Title: Gewandhausorchester Leipzig, Kurt Sanderling – Bruckner: Symphony No. 3 (1963/2021)
Genre: Classical
Format: SACD ISO
![Wiener Philharmoniker, Karl Böhm - Bruckner: Symphonies Nos. 3 & 4 [2 SACDs] (1970-1973/2021)](https://imghd.xyz/images/2024/05/30/5d0b936282f1d17c2666a751cc53a496.jpg "Wiener Philharmoniker, Karl Böhm - Bruckner: Symphonies Nos. 3 & 4 [2 SACDs] (1970-1973/2021)")
Title: Wiener Philharmoniker, Karl Böhm – Bruckner: Symphonies Nos. 3 & 4 [2 SACDs] (1970-1973/2021)
Genre: Classical
Format: MCH SACD ISO
A project commemorating the 40th anniversary of Karl Böhm’s death. This collection brings together two Bruckner symphonies recorded by the Vienna Philharmonic and DECCA. The Third Symphony is being released on SA-CD for the first time worldwide. Experience Böhm’s mature-period masterpiece in high-quality sound with this latest reissue! Including Symphony No. 4, newly remastered in Austria from the original analog master tapes. Karl Böhm (1894-1981), who had been performing Bruckner since his youth, finally recorded Symphony No. 3 in stereo with the Vienna Philharmonic in 1970, and this release pairs it with the renowned 1973 recording of Symphony No. 4, considered one of the definitive interpretations of the work. The Symphony No. 4 was previously released on a single-layer SA-CD in 2004, and the same digitalized source was used for subsequent SA-CD hybrid editions. However, for this reissue, the master source has been digitally remastered from the original analog master tapes in the country of origin, resulting in a different master source than previous editions. Additionally, this is the first time the Symphony No. 3 has been released on SA-CD. Furthermore, in this series, the Symphony No. 7 and No. 8, recorded with the Vienna Philharmonic Orchestra under DG after these DECCA recordings (released in September 2019 as PROC2224), have already been reissued on SA-CD hybrid discs. Böhm had already recorded Symphonies Nos. 4 and 5 during the early years of his tenure as Music Director of the Staatskapelle Dresden in 1934, and frequently featured Bruckner in his concerts. However, unlike Jochum and Karajan, he did not have many opportunities to record, and few session recordings remain. Although this DECCA recording is part of the label’s complete set of Bruckner symphonies with the Vienna Philharmonic, the two pieces conducted by Böhm are far superior to those conducted by other conductors. In particular, the Fourth Symphony, combining the strength of the Vienna Philharmonic at the time, Böhm’s mature period, and the peak of DECCA’s analog recording technology, stands out as a rare masterpiece of performance and recording, earning a reputation among many Bruckner recordings. The “Third Symphony,” based on the 1890 final draft of the Novak edition, is a masterpiece that truly showcases Böhm’s unique qualities, with the beauty of the second movement in this draft being particularly exquisite. Böhm’s inherent robustness and the Vienna Philharmonic’s flexible expression strike a chord with the listener. This is an unforgettable performance that has never been released on SA-CD, and this “Third Symphony” is undoubtedly one of the few masterpieces that helped drive the early Bruckner boom.
For this reissue, the list was traced back to the original analog master tape in the home country and digitized in high quality. Not only for this release, but also for the highest-quality flat master, we were able to achieve an excellent presence. The texture and spatial positioning are remarkably clear and precise, and the benefits of DSD conversion have been added to create an unprecedented level of sound quality. During production, the original analog master tapes from the UK were physically maintained and restored by former DECCA engineers at CLASSIC SOUND, followed by direct DSD conversion. The mastering process was carried out with meticulous care and attention to detail specifically for this series. On the SA-CD layer, you can enjoy high-resolution master sound. The CD layer has also been digitally remastered using the latest technology, resulting in sound quality that stands apart from previous editions. This series features the original jacket design and includes a new introductory essay by Daisuke Hirose. The 26th installment of the “Vintage SA-CD Collection” will release a total of three titles.
Title: Beethoven Orchester Bonn, Stefan Blunier – Anton Bruckner – Symphony D minor “Nullte” WAB 100, 3 Pieces WAB 97, March WAB 96 (2011)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC
This is a new recording of Bruckner’s ubiquitously numbered “0” symphony which is a fine work in its own right. Bernard Haitink included the work in his cycle of symphonies for Philips and Sir Georg Solti also recorded a fine interpretation with the Chicago Symphony Orchestra some years back. Stefan Blunier and his Bonn Orchestra are quite the real deal, having recorded various romantic symphonic works for the German label, MD&G. They play with an unabashed know-how of the music lending brazen authority to the loud fanfares which Bruckner integrates into the symphony. The opening Allegro is particularly enthusing while the Finale is also taken at a rather brisk pace with great momentum. All in all this is a pleasing performance of this symphony which is well worth investigating. The disc also includes some fine rarities in the form of a March in D minor and Three Pieces lasting around eight minutes. These are winningly done by the Beethoven Orchestra Bonn and are almost worth the price of the disc alone. An excellent recording and fastidiously detailed notes make up a package which is surely well worth investigating on all counts. Copyright © 2011, Gerald Fenech classical.net
This SACD is an essential purchase for Bruckner aficionados, as not only does it contain an eloquent performance of Bruckner’s early D minor Symphony WAB 100 (Nullte) in superb sound, but also some other rare orchestral music by the same composer. Though written in 1869 after both his ‘official’ Symphony No.1 in C minor and the even earlier Study Symphony in F minor, the composer, displaying his usual lack of confidence in his compositions, declared the work ‘not worthy’ so it was never assigned a number by him. Fortunately he did not destroy the score, but eventually willed it to the Linz Regional Museum and it received its first performance in 1924. Nowadays it is usually referred to as Symphony 0 whilst the Study Symphony is called Symphony 00. Peculiar as this numbering may seem, it does keep the symphonies in the correct chronological order. The thematic catalogue of Bruckner’s music, ‘Werkverzeichnis Anton Bruckners’ (WAB), attempts to clarify this even further, and in the case of the symphonies the WAB number is 100+ the published number. This symphony is such an immediately attractive work that its neglect in the concert hall is to be regretted, and, with the benefit of hindsight, one wishes that it had taken its rightful place in the canon of the composer’s numbered symphonies. Fortunately its dissemination on record has been more successful and many conductors with a special affinity to Bruckner’s music have committed it to disc. These include fine performances from Haitink, Barenboim and Skrowaczewski to which this distinguished account can now be added. Having been mightily impressed with Stefan Blunier’s expansive performance of Franz Schmidt’s 4th Symphony /showreviews/6576#7259 I was eager to hear how his Bruckner would sound, and was not disappointed. In the earlier recording Blunier showed that he was adept at sustaining the natural unfolding of a symphonic work over a long span, and once again this proves to be the case. The heavy tramp of the lower strings with which the first movement begins will, even to the innocent ear, immediately suggest Bruckner as the composer, while the gentler theme that follows will surely confirm it. Blunier handles the rapidly changing moods of this movement with great skill. His tempi are generally very measured, allowing the climaxes to build thrillingly with notably rich string tone and magnificently played brass chorales. The serene slow movement flows at a commodious tempo, certainly much closer to ‘Adagio’ than ‘Andante’, but thanks to the exquisite and totally committed playing that the conductor elicits from his fine Bonn orchestra it just about convinces, though perhaps his pause of a full 14 seconds silence towards the end of this movement may be too much for some listeners to take. The Scherzo is launched with tremendous energy and verve making the contrast with the preceding movement’s mood even greater. The Finale, that surprisingly contains passages reminiscent of Mendelssohn, is also played with great vigour and Bruckner’s contrapuntal writing emerges with both strength and clarity. At 50’11” Blunier’s performance lasts about five minutes longer than the average time of other versions and some may feel that he tries to inflate this music to something beyond its worth, but for this listener his spacious interpretation was entirely convincing and gave the music a stature entirely lacking in, for example, Solti’s CD recording that dispatched the piece in a mere 38’ 13”! The four brief fill-ups to the symphony date from 1862 and represent some of Bruckner’s earliest orchestral writing. Though not