What are you listening 2 now?

[Luke]

I believe it was used on one of his Bruckner 7 recordings. I've been 5 times to the Concertgebouw but never got to attend one of his concerts 😪

Goodness, you're right. Just found it on discogs. I didn't know that, and I'm sure my father (the artist's nephew) doesn't either.  A little Christmas present perhaps, if I can track it down...

[Traverso]

Haitink gets all my love !

Coincidentally, JPC is selling his BIG box of orchestral recordings from the  Concertgebouw (113 CDs + 4 DVDs).

I'm contemplating buying it and selling that 'Symphony Edition' release. That means a huge amount of duplications, but the rest is almost impossible to find elsewhere (the alternate COA Bruckner 7-9, Mahler 1,4,7 and Kerstmatinees performances as well as a large amount of concertos and early COA recordings). I'm probably crazy, but I'm sorely tempted to spend 168 € for that box...😵

Be warned before you sell your symphony edition !

The LP versions have appeared several times in various and extremely successful CD transfers, first in separate editions, later in the magnificent box 'Bernard Haitink The Symphonies' (Philips, with in addition to the symphonies of Bruckner and Mahler those of Beethoven, Brahms, Schumann and Tchaikovsky).

Reverb
And now Decca has remastered the Bruckner and Mahler symphonies with in the case of Mahler as a bonus also the second recording of the First from 1972, albeit only on the Blu Ray disc. The design can definitely be called original with double albums and provided with numerous images of the original record covers. So at first glance two boxes to cherish. At first glance, because the ear is sorely disappointed. To put it bluntly, Andrew Walter of Abbey Road Studios and his cronies have done enormous violence to Van Ginneken's - and therefore automatically Haitink's - work of art. The comparison with the aforementioned transfers shows this very clearly, read: mercilessly (I began to doubt myself so much that I sought refuge for a 'second opinion' with a friend with an even better system than the undersigned, but with the same result).

The inescapable conclusion must be that the leveling tendency that holds our society in a firm grip on no matter what area has also hit the record industry to the core, as these two Haitink boxes poignantly prove. There is nothing left to be heard of the refined sublime soundscape that Van Ginneken has captured. For those who do not know any better, the result of this 'remastering' will sound as if a good radio orchestra is at work here, the recordings of which were immortalized in a random and average studio anywhere in the world. Someone who listens blindly and without prior knowledge will never come up with the idea that these performances were recorded in one of the most beautiful concert halls in the world. Any trace of the special acoustics of the large hall of the Amsterdam Concertgebouw will be sought in vain, simply because almost nothing of it is audible anymore. In some places the reverberation (of the hall, or has it been added?) is - to use a metaphor - like the fake colouring that makes fast food extra attractive to the target groups that usually frequent the restaurants where it is manufactured.

Headache file
Furthermore, the volume has been raised to a worryingly high level, with the inevitable result that the pianissimi (which have become louder) lack any refinement, while due to the increased loudness during the climaxes (and there are, as is well known, quite a few) the ceiling has become extremely low and this alone must be called a musical headache file, simply because there is no reserve and let alone:  flexibility in the sound left. And what it is all about - and here that levelling comes into the picture again - is the dynamics, and precisely that has been almost completely airbrushed away. All this makes listening to these performances an extremely tiring affair. The undeniable merit of Van Ginneken and his fabulous team - again, artists in their field! - was precisely their eye for the layering of the dynamics in all conceivable shades, both horizontally and vertically. With an enviable natural and precise definition of the orchestral formation, which - while listening - one could see so perfectly in front of oneself that it could be drawn, as it were. What we hear here is more like a virtual orchestra, the sonority of which - if that term is still applicable here - is often questionably coarse-grained. The signature of both the Royal Concertgebouw Orchestra and the team that guaranteed the initially so beautiful recordings, is conspicuous by its absence. In other words, the quality of the new mastering (or rather: the lack thereof) even influences the interpretations. Take for example the melody of the strings in the second theme group from the funeral march of Mahler's Fifth Symphony, which in the original recording continues beautifully and full of 'schmaltz', but here becomes somewhat laborious, not to say angular. Or the exposition full of 'suspense' of the first theme group from the opening movement of Bruckner's Ninth, which is now robbed of all underlying tension and magic, or the resilience of the prelude to the finale of the Eighth by the same composer, which sounds almost tame in this remastering.

