Jul 2, 2017

Schubert: Symphony No. 9 (CD review)

Josef Krips, London Symphony Orchestra. HDTT, remastered in DSD.

Among the first recordings I ever owned of Franz Schubert's Ninth Symphony "The Great" was this 1958 version by maestro Josef Krips and the LSO. I came to it a little late, sometime around 1970, and found it on a London Stereo Treasury LP. Unfortunately, the vinyl was rather scratchy and noisy, and while I enjoyed the performance enormously, I couldn't enjoy the sound. Then, years later, Decca issued it several times on CD, and with these releases the problem was that the sound was more than little bright and edgy. Again, wonderful performance, but questionable sonics.

Enter HDTT (High Definition Tape Transfers), who have transferred the recording to CD and download twice now. It's with enthusiasm that I can tell you how much of a relief it is to hear the recording in the best versions I've yet to find them from the little company that gives us the best possible sound from older tapes. More about the HDTT sound in a moment.

First, a few notes about the music and the performance. Schubert wrote his Symphony No. 9 in C major in 1828, the year he died, and it premiered after his death. Consequently, he never heard it performed in his lifetime. He would have liked Krips's rendering, though, I'm sure. Under Krips, the opening movement may not be as weighty as, say, Klemperer's or as zippy as any of Mackerras's recordings, but it strikes a happy balance. More so than either of those conductors, good as they are, Krips is more playful and more lilting, his rhythms always bringing delight to the spirit, if not a downright smile to the face.

Although the second-movement Andante, with its faintly gypsy overtones, can in some other interpretations tend to drag, it's not so with Krips, who keeps the beat moving forward at a commendable pace. Yet he also maintains the movement's staccato-like cadences in good humor.

Josef Krips
Still, it's in the Scherzo that we really see Krips shine, his realization exhibiting so cheerful a glow, it makes most other conductors seem positively funereal by comparison. Then, in the Finale, Krips comes through with a combination of light airiness and energetic bounce that cannot fail to charm. While this was a fairly long symphony for its day, Krips leaves one wanting to hear even more, which is pretty much what any listener might want to do--hear it again. And again.

Decca recorded the music in May 1958, and HDTT remastered the present transfer in 2017 for, as I said, the second time. With this one they used DSD256 (Direct Stream Digital) and transferred the music from a 15ips 2-track tape (their previous transfer having used the LP).

One hears very little background noise, but even then it's only noticeable in select, quietest passages. There is also a very wide dynamic range involved and a reasonably strong impact. Needless to say, it is not quite as bright or edgy as the several Decca CD's I've owned, even if it is still a bit forward and tizzy in the upper midrange. Nevertheless, the HDTT sound is exceptionally clear.

The question, though, may be how the newer HDTT transfer stacks up against the company's earlier mastering. For one thing, the slight added clarity of the present recording brings out some of the minor distortions of the original source material. This is especially evident at the very beginning with a small degree of resonant shimmer noticeable, and then again during a few louder passages. In addition, I heard a more balanced left-to-right stereo spread from the newer mastering, the older one appearing to place a bit more gain in the left channel.

Overall, there is no doubt in my mind that Maestro Krips provides one the best renditions on record of Schubert's Ninth Symphony, if not the best. And whether or not its sound is up to every audiophile's standards, there is also no doubt in my mind that this HDTT transfer is the best you'll find of it.

For further information on the various formats, configurations, and prices of HDTT products, you can visit their Web site at https://www.highdeftapetransfers.com/.

JJP

To listen to a brief excerpt from this album, click below:
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3 comments:

  1. AmilkarJuly 3, 2017 at 3:07 AM

    No conocía esta sinfonía y me ha sorprendido gratamente.

    ReplyDelete
  2. ThomasJuly 20, 2017 at 1:06 PM

    Have you heard this SACD version? https://www.musicdirect.com/optical-disc/schubert-symphony-no9-krips-london-symphony-orchestra-hybrid-sacd
    I haven't, need to win the lottery now! This is music making we will never hear again.

    ReplyDelete
  3. John J. PuccioJuly 20, 2017 at 1:30 PM

    Nope. Haven't heard this one,Thomas. Thanks for the heads up.

    ReplyDelete

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Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

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 Jon 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 for 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 Nehring, Editor and Contributor

For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings 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 they 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 Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds 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 technologies that enable us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


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.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa