1st and 2nd and 3rd listen: Chopin Piano Sonatas, Hiroko Nakamura, Sony Japan SACD: Every so often, I make a chance musical discovery that forces me to re-asses how I value (recorded) music performance. Such was the case while browsing in my local Record Shop one Friday evening after work. It was an unplanned visit but I make it a habit of checking the offerings in the store on a regular basis, as they are constantly getting new stuff in and there is always something that I missed on a previous visit. I had never previously heard of Ms. Hiroko Nakamura. Born in 1944, she began playing the piano at the age of 3. While attending Junior High school, she won First Prize at the National Music Competition of Japan in 1959 (at the age of 15). In 1963, she began piano studies at Julliard under Rosina Lhevinne. She won 4th Prize in 1965 at the 7th International Frederic Chopin Piano Competition (the 2nd Japanese prize winner in the history of the competition). That was the same year that Martha Argerich won 1st Prize. Ms. Nakamura had a long and successful career both on the concert stage and as a juror in many major piano competitions. She taped this current album for Sony in 2002. It was one of Sony's early DSD recordings (that is what initially attracted me to it). Sadly, Ms. Nakamura died of cancer in 2016. This album of Chopin Piano Sonatas speaks volumes about Ms. Nakamura's talents and abilities. I am quite at a loss for words and at a loss at understanding how such a remarkable talent could have flown under my radar for so long. I am only discovering her five years after her passing. I don't get the impression that Ms. Nakamura's recordings were marketed heavily outside of Japan (I have never seen any before now) or else I feel that she would have been much more widely known. All I can say is that I find the playing on this album to be haunting. I don't recall many instances of being this moved by a piano recording and the recording quality...it's demonstration quality! I just don't understand why Sony did not promote this album globally when it came out in 2002 to demonstrate what was possible with the new SACD format. I would have included selections from this album in those early SACD sampler discs (that were often packaged with the new SACD players of that time). Hell I would have included the whole album free as a sampler with every purchase of a Sony SACD player. The album makes a formidable case for the format. This was only one of many missed opportunities on Sony's part to make the general public more aware of the tremendous step up in quality that SACD recording can provide. Yet, for me personally I feel that this album is better discovered late than never. I feel, after just a short acquaintance, that the album has enriched my life and enlightened me as to what is possible with piano recording. The recording quality and the playing remind me a great deal of Murray Perahia's Sony SACD recording of Chopin's Etudes that was made virtually at the same time (another missed opportunity to demonstrate to the general public what the format was capable of). I have simply never heard better recordings of piano music. Ms. Nakamura continues to be linked to Ms. Martha Argerich (who she competed with all those years ago). I feel that Ms. Nakamura's interpretation of the Chopin Sonatas rivals that of Ms. Argerich (though Ms. Argerich has never been captured in a recording of this quality - yet). I hear in Ms. Nakamura's playing a fascination with the romance, whimsy and playfulness in this music and a profound sense of empathy with the composer. I am deeply moved.
I listened to the first two years this week, he is good but I didn't find them as engaging as the others I mentioned on the previous page. A new recording (not SACD) that did impress me was Francesco Piemontesi, though as of now it's incomplete. He also made one of my favorite Schubert discs to come out in the last few years, also not on SACD but recording quality that might as well sound like SACD.
1st Listen Stravinsky Rite of Spring, Georg Solti & the Chicago Symphony Orchestra, (originally Decca) Stereo Sound Japan SACD: I first heard a copy of this recording on vinyl. I was visiting NYC's Living Stereo (five years ago) and was listening to a Shindo amp driving a pair of Devore O/96 speakers. I was unfamiliar with the recording when it was pulled out to demonstrate the equipment. After everything was set up, I was left alone to listen. To say that I was astonished would be a gross understatement! The room shook and thundered! Up until that point, I never knew that Hi-fi was capable of that level of realism. I wanted to take the whole system home with me but as that was not an option, I asked if I could purchase the record. The staff politely declined to sell it to me, as that particular record was not for sale. I then spent several years hunting for this recording on CD. I first found a Japanese CD version but that sounded bright and harsh and was a disappointment. Next I was tipped off (by member @bruce2) to the existence of a Japanese XRCD version, which I purchased and liked. It seemed to capture more of the vinyl copies incredible sound. Now I am auditioning the Stereo Sound Japan SACD version. I love the sound of the woodwinds in the opening. This sequence sounds very other worldly. I love the detail that Solti and his Chicago players capture. I love the way the brass instruments sound. I love the way that Solti handles those stabbing chords. The drums sound incredible. This sequence conjures images in my mind, not of a pagan dance but rather of a galaxy far, far away. This was taped (on May 14, 1974 at Chicago's Medinah Temple) 3 years before that seminal piece of cinema. John Williams owes a great debt (of inspiration) to Stravinsky. I am really enjoying Solti's interpretation, which sounds less nutty than many, as Solti seems to emphasize the extraordinary, revolutionary sound world of this composition. Yet, Solti does not gloss over the nutty, psychotic aspects of the piece altogether, as his interpretation allows these qualities to simmer slowly until they reach a boiling point. It's quite a patient interpretation with a big pay-off. I like the way that Solti and the Chicago Symphony players get into the rhythms of the piece. I hear the savagery and the brutality in the interpretation. It sounds (appropriately) alien. I love the way that Solti handles the (anti) climax! This (SACD) version sounds half-way between the CD version and the vinyl version...it's more detailed than the vinyl version but does not sound quite as dynamic (which technically should not be possible, as SACD has a greater dynamic range than vinyl does). The SACD sounds much more liquid and realistic than that first CD version though. I can live with this SACD version. According to the liner notes this was engineered by Jonathan Stokes and Neil Hutchinson of Classic Sound for release on SACD by Stereo Sound Japan. No date (that I could discern from the liner notes) was given for the remastering, but a Google search shows a release date for this disc of October 1, 2016.
1st Listen Schumann and Grieg Piano Concerti, Radu Lupu, Andre Previn & the London Symphony Orchestra (originally Decca) SHM-SACD: I have long been an un-fan of pianist Radu Lupu. I have purchased many of his recordings over the years (based on the following that he has) but been disappointed in them. So, I was very hesitant to hear his recording of the Schumann and Grieg Piano Concerti. Yet, I came across a CD version a week ago in my local Record shop. I bought it and I was astonished! I am so glad that I gave the recording a chance! It just goes to show that some artists can be mediocre (or even lousy) in a lot of repertoire but then they find that one piece (in this case two pieces) that they really, really identify with and something incredible happens! I ordered this SACD version as soon as I discovered that CD recording. I love Lupu's playing in the opening Allegro affetuoso of the Schumann Piano Concerto in A minor. His piano has a gorgeous, golden, burnished tone (here) that I just adore listening to. I have never heard Mr. Lupu play with more animation and sympathy. I hear great affinity with the composer in the interpretation and warm, supportive, affectionate accompaniment from Andre Previn and the London Symphony Orchestra. This interpretation makes me want to get up and dance! I hear the same affection for the music in the opening of the 2nd (slow) movement (Intermezzo). This is the kind of performance that makes me want to savor every note (as the players themselves are clearly doing). The movement has a songful, prayerful quality. I like the way the players handle the transition to the (joyous) 3rd movement (Allegro vivace). I once again hear great sympathy (and felicity) with Schumann from the players. I love the drumroll that concludes the movement. Bravo! The drumroll that opens the Allegro molto moderato of Grieg's Piano Concerto in A minor sounds equally dramatic. I hear that same warm, incandescent tone from Mr. Lupu's piano as I heard in the Schumann recording. The high quality of the playing also remains consistent. The players seem to savor the notes. I hear so much passion in the interpretation! I love the tenderness that I hear in this interpretation of the 2nd (slow) movement (Adagio). I hear a prayerful, reverential quality in Mr. Lupu's playing. I honestly never knew that he was capable of this. I hear the same reverential quality in the accompaniment. I hear a quality of excitement in the concluding Allegro. I am enjoying this so much that it's hard to write...I hear the same reverence and commitment from the players. Superb! As good as the CD version of this recording is, the SACD version sounds that much more polished and realistic. The CD version sounds like a slightly cloudy and slightly smudged pane of glass has been laid over the performance. The SACD version sounds like that pane of (dirty) glass has been removed. The liner notes say that this was remastered for SACD by Classic Sound in 2012.
You can give them a listen at YT. I was only familiar with the Varese. The Harrison is a pretty wild piece.
I have the CD. It sounds pretty awesome! https://www.youtube.com/playlist?list=OLAK5uy_nTqr472lUbWUP6NgZjvTO9cKzrjk1pgQY
1st Listen John Williams Compositions, Jerry Junkin & the Dallas Winds, Reference Recordings SACD: Since I made reference to John Williams in my review of Georg Solti's recording of Stravinsky's Rite of Spring, I felt inspired to listen to John Williams (as he was inspired by Stravinsky). I am very familiar with the Olympic Fanfare and Theme (the first piece on the disc) but I did not know (until now) that this was a John Williams c0mposition. This is a fun, exciting piece. I hear the same kind of spectacular sonics as I have come to expect from Reference Recordings. The next piece, the Cowboys Overture sounds unfamiliar to me but it seems to explore some of the same themes as Aaron Copland's Rodeo. I know the Superman March well. I love the piece. It's beautifully played here. I just realized that this is not a full orchestra...it's all the instruments minus the strings. I honestly did not even miss the strings. The opening of the Suite from Close Encounters of the Third Kind sounds suitably eerie...like aliens are invading my listening room! I like the way the players bring out the quality of wonder and amazement in the music. The piece ends on a gentle, hopeful note (just like the film). The next piece called With Malice Toward None (from Lincoln) sounds familiar to me. I love the trumpet playing (from Chistopher Martin) in this piece. The composition reminds me a bit of Samuel Barber. I like it. The next piece is perhaps John Williams most famous composition, Star Wars (Main Title). I have loved this music since I was a child. The piece has stood the test of time. I hear the influence of Stravinsky and Ravel. The harp playing sounds ethereal. I can't help but imagine a voyage into outer space. I love the Imperial March from the Empire Strikes Back. This performance sounds exciting! It's conjuring images of the film in my mind. I think 3/4 of the success of the films was John Williams score. Try watching the films without the score. I can appreciate the music without the film but not the film without the music. The Scherzo for X-Wings from the Force Awakens sounds a bit less familiar to me (as those prequel or sequel films are less familiar to me) but I hear many of the same musical themes as from the earlier films. The Jedi Steps and Finale from the Force Awakens, like all John Williams compositions from Star Wars, sound very successful. There could certainly be no Star Wars films without John Williams. I am not familiar with the theme from J.F.K. but I like it. The Adventures on Earth sequence from E.T. sounds exciting. I love John Williams use of brass instruments. I love the way the woodwinds play the E.T. theme. I love the chirping of woodwinds in the opening of the March from the film 1941. I like the drum playing too. The disc concludes with the Star Spangled Banner (in an arrangement by John Williams) featuring real cannon shot! Reminds me of the 1812 Overture! To sum up, this SACD disc, released in 2018 by Reference Recordings sounds spectacular and is a great tribute to John Williams!
1st Listen Richard Strauss Burleske in D Minor, Ein Heldenleben, Marc Albrecht & the Netherlands Philharmonic Orchestra, Pentatone SACD: I like the drum parts that open the Burleske in D minor (a kind of Piano Concerto in a single movement). I love Denis Kozhukhin's piano playing. I am enjoying the animated accompaniment of Marc Albrecht and the Netherlands Philharmonic Orchestra. I love the use of drums throughout the piece. I hear a great deal of excitement in the interpretation. I hear excitement too (and beautiful sonics) in the opening of Ein Heldenleben. I love the violin solo playing (by Vadim Tsibulevsky). I am really enjoying this interpretation and the Pentatone engineers did a fantastic job capturing this. The drums and brass sound amazing. The composition sounds very cinematic. Cecile B. DeMille would approve! The dramatic parts are interlaced with lovely pastoral-like interludes. I find the piece captivating (when it's played well...as it is here). I love the storm sequence. I love the qualities of nobility and serenity that Albrecht and the Netherlands Philharmonic bring out in the Finale.
I've got this MDG SACD on its way - music by Anton Diabelli played on flute & guitar. The samples at jpc.de sound very promising.
1st Listen Beethoven Symphony No. 9, Fritz Reiner & the Chicago Symphony Orchestra, Disc 3, Sony-Japan SACD: This was originally an analog (Living Stereo) recording and I am noticing the background hiss (in the transfer) from the analog master. The DSD transfer seems to capture the vivid sonic color and dynamics of the original recording. The opening Allegro ma non troppo sounds very exciting. There is so much happening musically but the Chicago woodwinds really make a memorable contribution. It's a testament to Fritz Reiner's conception of orchestral balance that the woodwinds can be heard so well (not always the case with this symphony). I like the way Reiner and his Chicago players get into the rhythms of the movement. I love the dramatic contribution of the Chicago tympani in this first movement. I am riveted in my seat (think those old Memorex adverts)! The DSD remastering captures a rich palette of orchestral tone colors and faithfully reproduces the authentic sonic timbre of the instruments as they would be heard in the concert hall (this is something that I have not heard from CD level resolution). Reiner brings the drama! The opening of the 2nd movement (Molto vivace) also sounds dramatic and urgent. The recording sounds startling...it's like being in the hall where this was taped! The Chicago woodwinds are once again making a very positive contribution. With music making this satisfying it's difficult for me to try and isolate the individual elements for praise. The level of excellence all round is just so high. The drama, the urgency, the buoyant rhythms are all very much in keeping with Reiner's conception of the other Symphonies in this set (Nos. 1, 5, 6, & 7). I like the way Reiner and his Chicago players manage the dramatic shift in mood that marks the Slow movement (Adagio molto e cantabile). They bring out the tenderness and feeling in the (3rd) movement. Listeners (such as myself) can be forgiven for getting a little misty eyed. I think Reiner and his players would be pleased to know how much they had succeeded in capturing the mood of this slow movement. It's difficult for me to review a piece that causes such a strong emotional response in me. I get swept up in the feelings and my fingers won't co-operate. The computer wants to shut itself off. I don't think that (my) words can capture this experience. Reiner and his Chicago players tear into the drama of the opening of the Finale! I feel giddy with excitement and anticipation. The Ode to Joy theme has made it's first (understated) appearance. I am tingling all over. Now the soloists have entered. Bass Donald Gramm sings the opening phrases. Now all the soloists have joined him...and now the full chorus. I am loving the sound of the hurdy-gurdy as it makes it's first appearance. Tenor John McCollum is singing now. This performance transports me. I hear a tiny bit of tape saturation in the choral climax (these powerful voices sound like they are overloading the recording equipment) but it's very, very minor (lasting at most 3 seconds). The singers sound like they are in the room with me. Spectacular! I feel that this recording should be required listening for any contemporary orchestra and recording team contemplating tackling this piece. They should honestly ask themselves, "can I top this?" If the answer is no, then proceeding would be a waste of everyone's time and resources. Reiner and the Chicago Symphony taped this recording (with the Legendary RCA Living Stereo recording team of Lewis Layton and Richard Mohr) in 1961. The only other time that the Chicago Symphony Orchestra matched this recording was the 1972 analog recording with Solti. I must give the absolute highest praise to the remastering team of Andreas K. Meyer and his Swan Studios New York. The analog to DSD remastering sounds miraculous! The recording has simply never sounded better! This concludes my evaluation of this three disc (SACD) set which I started last Christmas. I would say the set is an absolute must have for Beethoven fans, Fritz Reiner fans, fans of the Chicago Symphony and fans of great music making in general!
1st Listen Beethoven Symphony No. 6 "Pastoral" and Symphony No. 1, Fritz Reiner and the Chicago Symphony Orchestra, (Disc 2) Sony Japan SACD: I hear significant tape hiss in the background of the recording (indicating a flat tape to DSD transfer). I like the woodwind playing in the opening of the first movement of Symphony No. 6. As the music develops, this sounds like an exciting interpretation but the performance does not "flow" like I am used to from Bruno Walter's recording. I am hearing more of that sense of flow in the 2nd movement. The woodwind playing sounds delightful. Damn! The storm section of the 4th movement sounds like a Nuclear detonation! It sounds thrilling! The only other conductor who I remember interpreting it this way is Franz Konwitschny in his remarkable Gewandhaus recording. I am hearing a return to the sense of flow (and joy) in the 5th movement. The Chicago woodwinds continue to delight. The disc continues in the same (exciting) spirit with the first movement of Symphony no. 1. I like the way that Reiner and his Chicago players really get into the rhythms of the piece. I am hearing a nice sense of poise and rhythm in the interpretation of the 2nd movement. Rhythms continue to catch my ear in the 3rd and 4th movements. It's an exciting interpretation of an oft neglected Symphony. The analog tape to DSD remastering was done in 2018 by Andreas K. Meyer & Rebekah Wineman at Swan Studios New York.
1st Listen Beethoven Symphonies 7 & 5 Fritz Reiner & the Chicago Symphony Orchestra, 2018 Remaster, Sony Japan SACD: This is a 3 disc set. Disc 1 features Symphonies Nos. 7 & 5 recorded by Fritz Reiner and the Chicago Symphony and originally released in 1958 and 1959 (respectively). Disc 2 features Symphonies 6 & 1 originally released in 1961. Disc 3 features Symphony No. 9 originally released in 1962. I am currently listening to Disc 1 Symphony No. 7. The recording sounds very clean and modern. I like the piquant sounding Chicago brass in the 1st movement (Poco sostenuto). The string sonority has the full, rich quality that characterized many Living Stereo recordings from this era. These recordings were engineered by Lewis Layton and produced by Richard Mohr. The 2nd movement (Allegretto) also sounds very clean. The string sonorities are full and rich and the woodwinds sound vibrant and juicy. I hear a stately nobility in this interpretation of the slow movement. The 3rd movement (Presto) sounds rhythmic and buoyant. I am loving the sense of fun and joy in the playing. I am also enjoying the lively, piquant contribution of the Chicago woodwinds. The Finale (Allegro con brio) opens with strong sense of drama and rhythm. I am enjoying the excitement and passion in the playing. The cleanliness of the recording allows the interpretation to take center stage. Reiner and the CSO invest this interpretation of the Allegro con brio with a great deal of brio, enthusiasm and excitement! Disc 1 continues with the Overture to Fidelio. It sounds very dramatic and exciting in this interpretation (whetting my appetite to hear the whole opera). The first movement of Symphony No. 5 (Allegro con brio) opens with a dark, brooding sense of drama. I like the sense of rhythm and urgency in the interpretation. The woodwind playing sounds exquisite. The strings sound rich and sonorous. The interpretation sounds dark and dramatic. This is Beethoven as a ferocious Rock Star! Reiner gets it! The 2nd movement (Andante con moto) contrasts the drama and moodiness of the 1st movement with an almost pastoral opening. More exquisite playing from the Chicago woodwinds. I love the rich, vivid, colorful orchestral sound. The 3rd movement (Scherzo) opens with a roiling, barely contained sense of emotion and drama. These elements unfold and develop continuously throughout the movement. I love the beautiful orchestral sonority that Mr. Reiner and the Chicago Symphony create (and that Mr. Layton and Mr. Mohr capture). I love the dialogue between the woodwinds and the strings (playing pizzicato) and now a subtle drum roll leads into the dramatic opening of the Finale (Allegro). I am loving the drama and swagger in the interpretation! I can't help but clap and snap my fingers along with the music! The drama and swagger that I hear in this interpretation leaves many (many) other interpretations sounding tame and tepid in comparison. Mr. Reiner knows better than to be restrained in this movement. He and the Chicago Symphony hold nothing back and play with passion and gusto! I love the enthusiasm from all the players. I said earlier that this interpretation brings out Beethoven the Rock Star but I think it's actually Rock Stars who modeled themselves after Beethoven! Now I know where Elvis got his swagger! This well filled disc 1 concludes with a dramatic and passionate account of the Coriolan Overture. This whole disc is simply an embarrassment of riches! This clean sounding DSD transfer was done by Andreas K. Meyer and Rebekah Wineman at Swan Studios New York in 2018. I cannot thank them enough for their remarkable achievements in art restoration and preservation.
1st Listen Mendelssohn, Bruch & Berg Violin Concerti, Josef Suk, Karel Ancerl & the Czech Philharmonic Orchestra, (originally Supraphon) Tower Records Japan SACD: The tape hiss that I hear in the opening movement (Allegro molto appassionato) of Mendelssohn's Violin Concerto in E Minor indicates a flat analog tape transfer. I like the way that Suk takes his time with the phrasing (one of my biggest pet-peeves with this piece is artists who rush through it without letting the beauties of the music fully unfold). A little patience (in the performance) goes a long, long way. Suk and Ancerl seem to get this. The recording perspective seems fairly close up (but not spot-lit) with Suk front and center. His violin playing has a flintier tone than the (honey-toned) violinists that I am used to, but I think this quality imparts a sense of insight and articulation. Suk makes the solo passages sing. I hear a sense of excitement in the interpretation. I love the transition (played by the Czech woodwinds) into the 2nd (slow) movement (Andante). I like the singing quality in Suk's playing in the slow movement. I hear a fun quality in the orchestral entry in the 3rd movement (Allegretto non troppo). I like the contribution of the Czech woodwinds and the Czech brass. I like the way that Suk plays the little dancing motifs in the development section. This is spirited fiddle playing! I like the contribution of the Czech woodwinds in the opening Allegro moderato of Bruch's Violin Concerto No. 1 in G Minor. I also like the violin entry. I still hear that same flinty (but singing) tone that I heard in the Mendelssohn Concerto. The violin sounds just as close up (but not spot-lit). I hear a great deal of passion in the orchestral accompaniment. The orchestral sound sounds remarkably clean for recordings dating to the early 1960s. The liner notes say that these recordings were remastered in DSD in 2018 (by Supraphon). The Allegro moderato transitions (without a break) directly into the Adagio. I hear great deal of passion from all the players in the Finale (Allegro energico). I like the way that Suk makes his violin sing and dance. I like the interesting mood of the opening Andante of Berg's Violin Concerto. I like the way that Ancerl and his Czech players capture this mood. The composition seems to come from the German Expressionist School of music making and reminds me of Bartok (with shades of Debussy and Sibelius). I like it. Suk sounds very at home in the piece. The opening of the 2nd movement (Allegro ma sempre rubato) sounds arresting. I like the contribution of the drums and other percussion instruments. I also like Mr. Suk's contribution. I am not a violin player but this does not sound like an easy piece to play and Mr. Suk's brings out the mystery and beauty in the music. I love the contribution of the Czech woodwinds as well. What a haunting piece! I'm sold!