Copyright
The impression also often remains that many details have been pulled apart, partly because some instruments have been brought forward and others not, as a result of which the perspective effect intended by Van Ginneken has almost completely had to give in.

In any case, it seems that these remasterings were intended to be tailored to a generation that no longer has any idea of  the venerable tradition on which these recordings are based. More specifically, to those who have all kinds of small speakers spread throughout the house - from the kitchen to the toilet - via which everything sounds 'synchronized' and should sound, because that is inherent to this kind of installation. Adapting the broadcasts of Radio 4 to the ears of the motorist also falls into this category of approach. Last but not least: it is high time that a copyright is created to protect the legacy of leading sound engineers, so that this kind of bad product is now a thing of the past. Because Haitink may have delivered a work of art, Van Ginneken did no less. And what a work! Whoever has the aforementioned beautiful collection box - a collector's item without equal! - by Haitink in their home, should cherish it with the greatest possible care.

[Karl Henning]

Haitink gets all my love !

I've not heard any Haitink to deserve any less.

[Linz]

Bruckner Symphony No. 6 in A major, 1881 Version. Ed. Leopold Nowak, Orchestre de la Suisse Romande, Marek Janowski

[Spotted Horses]

Are there pieces that you can only enjoy in one particular recording? Here's one for me. Bartok, Two Portraits, Dorati, Philharmonia Hungarica



The first movement is a development of a violin theme (I think it was originally cast as Violin Concerto No 1). It starts with solo violin and the orchestra gradually enters, beginning with other violins from the orchestra. In this Dorati recording the violin is placed within the orchestra. It seems like every other recording has the violin as a distinct solo instrument with the orchestral violins forming a distant dissonant cloud of sound. Dorati also highlights the harmonic shifts in the accompaniment with dynamic transitions.

The worst recording ever has to be Fricsay (mono DG). It has to be the squeakiest, scratchiest violins tone I have ever heard on a record. Were they using an Edison recorder?

[Karl Henning]

Are there pieces that you can only enjoy in one particular recording? Here's one for me. Bartok, Two Portraits, Dorati, Philharmonia Hungarica



The first movement is a development of a violin theme (I think it was originally cast as Violin Concerto No 1). It starts with solo violin and the orchestra gradually enters, beginning with other violins from the orchestra. In this Dorati recording the violin is placed within the orchestra. It seems like every other recording has the violin as a distinct solo instrument with the orchestral violins forming a distant dissonant cloud of sound. Dorati also highlights the harmonic shifts in the accompaniment with dynamic transitions.

Classic!

TD:

[Karl Henning]

For anyone who loves the saxophone, last night the Philadelphia Chamber Music Society livestreamed its first-ever recital for saxophone and piano, with Valentin Kovalev and Amy Yang. The last piece, by Takashi Yoshimatsu, has an engaging bit of audience participation, and the duo also offered an encore, by Astor Piazzolla. The stream is available for 72 hours.

Debussy: Rhapsodie for Saxophone and Orchestra (Arr.)
Brahms: Sonata in E-flat Major, Op. 120, No. 2 (Arr.)
R. Schumann: Fantasiestücke, Op. 73 (Arr.)
Say: Suite for Saxophone and Piano, Op. 55 (Sel.)
Yoshimatsu: Fuzzy Bird Sonata

-Bruce

Tuning in at last, Bruce. thanks!

[Dry Brett Kavanaugh]

Ravel piano music. Paul Crossley.

[Linz]

Joseoh Haydn London Symphonies, Heidelberger Sinfoniker, Thomas Fey CD2

[Karl Henning]

[André]

Be warned before you sell your symphony edition !

The LP versions have appeared several times in various and extremely successful CD transfers, first in separate editions, later in the magnificent box 'Bernard Haitink The Symphonies' (Philips, with in addition to the symphonies of Bruckner and Mahler those of Beethoven, Brahms, Schumann and Tchaikovsky).

Reverb
And now Decca has remastered the Bruckner and Mahler symphonies with in the case of Mahler as a bonus also the second recording of the First from 1972, albeit only on the Blu Ray disc. The design can definitely be called original with double albums and provided with numerous images of the original record covers. So at first glance two boxes to cherish. At first glance, because the ear is sorely disappointed. To put it bluntly, Andrew Walter of Abbey Road Studios and his cronies have done enormous violence to Van Ginneken's - and therefore automatically Haitink's - work of art. The comparison with the aforementioned transfers shows this very clearly, read: mercilessly (I began to doubt myself so much that I sought refuge for a 'second opinion' with a friend with an even better system than the undersigned, but with the same result).

The inescapable conclusion must be that the leveling tendency that holds our society in a firm grip on no matter what area has also hit the record industry to the core, as these two Haitink boxes poignantly prove. There is nothing left to be heard of the refined sublime soundscape that Van Ginneken has captured. For those who do not know any better, the result of this 'remastering' will sound as if a good radio orchestra is at work here, the recordings of which were immortalized in a random and average studio anywhere in the world. Someone who listens blindly and without prior knowledge will never come up with the idea that these performances were recorded in one of the most beautiful concert halls in the world. Any trace of the special acoustics of the large hall of the Amsterdam Concertgebouw will be sought in vain, simply because almost nothing of it is audible anymore. In some places the reverberation (of the hall, or has it been added?) is - to use a metaphor - like the fake colouring that makes fast food extra attractive to the target groups that usually frequent the restaurants where it is manufactured.

Headache file
Furthermore, the volume has been raised to a worryingly high level, with the inevitable result that the pianissimi (which have become louder) lack any refinement, while due to the increased loudness during the climaxes (and there are, as is well known, quite a few) the ceiling has become extremely low and this alone must be called a musical headache file, simply because there is no reserve and let alone:  flexibility in the sound left. And what it is all about - and here that levelling comes into the picture again - is the dynamics, and precisely that has been almost completely airbrushed away. All this makes listening to these performances an extremely tiring affair. The undeniable merit of Van Ginneken and his fabulous team - again, artists in their field! - was precisely their eye for the layering of the dynamics in all conceivable shades, both horizontally and vertically. With an enviable natural and precise definition of the orchestral formation, which - while listening - one could see so perfectly in front of oneself that it could be drawn, as it were. What we hear here is more like a virtual orchestra, the sonority of which - if that term is still applicable here - is often questionably coarse-grained. The signature of both the Royal Concertgebouw Orchestra and the team that guaranteed the initially so beautiful recordings, is conspicuous by its absence. In other words, the quality of the new mastering (or rather: the lack thereof) even influences the interpretations. Take for example the melody of the strings in the second theme group from the funeral march of Mahler's Fifth Symphony, which in the original recording continues beautifully and full of 'schmaltz', but here becomes somewhat laborious, not to say angular. Or the exposition full of 'suspense' of the first theme group from the opening movement of Bruckner's Ninth, which is now robbed of all underlying tension and magic, or the resilience of the prelude to the finale of the Eighth by the same composer, which sounds almost tame in this remastering.

Copyright
The impression also often remains that many details have been pulled apart, partly because some instruments have been brought forward and others not, as a result of which the perspective effect intended by Van Ginneken has almost completely had to give in.

In any case, it seems that these remasterings were intended to be tailored to a generation that no longer has any idea of  the venerable tradition on which these recordings are based. More specifically, to those who have all kinds of small speakers spread throughout the house - from the kitchen to the toilet - via which everything sounds 'synchronized' and should sound, because that is inherent to this kind of installation. Adapting the broadcasts of Radio 4 to the ears of the motorist also falls into this category of approach. Last but not least: it is high time that a copyright is created to protect the legacy of leading sound engineers, so that this kind of bad product is now a thing of the past. Because Haitink may have delivered a work of art, Van Ginneken did no less. And what a work! Whoever has the aforementioned beautiful collection box - a collector's item without equal! - by Haitink in their home, should cherish it with the greatest possible care.

