It would probably be 0.1 percent informed as compared to the General in this matters. To start with, he would need a few million to do the same level of compares, with the time dedicated, which I tobm really becomes possible if you are making money off it. Btw, anyone can take any reissue Invite yourself to G and do these compares, covid restrictions aside
new---Berlin Philharmonic Direct to Disc Bruckner No.7 Box Set---order while you can!
- Thread starter Mike Lavigne
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It would probably be 0.1 percent informed as compared to the General in this matters. To start with, he would need a few million to do the same level of compares, with the time dedicated, which I tobm really becomes possible if you are making money off it. Btw, anyone can take any reissue Invite yourself to G and do these compares, covid restrictions aside
If you go to this page
http://www.classicalsource.com/db_control/db_features.php?id=17022
and scroll to the bottom, you will see links to all of Rob’s vinyl reviews on that site, a large number of Speakers Corner reissues, among others, in which he always compares to original pressings whenever available. His thoroughness in both musical and sonic terms is at the pinnacle of reviewing art, IMHO.
Yes, I found his musical comments about the playing by the Julliard Quartet most interesting. I doubt anyone on this forum could top that, or even approach it.
I don't know that we need to travel to London to learn that original pressings are almost always better than a reissue.
Without the likes of Mike Hobson, Ying Tan (Classic Records), Kai Seemann (Speakers Corner), Tam Henderson (Reference Recordsin), Andreas Spreer (Tacet), Robert Singer (Impex), and others, many of us would not have the depth of experience available from the classical world.
I encourage the reissuance of past classics - it brings vitality to the medium and helps sustain it.
Of course. You need reissues. always welcome those. This is only if one wants to know which is sonically better. Why reissues, personally I want digital copies streamed with good quality to allow easy access. I will never buy Oistrakh Scottish Fantasia original, will always listen to speakers corner, does not mean it is better
Thanks a lot for pointing him - I have now read a few of his reviews and it is great to have his opinions on recordings - they are presented in a detailed way, telling us the why's of his preferences and musical details, not just the "believe me it is the best because I am an expert" of some critics.
IMHO the only "problem" of Rob Pennock excellent reviews is that they are too interesting - we risk spending too much time reading and a little less fiddling with the system and listening to music!
Also very early reissues for jazz are generally excellent. I've never heard any ERC. I almost pulled the trigger on Way Out West, but debated too long and then it was gone.
I was able to visit ERC as they are slightly over a 30 min walk from where I live, and they allowed me to listen to all their classical, and some jazz. They even played an original master tape, and cut the music partly onto a lathe to show me how it woks. I have forgotten some of the process now, though, but I did get to compare music on LP to the tape.
But before that, I had got to compare a few to the originals at the General's
To start with, ERC when released are much cheaper than their originals. Not sonically better, but the originals are quite more expensive with the added possible loss you might face if you ended up with poor samples of the originals. So sonically originals are better, but ERC are the best practical alternatives to those performances. Also Kogan Beethoven imo was never sonically good, original as well, it is high priced due to rarity. The du pre barbirolli elgar cello, even second ed original is better at a much lower price
My favorite two ERC are the Kogan Tchaikovsky, and the Magda Tagliaferro. They were coming out with a Michele Auclair Bach at that time which I got to compare to the tape and that seemed close. I haven't heard the ones released since then.
Ps: Interestingly, Magda Tagliaferro's opening track of Falla's Danse espagnole played by Ginette Neveu on violin is also very good and I found it at only 50ish quid.
That's a video of the 78
That's me playing my 33 at a friend's. The sonics of the LP aren't great but a very enjoyable listen
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Mine Bruckner 7th Berliner Philharmoniker Bernard Haitink box has arrived today the box fit and finish and esthetic refinement is top notch its beautiful and very well cared off on a German way!
And of course did i give it sonic treatment cleaned it made it antistatic the same evening and finally its on my Record player i am more positive than most reviewers on this post the Berliner Bow section is in optima form Bernard Haitink gives breath and soul to this Masterwork like no other its so soulful and touching how he get out the deepness of the Symphony from the this wonderful Orchestra.All is one and all are believers...
Regarding the recording quality i am also pretty much positive its pure and raw no instrument is exaggerated its very close to live performance there is no equalization.I am very very happy that i have both one of the last examples Nr 1853 from 1884 thanks (Mike Lavigne) for recommendation only downsize for me is the notification signed example did suggest to me that it was signed by Maestro Haitink but its not its signed by probably chief Studio.
And of course did i give it sonic treatment cleaned it made it antistatic the same evening and finally its on my Record player i am more positive than most reviewers on this post the Berliner Bow section is in optima form Bernard Haitink gives breath and soul to this Masterwork like no other its so soulful and touching how he get out the deepness of the Symphony from the this wonderful Orchestra.All is one and all are believers...
Regarding the recording quality i am also pretty much positive its pure and raw no instrument is exaggerated its very close to live performance there is no equalization.I am very very happy that i have both one of the last examples Nr 1853 from 1884 thanks (Mike Lavigne) for recommendation only downsize for me is the notification signed example did suggest to me that it was signed by Maestro Haitink but its not its signed by probably chief Studio.
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By the way, I don't know if that has been mentioned, but the reason that there are 1884 copies appears to be this date:
"The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the opera house at Leipzig on 30 December 1884, brought Bruckner the greatest success he had known in his life."
https://en.m.wikipedia.org/wiki/Symphony_No._7_(Bruckner)
"The premiere, given under Arthur Nikisch and the Gewandhaus Orchestra in the opera house at Leipzig on 30 December 1884, brought Bruckner the greatest success he had known in his life."
https://en.m.wikipedia.org/wiki/Symphony_No._7_(Bruckner)
Mine has arrived as well. Great packaging and presentation.
The sound is phase coherent, single point recording and this may well be the reason for some people to be underwhelmed. Everybody is now used to multi mic recordings with group spots and flank mics for ambience. The mic used on this recording is a Josephson c700s which is a mic with three capsules (One omni and two coincident figure 8 capsules) on one body. I think it is great mic and a viable approach for live recordings if who you are recording is up for the task. Well, Berliner is up for that for sure. Direct cutting brings even more demands on the recorded.
For me, this short signal path and natural recording is sounding very good. It is not fireworks, it is not produced to put on a show. It is what it is and that is enough for me. I know that at the location of the mic, this was exactly how this orchestra was sounding. It is a dynamic recording too, so I am surprised about people commenting negatively on dynamics.
Recording is an art, so you can actually make people believe that they are there with a lot of tricks. Most of the time, when people are commenting on recordings being natural or being there, contrary to what they believe, there are generally lots of mics and lots of tricks. This here is a quite a direct, honest approach and I appreciate it.
ps. Sound liaison uses the same mic for their one mic recordings.
The sound is phase coherent, single point recording and this may well be the reason for some people to be underwhelmed. Everybody is now used to multi mic recordings with group spots and flank mics for ambience. The mic used on this recording is a Josephson c700s which is a mic with three capsules (One omni and two coincident figure 8 capsules) on one body. I think it is great mic and a viable approach for live recordings if who you are recording is up for the task. Well, Berliner is up for that for sure. Direct cutting brings even more demands on the recorded.
For me, this short signal path and natural recording is sounding very good. It is not fireworks, it is not produced to put on a show. It is what it is and that is enough for me. I know that at the location of the mic, this was exactly how this orchestra was sounding. It is a dynamic recording too, so I am surprised about people commenting negatively on dynamics.
Recording is an art, so you can actually make people believe that they are there with a lot of tricks. Most of the time, when people are commenting on recordings being natural or being there, contrary to what they believe, there are generally lots of mics and lots of tricks. This here is a quite a direct, honest approach and I appreciate it.
ps. Sound liaison uses the same mic for their one mic recordings.
Attachments
Looking once again at the Berlin Philharmoniker Recordings site, I see the Bruckner/Haitink Symphony 7 is still on offer as is the Beethoven/Rattle 10 LP cycle (2015-16). Both limited editions, 2000 and 1884. Is it in any way surprising these are still available? Does that tell us anything about the world audience for this music on vinyl?
I also see BPR is offering a 7 LP cycle of Sibelius Symphonies with Simon Rattle from 2015 on clear vinyl and an edition size of 2000. Having a modestly large collection of Sibelius, I never associated Rattle with the great Sibelian conductors, but that could be from limited experience. Kaplan has some kind words about his earlier work. Has anyone heard this set with the Berliners?
I also see BPR is offering a 7 LP cycle of Sibelius Symphonies with Simon Rattle from 2015 on clear vinyl and an edition size of 2000. Having a modestly large collection of Sibelius, I never associated Rattle with the great Sibelian conductors, but that could be from limited experience. Kaplan has some kind words about his earlier work. Has anyone heard this set with the Berliners?
I attended 3 Sibelian symphonies of Rattle when he was the conductor for Berlin and they were visiting London. However, it is not that I have heard different versions of those symphonies to comment. Generally I don't like any of the symphonies he conducts. His B9 was the worst I heard, high speed timing. What I do like about him since he became LSO conductor is the programme he structures for the evening, he adds many small unknown pieces one does not get to hear otherwise, and his wife Magdalena Kozena is one of the best voices live, and there are many big ticket performers in the evenings he conducts
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I'm not sure how the guys at Berliner Philharmoniker Recordings are counting but my box arrived today, ordered June 11, ...
Might be quite a lot of copys left to order ?
Anyway, It came with a little something else too...
I probably won't see much of the sun in the next few days
Thanks @Mike Lavigne ... would have missed otherwise
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