1st Listen Beethoven Symphony No. 6 Pastorale & Schubert Symphony No. 5, Karl Bohm & the Vienna Philharmonic, Esoteric SACD: I enjoyed this recording in it's previous CD release on DG-Originals, so I was excited to find this SACD version. The tape hiss in background of the 1st movement (Allegro ma non troppo) of Beethoven's Symphony no. 6 "Pastorale" gives away this recording's analog origins. This seems to be recorded (or remastered) at a relatively high level. I hear a smooth, velvety quality to the recorded sound. I like the way that Bohm and his Viennese players bring out the rhythms in this movement. I like the (distinctive) contribution of the Vienna brass and woodwind sections. I like the pizzicato playing from the string section. I like the charm and whimsy that the woodwinds bring out. I like the sense of grace and flow that Bohm and his Viennese players bring out in the 2nd movement (Andante molto mosso). The Viennese woodwinds continue to make a positive contribution. I hear a great deal of charm and vivacity in the woodwind playing. I love the string playing in the opening of the 3rd movement (Allegro). The Viennese brass and woodwinds continue to make a wonderful contribution. I love the distinctive rasp and timber of the Viennese brass section. I love the way all the players bring out the rhythms in this movement. I love the sense of disquiet that the players bring out in the opening of the 4th movement (Allegro) storm sequence. The heavens seem to open and unleash a musical deluge. The drum playing makes a tremendous impact in this movement. All the players sound energized. I find the interpretation exciting! I love the transition out of the storm. I love the way Bohm and his Viennese player emphasize the flow and rhythm in the 5th movement (Allegretto). The qualities of nobility and charm that they bring out in the music remind me of Bruno Walter's interpretation (of the same piece). It's the kind of interpretation that makes me want to rise from my seat and dance. What beautiful playing! I like the opening phrases (played by the woodwinds) of the 1st movement (Allegro) of Schubert's Symphony no. 5. I like the way that the players bring out the (sprightly) rhythms in the movement. I like the sense of elegance and grace that Bohm and his Viennese players bring out in the 2nd, slow movement (Andante con moto). I love the woodwind playing. The woodwinds seem to bring out the sunshine and the brass players seem to create musical clouds and the complex interplay of light and shade (joy and sadness) (like clouds across the canvass of the sunlit sky) that they create seems to be the hallmark of Schubert's music. I like the way the players bring out the rhythms in the 3rd movement (Minuetto). I love the contribution of the Viennese woodwinds. I want to dance along with the music. Bohm and his Viennese players bring out a sense of charm and high spirits in the 4th movement (Allegro vivace). I love the string playing in this movement. The Viennese woodwinds are also making a wonderful contribution. The playing commands my feet to tap (and my face to smile). I can't help it. According to the liner notes these recordings were re-mastered for SACD at the JVC Mastering Center in August 2018.
1st Listen Mozart Symphonies Nos. 40 & 41, Karl Bohm & the Berlin Philharmonic, Universal Japan SHM-SACD: Right off, I like the way that SACD preserves the character of the analog original recording in the 1st movement of Mozart's Symphony No. 40 (Molto allegro) performed by Karl Bohm and the Berlin Philharmonic. The woodwind playing in this first movement catches my ear. The balances take some re-adjusting to. I am now used to period performance or period-informed performance of this work, where the balance between the woodwinds and strings approaches equality. In this interpretation (sometimes called the traditional German, late-Romantic practice) the strings sound much louder and bigger than the woodwinds do. That the woodwinds can still be heard is testament to Bohm's ear for balance and texture. I like the change of mood that the players capture in the 2nd (slow) movement (Andante). The woodwind playing stands out in this movement too. I like the sense of nobility that Bohm brings out in the marching chords that open the 3rd movement (Menuetto). The strings sound a bit glassy in their top register in this movement. I would actually like the strings to be pared back a bit so that the woodwinds can be heard better. I like the contribution of the Berlin brass section though. I like the energy that I hear from the players in the opening of the 4th movement (Allegro assai). I like the way the players interpret the rhythms in this movement. Bohm and his Berlin players also open the 1st movement (Allegro vivace) of Mozart's Symphony No. 41 with energy. I like the contribution of the drums in this movement. The woodwinds sound alert and involved in the performance as well. I like the way the players get into the rhythms in this movement. This is finger-snapping, foot-tapping stuff! I like the way that the players handle the change of mood that marks the opening of the 2nd (slow) movement (Andante cantabile). This is the first movement where I feel that Bohm's interpretation really digs into the emotion (and the hidden text) in Mozart's writing (rather than just efficiently skimming the surface). There are hints of darkness. I want to hear more of this. Always with Mozart, I am aware of art that conceals art. This movement provides the firmest evidence (so far) that Bohm perceives this. I really appreciate the contribution of the Berlin woodwinds in this realization. I hear a sense of joie de vivre in the opening of the 3rd movement (Minuetto). The drums and woodwinds are shining in this movement. I really appreciate the way the players interpret the rhythms in this movement. I can't help head-bobbing along with the music. I love the energy and passion that I hear from the players in the opening of the 4th movement (Molto allegro). The woodwind playing catches my ear. All the players are catching fire as they play with vigour and enthusiasm! Bohm and the Berlin Philharmonic bring this symphony to a most rousing conclusion! I am a little torn about these interpretations. It was only in Symphony No 41 that I stopped listening to the sound of the recording and got swept up in the musical interpretation. I feel that Bohm and his Berlin players dug more deeply into their performance of Symphony No. 41. After listening to both Symphonies, I am satisfied with this sample of Bohm's interpretation of the Mozart Symphonies and feel no need for instance to buy Bohm's complete set of Mozart Symphonies. I feel that other interpreters reveal more with this music. Artisically, I am more convinced by interpretations of these Symphonies from Benjamin Britten (Decca) and George Szell (Sony). Sonically, I prefer a period-informed balance where the strings and other choirs have parity. I can't help but think that Bohm's recordings (as good as they are) may now be a bit dated. The liner notes indicate that these recordings were remastered in DSD in 2011 by Emil Berliner Studios.
Beethoven: Symphony 9. Kubelik, Bavarian Radio Sym, Donath, Berganza, Ochman, Stewart. DG Pentatone remaster This is an excellent Sym 9 from Kubelik with a fine quartet. I have the recording on a gatefold LP paired with the Sym 1, also excellent. Unfortunately this is a very mediocre SACD transfer from Pentatone. It actually sounds a bit worse than the LP. I haven't heard the regular CD version but I suppose this is as good or maybe a bit better than that. The problem is the tonality of the instruments which are rather thin. Nothing is harsh but nothing sounds remotely realistic. I wonder if Pentatone is unfamiliar with DG recordings and got the production tape rather than the original mastertape. I didn't realize how big a difference there was between the two until I ran across the UK Accolade LPseries of DG done in the early 80s. They went back to the mastertape and the results were jaw dropping. Emile Berliner also goes back to the mastertape. I guess Pentatone is asleep when it comes to DG. I would not recommend this unless someone really dislikes the CD version. 4.5 stars for performance. 2.5 stars for sonics.
Currently listening to Grieg's Peer Gynt Suite and Adam's Giselle, Karajan & the Vienna Philharmonic, Universal Japan SHM-SACD: I was in the mood to listen to Grieg's Peer Gynt Suite conducted by Karajan and since this particular issue pairs Peer Gynt to Karajan's recording of Adam's Giselle, I am now listening to Giselle as well. The music has torn me out of my listening seat and I am now dancing around the room! I find this performance addictive fun. I can never listen to this without also wanting to dance! I'll get back to it now.
Currently listening to Beethoven Piano Sonatas, Wilhelm Backhaus, Universal Japan SHM-SACD: These recordings are making me fall in love with Beethoven (and Backhaus) all over again.