especially memorable or representative of the composer’s later music they do possess a winning fluency and are worth hearing for their pointers to the composer’s development. The jaunty five-minute D minor March (WAB 96) has a robust charm, while a gentle lilting central section provides contrast before the reprise of the march. Each of the three pieces (WAB97) that follow is even briefer. The nobility and grandeur of the E flat Moderato is followed by two wistful Andantes, the first of which feature lovely solos for oboe and horn. All four pieces could be easily mistaken for the Schubert of the early symphonies or ‘Rosamunde’, but their excessive brevity will always make them little more than a curiosity. MDG’s multi-channel recording is very fine indeed. It has a wide dynamic range and captures both the orchestra’s hushed string playing and incisive brass with equal success in an airy and generous acoustic. Though these are live performances (from 25-27 May 2010) there is neither audience noise nor applause. Strongly recommended. Copyright © 2011 Graham Williams and SA-CD.net
Title: Bruckner Orchester Linz, Peter Guth – The Essence Of Viennese Music (2004)
Genre: Classical
Format: MCH SACD ISO + Hi-Res FLAC
The full title of this disc is “The Essence of Viennese Music – opera, operetta and dance..”. Rather cumbersome, but a fair description of the contents. It is played by an orchestra from Linz, Austria’s third city, with a conductor (Peter Guth) who specialises in music of Johann Strauss II and a pair of excellent young soloists in soprano Edith Lienbacher and tenor Herbert Lippert. While its programme contains many of the expected Viennese lollipops, it goes beyond the merely predictable, and the producers have come up with a diverse and very entertaining concert. It opens with the younger Strauss’ Polka schnell ‘Thunder and lightning’, given a lively and bracing performance, particularly from the percussion, who are spread along the back of the auditorium. A duet from Strauss’ Vienna Blood follows (Das eine kann ich nicht verzeih’n), performed by the fresh-voiced soloists with a fine sense of style and lilt, aided by their excellent diction and characterful woodwind support; their music duet seductively into what we know as the Waltz ‘Vienna Blood’. The balance is rather odd here, though; distractingly the voices sing at one another from either side of the wide stage instead of interacting while standing close together as one would normally expect.
The everlasting subject matters of the stage drama are, to name a few: differences of cultures, the struggle between good and evil, and of course love, jealousy and intrigue. The Viennese Operetta centers on these themes, primarily on the tension in relations between the aristocracy and commoners. Strauss playfully demonstrates this in his comedies of errors and royal festivities; Lehár on the other hand tends to stay close to the drama and tragedy between the wealthy and poor, at times even with a renunciation of love; as for Kálmán, his works are full of ebullient vitality in a delirium of oblivion, set during the time when the monarchy perished, on the threshold of a new era. – Peter Guth
Title: David Oistrakh, Mstislav Rostropovich, The Cleveland Orchestra, George Szell – Brahms: Violin Concerto, Double Concerto (1969/2023)
Genre: Classical
Format: SACD ISO
Two absolute masterpieces featuring Oistrakh’s exquisite Brahms, further refined through his collaboration with Szell, have been remastered with respect for the original masters. Newly remastered from the original analog master tapes in the country of origin. Includes new liner notes. Two historical recordings of Brahms from May 1969 have been remastered. Oistrakh’s violin concerto was his second stereo recording, following the 1960 recording with Klemperer and the French National Radio Orchestra (reissued in June 2019 as TDSA108 in this series), and it is a true masterpiece with a deeper, more eternal brilliance. These recordings, including the double concerto with Rostropovich, are historical recordings that represent these pieces, built on the solid support of Szell. The master was digitized at 192kHz/24bit from the original analog master tape in the home country, and mastering was performed separately for the SACD layer and CD layer. New commentary included. A must-have for your collection. Oistrakh’s Brahms with Szell is one of the most ideal recordings of this piece and is considered a masterpiece among masterpieces, on par with Nouvé in terms of historical significance. This piece has been recorded many times since the monaural era, and many consider this final session recording to be the best of them all. The Double Concerto with Rostropovich was also Oistrakh’s second stereo recording (the previous recording from 1956 was conducted by Galiera with Fauré on cello, and was reissued in June 2021 as TDSA193). This recording is also a monumental masterpiece and stands at the forefront of evaluations of the piece.
