Also, Smetana: The Bartered Bride Overture. Istvan Kertesz, Vienna Philharmonic Orchestra; Fritz Reiner, Chicago Symphony Orchestra. HDTT remastered.
Jewish-Hungarian conductor Istvan Kertesz (1929-1973) died tragically young, drowned while swimming off the coast of Israel. But before his death, he recorded Dvorak's Ninth Symphony twice in stereo. The first time was the Decca recording we have here, made with the Vienna Philharmonic in 1961. The second time was just a few years later, in 1966, again with Decca but with the London Symphony. Why did he re-record it? Possibly because he was recording all nine of Dvorak's symphonies with the LSO and wanted continuity within the set. Possibly because he felt he had more to say on the subject. And possibly because he wanted to restore the first-movement repeat that he had omitted in the earlier recording.
Who knows? Whatever the case, Kertesz fans have been arguing ever since about which version they like best, the first, more youthful, more impetuous one under review or the second, more mature, more complete one. Moreover, there remains some disagreement among audiophiles about which recording sounds best from a purely sonic viewpoint: the earlier, more dynamic one or the later, more refined one.
The first time I heard Kertesz's Vienna rendering was in the late Sixties or early Seventies when an acquaintance bought a pair of Infinity Servo-Static I's, electrostatic/cone hybrids considered at the time to be one of the finest speaker systems in the world. The first thing the acquaintance put on the turntable was an LP of this recording by Kertesz and the VPO. I was stunned by the sound--the sonics of both the high-end playback system and the record.
Of course, I had to buy the album. (I would loved to have bought the Infinity speakers, too, but the price was astronomical). In any case, the album did not disappoint me, and even though I could only afford a pair of AR-3a's back then, the speakers brought out most everything good about the Kertesz/VPO sound. Then came the digital age in the early Eighties, and I moved on to the compact disc of the recording, which sorely disappointed me. It seemed edgier and to have lost much of its impact.
Which brings me to this High Definition Tape Transfers remastered version of the recording, made by HDTT in 2017. I'm happy to say that because HDTT transferred it from a Decca tape and did so with care, it sounds much as I remembered the old LP. Meaning it doesn't get any better, and it just might return to a lot of audiophile systems as a demonstration piece.
Anyway, let's start with a word about Kertesz's interpretation of the symphony. Czech composer Antonin Dvorak (1841-1904) wrote the work in 1893 while serving as director of the New York Conservatory. Many listeners over the years have heard instances of American idioms in the music, especially African-American spirituals and Native-American influences, but Dvorak said most of the music was original, probably inspired more by his native Bohemia than anything "American." The symphony's title, "From the New World," only came about because Dvorak happened to be living in New York at the time he wrote it. While to some degree local tunes may have influenced the composer, the music seems mostly Czech in flavor. At the very least, as Leonard Bernstein once remarked, one might consider it multinational.
In the first movement, Kertesz is both fervent and affectionate. While some listeners may miss the repeat, the abbreviated time here seems more suited to the conductor's urgent manner. Moreover, Kertesz is never reluctant to convey the work's Gypsy fire, and he closes the first movement in a thrilling blaze of passion.
The slow, quiet, second-movement Largo, with its famous cor anglais melody, sounds as sweetly fluid as any you'll find. Then Kertesz gives us an energetic reading of the Scherzo and ends the piece with a roaring good finale, full of excitement and good cheer. Maybe his LSO performance shows us a more unified, better constructed piece of music, but this earlier realization is undoubtedly the more enrapturing one.
For a coupling, the folks at HDTT provide another Czech work, The Bartered Bride Overture by Bedrich Smetana (1824–1884). This time, however, the conductor is Fritz Reiner, the orchestra is the Chicago Symphony, and the remaster is from an RCA "Living Stereo" recording. Reiner was also a fine interpreter of Czech and Hungarian music, and he provides a properly rustic and rousing rendition of the score.
Producer Ray Minshull and engineer James Brown recorded the Dvorak at the Sofiensaal, Vienna in 1961, and producer Richard Mohr and engineer Robert Layton recorded the Smetana in Chicago, 1955. HDTT transferred both works from 15-ips tapes to DSD (Direct Stream Digital) 256.
The remastering restores the sound of the Dvorak, as I said, to much as I remembered it from the old LP days. It's very dynamic, with a solid impact, helped all the more by its excellent definition. Some listeners might object to the timpani being rather closely miked, but it helps to bring out all the fire and warmth of the work. The stereo spread is broad, and the resonance is just enough to impart a realistic feeling for the hall. In the Smetana overture, the sound is even broader across the speakers and perhaps a trifle thinner and brighter as well.
Even after all these years, the Dvorak recording remains a standout audiophile choice, and both the sound and the performance must command a place among the top recommendations for this work.
For further information on HDTT products, prices, discs, and downloads in a variety of formats, you can visit their Web site at http://www.highdeftapetransfers.com/.
To listen to a brief excerpt from this album, click on the forward arrow:
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 of The $ensible Sound magazine 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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