Featuring Florence Kopleff, Donald Gramm, Phyllis Curtin, John McCollum, and the Chicago Symphony Orchestra Chorus. Fritz Reiner, Chicago Symphony Orchestra. HDTT HDCD210.
Although Fritz Reiner's stereo years with the Chicago Symphony Orchestra, 1954-1962, produced any number of outstanding recordings in RCA's "Living Stereo" line, his Beethoven could be problematical. His reading of the Sixth Symphony, for instance, is one of the best ever made, a classic of the catalogue, yet his Fifth Symphony, with its galloping tempos, can drive some listeners to distraction. I'm a fan of Reiner, but the only time I heard even a portion of his Beethoven Ninth was at a friend's house some thirty years ago. And I'm afraid the fancy art-book packaging impressed me more than the music did. Having never heard the RCA compact disc, I was glad to listen to the recording in its entirety as remastered by HDTT (High Definition Tape Transfers).
Reiner's rendering of the opening Allegro is remarkably dynamic, as though he were still in Symphony No. 5 mode, with plenty of forward drive, tension, and release. Still it seems both relaxed and rushed at the same time, never quite achieving the exhilarating start it should.
The second-movement Scherzo, Molto vivace, seems more successful to me, although here, too, Reiner appears intent on barreling forward at an unnecessarily fast pace and then backing off at unexpected moments. The result is sometimes intoxicating, sometimes breathless.
Then, Reiner plays the Adagio as sweetly as anybody, the mood reminding one of his genial rendition of the "Pastoral" Symphony. However, during quieter passages an abrasive, wiry edge tends to accompany the high strings, and it diminishes one's full appreciation of the tone the conductor is trying to convey.
Of course, all that comes before the mighty finale is mere prelude, anyway, a finale Beethoven based on the poem "Ode to Joy" by Friedrich Schiller. Indeed, it is this concluding choral movement that crowned Beethoven's whole symphonic output and paved the way for future composers to use voices in their symphonies. As with almost everything Beethoven did, the finale was revolutionary in its day. Moreover, it was the crowning jewel in Reiner's case for the work, too, and it is as triumphant as any you'll hear. In this section Reiner never seems hurried at all, yet he conveys a great sense of jubilation and exultation, the vocals ringing out clearly and joyously. So, while Reiner's Beethoven Ninth overall may not be a performance for the ages, it contains a finale worthy of one's attention.
Transferred to disc by HDTT from an RCA four-track tape originally recorded at Chicago Symphony Hall in 1961, the sound is quite wide and very well defined. Nevertheless, I noticed several odd thumps along the way, as well as a little more background noise than usual from this company. The sound is also a bit hard at times and a tad leaner than I would have anticipated. We should expect this of a tape made almost fifty years ago, yet I still found these imperfections somewhat troublesome. The acoustic provides good inner detail at the expense of some ambient bloom; the percussion comes through best; the strings not as well, with a generally rough aspect to them. Solo voices, though, sound resplendent, possibly the best on record.
For further information on the various formats, configurations, and prices of HDTT products, you can visit their Web site at http://www.highdeftapetransfers.com/storefront.php.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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