These two tracks are a golden pairing. Originally recorded together, they are ideal for CD release in terms of both content and recording conditions. These recordings have been reissued many times as famous recordings. In particular, the violin concerto has been released in the past as a commercially available SACD hybrid disc by another company, so many people probably already own it. One thing that has become clear through this project is that as EMI recordings become more famous, the condition of the masters becomes more stringent. At EMI, which preserves 2-channel analog master tapes, it has been confirmed that the condition of the tapes changes depending on how many times they have been used, so there were initial concerns about the condition of the master for this recording. Nevertheless, the decision to reissue it this time was made with the aim of preserving the best possible quality, taking into account the sound quality of the previous release. The timing of this release was chosen because it allows for high-resolution conversion at 192kHz/24bit, exceeding the previous commercial release’s 96kHz/24bit, and because the latest mastering effects are expected to be applied. While there are differences between 96/24 and 192/24, and even higher specifications exist, the sound quality of string instruments does not necessarily improve with higher specifications. This is a complex issue and varies depending on the source material. Additionally, considering the need to bring out the intricate resonance of the orchestra, we judged this to be the best approach. This project is based on the original analog master tapes, with adjustments kept to a minimum while prioritizing balance. While it is not an archival-style opera recording, I believe the content prioritizes musicality. There is no need to explain the performance itself. Each piece is a mature performance, and the high-quality sound allows the solo instruments to shine brilliantly, creating a truly breathtaking experience. The subtle nuances can be felt in the details, and we hope that it will resonate with listeners even more than before. For this release, we used a flat master created by digitizing the original 2-channel analog master tape from the home country at 192kHz/24bit, and performed the latest mastering. The master tape had a natural sound quality that reflected its age. Therefore, we focused on preserving the original balance and prioritized musical considerations in the mastering process. This has improved the clarity of the instruments’ spatial relationships and depth, and the enhanced localization allows you to enjoy the performance stress-free. Additionally, the booklet includes new text by Satoshi Otsu. The jacket design features the violin concerto. In this series, the SACD layer aims for extended high frequencies, soft nuances, high resolution, and a rich soundstage, while the CD layer seeks a cohesive, solid sound with a tangible presence. The CD itself has high potential, and we recommend enjoying it as an SACD hybrid disc that combines the best of both formats. This 51st installment of the Definition Series will release two titles.
Title: Nathan Milstein, Wiener Philharmoniker, Claudio Abbado – Brahms, Tchaikovsky, Mendelssohn – Violin Concertos , Geminiani – Sonata in A major (1972-1975/2018)
Genre: Classical
Format: SACD ISO
This release combines all of Milstein’s concerto recordings left at DG with recital albums including “Paganiniana.” This is the world’s first SA-CD release. Newly mastered from the original analog masters in Russia. This two-disc set combines two concertos and one collection of short pieces recorded by the renowned Russian violinist Milstein (1903-92) for DG, and is the world’s first SA-CD hybrid release. His recording career began with SP records in 1932 and spanned over half a century, culminating in the CD of his “final recital” in June 1986. He recorded his favorite works multiple times. The recordings included in this two-disc set were made between 1972 and 1975, during his most mature period, and with the exception of Schubert’s “Rondo Brilliant,” which he recorded only once, and Liszt’s “Consolation No. 3,” which he performed at his “final recital,” all of the recordings are his last. Here, the stability of his youthful technique and his outstanding beautiful tone remain intact, while the addition of a profound flavor in his later years creates a beautiful culmination, like the twilight of a great artist. Among these, the deepening of his interpretation of Brahms’ Violin Concerto, which he recorded twice for EMI, is remarkable. He himself noted that it was “a more romantic interpretation” compared to his previous recording, “People progress in the direction that the music demands.” After the self-composed cadenza in the first movement, the violin sings the theme softly in the coda, and this recording has a beauty that is unmatched among CDs of the same piece. The 1972 recording of Tchaikovsky and the 1973 recording of Mendelssohn are also more relaxed than his previous recordings, with extremely supple and refined performances that are surprisingly noble. In Tchaikovsky, he plays his own version based on the Auer edition rather than the original edition, incorporating his own ideas. All three concertos feature the Vienna Philharmonic as the backing orchestra, but while Jochum emphasizes a rich, string-dominated sound, the younger Abbado highlights a bright sound and light rhythm with a focus on woodwinds, showcasing the distinct personalities of both conductors. The 1975 recording of “Violin Recital” is a collection of masterpieces that will leave you breathless. The tone, technique, and form are all polished to perfection, and the music is filled with an indomitable elegance, yet it also has a gentle, enveloping quality that wraps the listener in warmth. The improvement in sound quality is most notable in this album, with the piano and violin sounds and tones reproduced on stage with enhanced realism and a heightened sense of presence.
For this reissue, we went back to the original analog master tapes from the country of origin, remixed them, and digitized them in high quality. You will notice that the DSD conversion brings out the characteristics of the recording location and the conductor’s preferences in a surprising way. The central violins are reproduced with a realistic three-dimensional sound and a prominent resonance. The background orchestra spreads out before you with a rich, uncluttered sound, making it clear that this is a large-scale performance. For this release, we physically maintained and restored the original analog master tapes from the home country, then digitized them at high quality (192/24) using PCM. The home country’s label-dedicated engineer then spent considerable time meticulously mastering the recordings for this series. On the SA-CD layer, you can enjoy the high-resolution master sound. The CD layer has also been digitally remastered using the latest technology from 2018, resulting in a sound quality that stands apart from previous releases. This series features the original jacket design and includes a new introductory essay. The booklet includes color reproductions of the original jacket designs from each release. Additionally, this 11th installment of the “Vintage SA-CD Collection” will feature a total of three titles.
Title: Berliner Philharmoniker, Wilhelm Furtwängler – Brahms: Symphony No. 1 · Gluck – “Alceste” Overture (1951-1952/2011)
Genre: Classical
Format: SACD ISO
Furtwängler’s broadcast recording of Brahms, which he was most skilled at alongside Beethoven. The recording venue, Titania-Palast, was a movie theater that had been renovated for use as a concert hall during this period, as the old Philharmonie had been destroyed by bombing.
Title: Bruce Springsteen & The E Street Band – Live In New York City (2001)
Genre: Rock
Format: MCH SACD ISO + Hi-Res FLAC
Compared to the gargantuan Live/1975-85, 2001′s Live in New York City seems like the very definition of restraint, but consider this — not only does it span two discs, it leaves out a considerable portion of the set list from the show and thereby the set list of Springsteen’s celebrated 2000 reunion with the E Street Band. Some critics complained that this record was little more than a tie-in to the HBO special of the same name, but even if that’s true, the record would have merit since it illustrates exactly why this group should never have parted ways. In a sense, even if this is the third live album in Springsteen’s catalog, it’s the first that attempts to replicate the feeling of an evening out with the E Street Band (the Live/1975-85 box tried too hard to be an ultimate experience; MTV Plugged captured a transitional phase). Though most reunions feel a little forced, this feels natural, yet never nostalgic, since the track listing never relies on the predictable. There are no hits in the conventional sense — outside of “Born in the U.S.A.” tucked away on the second disc and an initially uncredited “Born to Run” — but there are many fan favorites interspersed with a few obscurities and new songs, most notoriously the protest song “American Skin (41 Shots).” This works in Springsteen’s favor, since there’s no pandering — only the joy of making music with the band that understands him best. This doesn’t really result in something essential, even if the new songs are quite good, but if you’ve ever been a fan, it’s hard not to warm to Live in New York City.
Title: Bruce Springsteen – Greetings From Asbury Park, N.J. (2023 MFSL UltraDisc UHR SACD) (1973/2023)
Genre: Rock
Format: SACD ISO
Teeming with identifiable characters, youthful romanticism, vivid narratives, and sophisticated arrangements, Greetings from Asbury Park, N.J. is a personal postcard from the heart, soul, and mind of a rock ‘n’ roll lifer bent on discovering his world and what lays beyond it. The 1973 album establishes many of the signature themes and sounds Bruce Springsteen would embrace throughout his unparalleled career. No wonder a majority of the songs – “Blinded by the Light,” “Lost in the Flood,” “Spirit in the Night” included – remain staples of the New Jersey native’s fabled concerts.
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Title: The Bruce Katz Band – Three Feet Off The Ground (2000)
Genre: Jazz, Blues
Format: SACD ISO + DSF DSD64 + Hi-Res FLAC
It has been said that instrumentalist Bruce Katz has one foot in jazz and the other foot in the blues, but those aren’t the only styles that interest the organist/pianist; rock, soul, and gospel are also part of what he does. All of those influences assert themselves on Three Feet Off the Ground, which tends to be more aggressive and rockin’ than the album that preceded it, 1997’s Mississippi Moan. “Wrecking Ball” and “Beef Jerky” (which brings to mind Lee Morgan’s “The Sidewinder”) are definitely among the more forceful things Katz has recorded, and his guitarist Julien Kasper sounds equally uninhibited. Although Katz is a talented acoustic pianist with a healthy appreciation of Albert Ammons, his piano playing takes a back seat to the organ this time. Katz’s Hammond B-3 dominates the album, and one is reminded how appealing he is on the instrument. As an organist, Katz has a gritty, earthy sound that is somewhere between Jimmy Smith and Stax hero Booker T. Jones (of Booker T. & the MG’s fame). Three Feet Off the Ground is a release that blues, jazz, and rock fans alike will want to hear.