advance
I find the SQ of the Esoteric SACDs to vary from recording to recording (keeping in mind that I have not heard them all)...to a greater degree than from other Japanese SACD companies such as Tower Records Japan SACDs or the Universal Japan SHM-SACD series. With that said, some of the Esoterics sound excellent...I have reviewed quite a few excellent ones in this thread and some Esoteric SACDs can sound mediocre (to my ear) . I have not reviewed the mediocre sounding ones in the thread yet but I can post some images of Esoteric titles that disappointed me, such as these: My biggest issue with those titles that I consider "mediocre" sounding is that they don't sound any better than the CD equivalents and being sometimes 10x more expensive than the CDs, don't represent much value. So, all in all, I take the Esoteric SACDs on a case by case basis and only buy those titles containing music that I really, really like (thus minimizing the risk of getting an expensive dud).
I revisited an older set of Beethoven String Quartets from Pražák Quartet, this is an outstanding cycle. I'll copy and paste what I wrote on another forum, link- Re: Beethoven's String Quartets
Béla Bartók / Boston Symphony Orchestra ∙ Rafael Kubelik, Seiji Ozawa – Concerto For Orchestra / Music For Strings, Percussion & Celesta Label: PentaTone – PTC 5186 247 Series: PentaTone Remastered Classics Format: SACD, Hybrid, Multichannel, Quadraphonic, Compilation, Reissue, Remastered Country: Netherlands Released: 2017 Genre: Classical Style: Neo-Classical, Modern
6th Listen, Brahms Symphony No. 2 and Academic Festival Overture, Bruno Walter & the Los Angeles Philharmonic Orchestra (aka the Columbia Symphony Orchestra West Coast), Indian Summer Stereo Recordings, Disc #2 (of 6), Sony Japan SACD: I love the lilt that I hear in Bruno Walter and the Los Angeles Philharmonic's interpretation of the opening of the 1st movement (Allegro non troppo) of Brahms Symphony No. 2. I also love the way that Walter and his players capture the drama in this opening movement. I love the rich, burnished sound of the L.A. String section. I love the way that the recording engineers have captured that sound. I love the contribution of the L.A. brass section and the L.A. woodwinds. I love the way that Walter and his players bring out the rhythm in this movement. I love Walter's ear for orchestral line. I love the drama and passion that I hear in the interpretation! I love the contribution of the drums. I love Walter's way with Brahm's beautiful melodies. I love the way that he interprets the push and pull of sonority and emotion in this movement. I love the contribution of the horn players. I love the pizzicato playing from the strings. I love the way that Walter and his L.A. players capture the emotion in the opening of the 2nd movement (Adagio non troppo). The emotion sounds incredibly sincere. I love the horn playing. I love the dialogue that I hear between the horns, woodwinds and strings. I love the sense of a musical event in a 3-dimensional space that the recording engineers have captured. The recording sounds ultra realistic. I love the passion and drama that I hear in the interpretation. I love the majesty and gravitas that I hear in the interpretation. Walter's choices of phrasing and tempi really enhance these qualities. I love the way that the woodwinds sing out. I love the clarity of orchestral line that allows the woodwinds to be heard so distinctly along with all the other choirs. I love the way that Walter's interpretation captures the elegiac, autumnal qualities in this slow movement. I love the geniality that I hear in the opening of the 3rd movement (Allegretto grazioso). I love the contribution of the L.A. woodwinds and the L.A. string choir (playing pizzicato). I love the way that Walter's interpretation brings out the snappy rhythms in this movement. I can't help but to dance along with the music in my seat! I love the way that the recording engineers have captured the rich and burnished orchestral palette that Walter and his players paint the music with. I love the way that Walter and his L.A. players interpret the hushed opening of the 4th movement (Allegro con spirito). The muted opening creates great contrast with the exuberance and high spirits of the development section of the music. I love the contribution of the L.A. woodwinds in this movement. I love the way that Walter's interpretation captures the push and pull, the agitation of syncopations in this movement. I love the way that Walter's interpretation illuminates the "architecture" of this music. I love the way that Walter and his Los Angeles players bring out the strong rhythm in this movement and the way they bring out the elegiac qualities of the music. I am dancing along in my seat! Bravo! Bruno Walter and his Los Angeles Philharmonic players and the Columbia recording team under producer John McClure taped this recording of Brahms Symphony No. 2 on January 11, 14, & 16th, 1960 in American Legion Hall, Hollywood, California. I love the way that Walter and his Los Angeles players interpret the "walking" bass line in the Academic Festival Overture. I love the way they bring out the rhythms in this piece. I love the exuberance, the humor, the drama and the nobility that I hear in the interpretation. The interpretation has me smiling from ear to ear and dancing along in my seat! This recording of Brahms Academic Festival Overture was taped by Walter and his Los Angeles Philharmonic players and the Columbia recording team on January 16, 1960 in American Legion Hall, Hollywood, California. Sony commissioned this new remastering of Brahms Symphony No. 2 & Academic Festival Overture to co-ordinate with the Bruno Walter Complete Columbia Album Collection (the "Big Box"). The tape transfer from the original Analog Master Tapes, Mixing and DSD Remastering was done by Andreas K. Meyer and Jennifer Nulsen of Swan Studios New York in 2019. American Legion Hall, Hollywood, California
2nd Listen Brahms Piano Trio No. 1 in B major and Piano Trio No. 2 in C major, Thomas Albertus Irnberger, violin, David Geringas, cello & Lilya Zilberstein, piano, Disc #1, (of 2), Gramola SACD: This SACD was released by Gramola on June 3, 2022. Having heard many other excellent recordings of chamber music by Gramola on SACD, I bought this as soon as it was available. I love the gentle romance that I hear in the opening phrases of the 1st movement (Allegro con brio) of Brahms Piano Trio No. 1 in B major. I love the tremendous passion that I hear in this interpretation. I love the strong rapport that I hear between the players, Thomas Albertus Irnberger on violin, David Geringas on cello and Lilya Zilberstein on piano. They seem to think, breath, respond and play as one. They are linked telepathically. Mr. Irnberger's violin seems to sing out the (violin) parts to such a degree that it's easy for me to imagine a soprano substituting for the violin. I love the rich, burnished tone and the alert playing that I hear from Mr. Geringas on cello. I love the way that his instrument sings and I could easily imagine a tenor substituting for his cello in the cello part. I love the incredible dialogue that Lilya Zilberstein creates with the other soloists. I love the luminous, incandescent, alert quality of her playing. All three performers sound like they are in the room with me! The recording engineers have a captured a real musical event happening in 3-dimensional space. Brahms chamber and solo music has a unique character (and this piece is no exception). Even using just three players (in this case), the music sounds symphonic. Robert and Clara Schumann recognized this quality instantly upon hearing one of Brahms (early solo) piano pieces for the first time. Brahms can make a few (or even one) instrumental voices speak with the power of a myriad of voices! Thomas Albertus Irnberger, David Geringas and Lilya Zilberstein capture this unique quality and the symphonic scope of this movement spectacularly! I love the way the players interpret the strong rhythms in the 2nd movement (Scherzo). I hear tremendous passion in the interpretation! I love the way the players capture the quick changes of mood and tempo in this movement. I hear exceptionally strong rapport between the players. I love the sparkling, effervescent quality that I hear in Lilya Zilberstein's playing. I love the way the players bring out the tenderness and emotion in the 3rd movement (Adagio). I love the way that Ms. Zilberstein's playing brings out more somber emotions and darker hues in this movement. I love the way that Mr. Irnberger and Mr. Geringas seem to echo these emotions. Once again I hear tremendous passion and vitality from all three players. Their connection and rapport with one another sounds strong. I love the way their interpretation brings out the qualities of romance and longing in this movement. I love the luminescence (and the emotion) that I hear in Ms. Zilbersteins's playing. Mr. Irnberger and Mr. Geringas make their instruments sing out in response to Ms. Zilberstein's poetry. I love the strong dialogue that I hear between Mr. Geringas and Ms. Zilberstein in the opening of the 4th movement (Allegro). Now Mr. Irnberger has joined them and they each sing out in a three-way dialogue that sounds like a myriad of (instrumental) voices singing together. I hear tremendous passion in their playing. I love the way the players bring out the strong rhythms in this movement. I am overcome with emotion. This level of passion is almost unbearable! Bravo! This deserves a standing ovation! Thomas Albertus Irnberger, David Geringas and Lilya Zilberstein capture the symphonic scope of this music spectacularly! I love the humor that I hear in this interpretation of the 1st movement (Allegro) of Brahms Piano Trio in C major. Many, many artists fail to bring out the "smiles" in Brahms music. I love the way that Irnberger, Geringas and Zilberstein capture the charm in this movement. They also capture a wonderful quality of romance and ardor. I hear a strong sense of rapport and connection between the players. The richness of tone that each soloist creates sounds quite remarkable and I love the way that the recording engineers have captured the beauty of their playing. Once again...listening to this movement...I have the sensation of listening to a full orchestra. I love the emotion that I hear from the players in the 2nd movement (Andante con moto). I am struck by the beauty of instrumental tone that the players create and the wonderfully vivid way that the recording engineers have captured the beauty of their sound. I love the way that the players capture the qualities of tragedy and tenderness in this movement. I hear a strong sense of rapport and connection between the players (a much stronger sense of connection and ensemble than what is usually heard from the players in an orchestra for instance). I love the incandescent quality of Ms. Zilberstein's playing. I find myself deeply moved by the emotion that I hear in Irnberger, Geringas and Zilberstein's playing. I love the way that the players interpret the snappy rhythms in the 3rd movement (Scherzo). I love the way that the players bring out the singing quality in the music. I once again have the sensation that I am listening to a full orchestra. I love the emotion and high spirits that I hear from the players in their interpretation of the opening of the 4th movement (Allegro giocoso). I love the way that the players bring out the strong rhythms and the charm in this movement. I hear a strong sense of rapport and connection. Bravo! These performances were taped February 24-26 and April 10-13, 2021 at the Mozart-Saal, in Salzburg, Austria. The recordings were produced by Richard Winter and Bernhard Hanke, who also did the sound editing. This is yet another spectacular sounding SACD release from the Austrian record label Gramola.
@yasujiro @layman do you know which Rachmaninoff Piano Concerto releases from Janis/Dorati and Dorati's symphony music has come out by Stereo Sound Japan? So far I am able to find: Stravinsky The Firebird Rachmaninoff Piano Concerto 3 (did Piano Concerto 2 with Janis come out?) Prokofiev Scythian Suite One hifi friend has praised these a lot and I find myself very much agreeing with him a lot on stereo equipment and mastering. Thank you!
