State-of-the-Art Recordings of Classical Works (SACDs)

[Yuen A.]

Brahms: Symphony No. 2​

Brahms - Symphony No. 2; Tragic Overture ; Academic Festival Overture. Budapest Festival Orchestra, Iván Fischer Channel Classics CCS SA 33514 SACD

Classics Today says: "For the first three movements, this is as lovely and smart a performance of Brahms’ Second Symphony as you’ll ever hope to hear. Fischer opens the work at a perfect, flowing tempo, full of latent energy. He shapes the exposition’s broad musical paragraphs masterfully, with the lead-back to the repeat so subtly phrased that you may not realize that it’s happening until it has already occurred. The Adagio, too, has such poise and nobility, with string playing of superhuman purity and woodwind chords so luminously balanced you’d think they’re coming from another world. In the Allegretto grazioso third movement, “graciousness” is what you get, but not without effortless athleticism in the quick trio sections." The recordings are very lifelike, especially the Academic Festival Overture.

 

[Yuen A.]

Brahms Cello Sonatas: Cello Sonata No. 1 In E Minor, Op. 38; Cello Sonata No. 2 in F major, Op. 99; Violin Sonata No. 1 in G major, Op. 78 (Arr. P. Klengel for cello and piano). Torleif Thedéen (cello) & Roland Pöntinen (piano) BIS SACD1606​

Gramophone says: "Torleif Thedéen and Roland Pöntinen's performances here are on a grand scale, with opulent tone highlighted by a splendid recording ... There's refinement and delicacy aplenty, too." This is a state of the art recording. Via my sound system, the cello and the piano sounded real and immediate. The two instruments have a rich warm sound and are full bodied and resonant.

 

[Yuen A.]

Beethoven Symphony no 4 B flat major; Symphony no 6 in F major, 'Pastoral' Budapest Festival Orchestra / Ivan Fischer Channel Classics CCS SA 30710 SACD (A Relisten)

To me, this recording of the 4th symphony is the best in performance and sound. Phil Gold of Enjoy the Music says it all: "Fischer brings all the brilliant rhythmic excitement of both Gardiner and Toscanini together with the warmth and grandeur of Klemperer. The Budapest Festival Orchestra just sounds so coherent, so immersed in the text, so careful to bring clarity at whatever speed the conductor imposes, that the listener can just sit back and revel in the delicious orchestration and grand sweep of the design, knowing no punches will be pulled, no phrasing will be mishandled, no point making imposed. It's a magical balance that's been achieved here, born directly from scrupulous discipline and attention to detail, combined with the crystal-clear shaping of the musical structures--that Klemperer-like quality that is reincarnated in Fischer."

 

[Yuen A.]

Johannes BRAHMS Symphony No 2 in D Op.73 (1877) Tragic Overture Op.81 (1880) Netherlands Radio Symphony Orchestra/Hans Vonk
PENTATONE CLASSICS PTC 5186 042 SACD (Meitner ADC-8 mk IV DSD AD Converter) (A Relisten)

The sound on this disc is excellent - transparent and three-dimensional. The playing is refined, detailed and passionate.

 

[Yuen A.]

LUDWIG VAN BEETHOVEN - Piano Sonatas No. 8 in C minor ("Pathetique"); No. 14 in C-sharp minor Op. 27 No. 2 ("Moonlight"); No. 23 in F minor Op. 57 ("Appassionata") Freddy Kempf (piano) BIS SACD 1460 (A Relisten)

ClassicsToday says: "The “Appassionata” stands out for the pianist’s tautly organized, texturally clear, and organically energetic outer movements." The recording is very lifelike. Via my sound system, the amplitude envelopes (the attack, decay, sustain and release) of piano notes sounded so real and natural! Play very loud.

 

[Yuen A.]

Ludwig van BEETHOVEN Symphony No. 4 in B flat major, Op. 60 (1806) Symphony No. 7 in A major, Op. 92 (1812) Royal Flemish Philharmonic/Philippe Herreweghe TALENT DOM 2929 100 SACD (A Relisten)

Classic FM says: "Herreweghe's expertise in period-style performance convinces totally: the orchestra sound is crisp and clean, with rattling, war-like timpani and tight-reined, yet decently weighty string sound...In terms of everything that matters - not just style and sonority, but also a true response to the music's endless riches of drama and invention - these performances are as close to definitive as you can get." I will only comment on the Seventh. This recording of the Seventh is fresh, detailed and realistic. The performance is world-class - rhythmically incisive, exact and exhilarating. The soundscape is huge, transparent, spacious and airy. Play very loud.

 

[Yuen A.]

​

Fauré Requiem; Bach: Partita, Chorales and Ciaconna. Grace Davidson (soprano), William Gaunt (baritone), Gordan Nikolitch (violin)Tenebrae/Nigel Short/London Symphony Orchestra Chamber Ensemble LSO Live 0728 SACD​

Gramophone rightly says: "It is a performance of extreme richness and opulence. Short's marvellously moulded phrases, long-drawn and exquisitely shaped...are vital elements in elevating this performance to the sublime. Not to be downplayed, however, is the exquisite singing of Tenebrae...In short, this is a devastatingly beautiful performance." The recording is awesome (a surprise from this label). It is transparent, pure and realistic. The bass line is also lifelike. The acoustic of St Giles’ Cripplegate is sublime. Play very loud.

 

[Yuen A.]

Bach: The Four Great Toccatas and Fugues E. Power Biggs (organ) Sony Classics SS 87983 SACD (A Relisten)

Wow, this is one of the best and most realistic organ recordings in my collection! The soundscape is huge and transparent. The pipe organ timbres are spot on. The organ has amazing presence. The performance is world class.

 

[Yuen A.]

Midnight at Notre Dame Organ Transcriptions Bach, J S: Cantate No. 29 "Wir danken dir, Gott, wir danken dir", BWV 29; I. