Tchaikovsky: 1812 (UltraHD CD)

Also, Capriccio Italien; Cossack Dance. Erich Kunzel, Cincinnati Symphony Orchestra. LIM UHD 052.

“Caution! Digital cannons. The cannons of the Telarc Digital 1812 are recorded at a very high level. Low listening levels are recommended for initial playback until a safe level can be determined for your equipment.”

How many discs do you know of that warn you in advance they can destroy your sound system?

As of this writing, it’s been over three decades since Telarc first released its celebrated digital recording of the 1812 Overture. That was back in 1979, and it’s the recording with the big cannons that helped put the company on the map. Telarc Records had already released several other vinyl LP’s before then, but none of them had made the impression the 1812 did. Now, the folks at LIM (Lasting Impression Music), the affiliate label of FIM (First Impression Music), have used some of the world’s most-advanced audio techniques to remaster the work on CD in their Ultra High Definition, 32-bit mastering process. If you’re an audiophile, you probably already have a few of producer-owner Winston Ma’s FIM and LIM discs in your collection, and you know what they can do. If so, this Telarc remaster might be just the thing to show off your system.

Anyway, Peter Tchaikovsky (1840-1893) wrote his 1812 Overture in 1880 to commemorate Russia's defense of Moscow against Napoleon's advancing army at the 1812 Battle of Borodino. As usual with the composer, he didn’t think much of his own work. He complained that he was "not a conductor of festival pieces" and that the Overture would be "very loud and noisy, but without artistic merit because I wrote it without warmth and without love.” Be that as it may, along with a couple of his ballets, it has become his most-famous and most-performed work.

The 1812 opens softly with low cellos and violas playing the introduction. Be sure to keep the volume low or you may be sorry later on. The dynamic range is huge. This is one of the late Maestro Erich Kunzel’s more-animated performances, so you’ll enjoy how he creates, expands, and releases some finely tuned outbursts of energy. This is celebratory music, after all, and Kunzel makes sure we understand that. Overall, though, I admit I am still not quite as thrilled by Kunzel’s approach to the piece as most listeners, my finding it too often a little pedestrian and middle-of-the-road. I prefer the greater excitement of Andre Previn and the LSO (EMI), Sian Edwards and the Liverpool Philharmonic (EMI), or Antal Dorati and his old Minnesota players (Decca/Mercury). What I liked most on Kunzel’s disc, though, was his sunny yet urgent reading of the Capriccio Italien; and the listener might find the disc worth its asking price for that alone. The other track is the “Cossack Dance” from Mazeppa, which is quite brief.

Nevertheless, this Telarc recording is really about the sound. It’s an audiophile disc of the first order, and the more-than-acceptable performance of the 1812 is merely a secondary consideration. As we would expect, Telarc’s patented big bass drum does its best to keep our attention, and the cannons go off loudly enough to rupture a speaker cone. Indeed, as I mentioned before, Telarc and LIM warn us throughout the packaging to keep the volume initially low until we can determine a safe level of playback for our system. However, they don’t exactly clue us in as to what that safe level may be, as the cannons don’t come into the picture until the very end of the piece, by which time it may be too late. Then, Telarc/LIM exacerbate the problem with a lower-than-average playback level to begin with, about six or eight decibels lower than the output of most other classical CD’s, which may encourage some listeners to turn things up too high in the first place just hear it. Remember, there is an enormous dynamic range involved, meaning the difference between the softest and loudest notes. So if it starts quietly, you can be assured it will get louder before long.

Telarc recorded the album at Music Hall, Cincinnati, in 1978, releasing it the following year. LIM remastered it in their Ultra High Definition, 32-bit processing format in 2011, releasing it in 2012. The remaster is as free from distortion as anything you’re liable to hear, reproducing Telarc’s already splendid sound to the fullest and most natural. Not only is the bass deep (a booklet note says the cannon fire dips down as low as six cycles), the imaging is excellent, left-to-right and back-to-front. What’s more, we get wonderfully clear, clean, extended highs, especially evident in the Capriccio.

In addition, given its lovely, high-gloss, hardcover packaging, its twenty-page bound booklet, and its static-proof inner sleeve, the LIM product is about as audiophile as they come. Just don’t think it comes cheap. For a complete listing of FIM/LIM products, you can visit their Web site at



  1. I' m trying to find a cd I had on the Telarc label called " THE LOVERS it was a 2 cd set with with various composers famous for the 1812 overture HELP....

  2. To my knowledge Telarc never released an album called "The Lovers," and the only Tchaikovsky "1812" they did was this one from Erich Kunzel and the Cincinnati Pops Orchestra.


Meet the Staff

Meet the Staff
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.

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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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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa