Tchaikovsky: Symphony No. 4 (XRCD review)

Pierre Monteux, Boston Symphony Orchestra. JVC JM-XR24015.

I confess I had never heard conductor Pierre Monteux’s Tchaikovsky Fourth before I got this disc a few years ago, nor did I even know he had recorded it. To my knowledge it has never appeared in RCA’s “Living Stereo” series, only in an early regular edition. I suspect, however, that Monteux recorded it at the same time he did the Tchaikovsky Fifth and Sixth, recordings I have at least heard of although, again, never listened to. The upshot is that I had no regular Monteux recording with which to compare this JVC premium remastering. Let me just say it’s pretty good.

Tchaikovsky’s Fourth is one of those warhorses that has never struck me as being all that worthy of its fame. The first two movements, frankly, have always left me unimpressed. The Scherzo, nevertheless, is quite lively and charming, and the Finale is everything one buys a high-priced stereo system to reproduce. This final movement is grand and exciting, full of bombast and brilliance in equal measure. And Monteux, whom I generally think of as a most-refined conductor specializing in the French impressionist repertoire, comes through splendidly, maybe not making the first two movements any more tolerable for me than anyone else but driving through the Finale with rousing vigor and spirit. Interestingly, my heretofore favorite recording of the Fourth has been Haitink’s 1970’s reading with the Concertgebouw on Philips, and Monteux’s timings are almost exactly the same as Haitink’s. With the exception of the sound quality, the two interpretations could be brothers, or close cousins at the least.

The sonic quality of this JVC XRCD is about what one would expect from a painstaking transfer of an RCA recording from the late Fifties (this one recorded in 1959). The RCA engineers were doing some of their best work with the Chicago Symphony at the time, and by comparison the Boston acoustics often produced a brighter, thinner sound than their Chicago counterparts. There is no exception here, the Boston recording being a bit top-heavy; and while producing a wonderfully extended high-end for triangles and symbols, it tends to render violins a mite hard and forward. Bass could also have been deeper. That said, the audio quality is nevertheless quite good: clean, relatively quiet if played at reasonable levels, dynamic, transparent, dimensional, and alive. Several of the loudest passages seemed to me to distort slightly, but it may have been my imagination.

Although I still prefer the more natural and resonant Concertgebouw acoustics, I cannot deny the sheer spectacle of the Boston recording in this JVC remastering. Whether it’s worth its high asking price, that’s for you to decide. I can tell you, though, that if Monteux interests you in this particular material, you can still find it from RCA at a modest price in a regular edition (which also includes Symphonies 5 and 6). However, if you want No. 4 alone and remastered to audiophile standards, this JVC product looks like the only way to go. Just don’t complain afterwards about the cost; you probably wouldn’t want it any other way.

To listen to a brief excerpt from this album, click here:


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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.

Mission Statement

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