Yikes ! This is scary, how could they deface what are supremely beautiful recordings and still issue them on the same label ?? That's a disgrace !

Thanks for the alert !

André

[André]

Wetz is a composer I discovered a few years ago. Wetz was active in Erfurt (Thuringia) for most of his life and died in that city. This fine recording was made to celebrate the 75th anniversary of the composer's death.

His symphonies and his Requiem are beautiful, powerful works. The Christmas Oratorio is no less fascinating. The text is a collection of old german songs, a narration of the birth of Christ from the Gospels as well as lines from familiar chorales. It's a personal reflection rather than a liturgical work. There are 2 soloists (soprano and baritone), mixed chorus and a richly scored chamber orchestra. Máté Sólyom-Nagy (son of renowned hungarian bass Sándor Sólyom-Nagy) is particularly good at projecting the text with feeling as well as displaying a honeyed, warm baritone voice. This must have been a labour of love from all the forces assembled. Everybody, including the two soloists, hail from Thuringia (Erfurt or Weimar), the composer's home base.

[Traverso]

It concerns masterings that are oop at the moment.

If you don't know which mastering was used for the big box with the complete Philips and Decca recordings I wouldn't dare to purchase it and cherish the box with the Symphony edition

These are the controversial boxes, an edition that is now sold out and has had great reviews. Unfortunately for all those who do not know the original recordings.
I have reported this here before and Mirror Image responded that it was nitpicking by a reviewer.
He has now heard the difference himself and had to admit that he was wrong.
He is not getting rid of his box with the Symphony Edition.





 

[Karl Henning]

Quite a nice program, actually. (The Bizet is last.)

[Karl Henning]

[Karl Henning]

One of my favorite Bernstein scores.

[Harry]

Francesco Maria Veracini.
Sonata Accademiche a violini solo e Basso.
Recorded: 1995.

A rare CD to find, most of the series are not available anymore, and just a few are on the streaming services compared to what Biondi released in his long life. The Sonatas Accademiche belong to the top echelon of Veracini's oeuvre, and is still the recording that delivers all the intricacies of the music. Very detailed, and sublimely performed. As if it was recorded yesterday, so well it comes out of the speakers. Sorry for the back cover.

[Harry]

William Lawes. (1602-1645)
Sonatas for Violin, Bass Viol & Organ.

Ingrid Seifert (violin), Richard Egarr (harpsichord, Organ)
London Baroque, Charles Medlam.
Recorded: 1994.

Again a older recording, but for me the top measure of how I like to hear William Lawes sonatas. The sound is excellent, and the musicians dedicated of delivering pristine interpretations, more so as today's mentality amongst performers, in which the need to sparkle excessively bright, as to engender interest. But the London Baroque's take on Lawes music, needs no display of trinkets and flashiness, its pure music, that thrives on its compositional merits. Recommended.

[Harry]

Henri Marteau (1874–1934)
The Complete Works for String Quartet, Volume I.
String Quartet No.2 op.9.
Isasi Quartet.


The Huit Mélodies op.19 for Mezzo-soprano & String Quartet is not really my thing, so I only played the SQ, No.2.
Enthusiasts of late Romanticism can already rub their hands together, for this is a prime example of the art of seductively wooing you into the realms of harmonious music making. Clarity, elegance, and nobility are the keywords regarding the SQ. A highly welcome addition in my book. Well recorded too.

[Harry]

Henri Marteau (1874–1934)
The Complete Works for String Quartet, Volume II.
String Quartet No.1 op.5 in D flat major (1904/1907, revised 2nd version, Süddeutscher Musikverlag Strassburg )
Clarinet Quintet op. 13.

Jean-Michel Charlier, Clarinet.
Isasi Quartet.

What I wrote about the first Volume can be applied to the second volume. The Clarinet Quintet needs further praise, for it is a fabulous piece of music, well conceived and played. Sound is pristine.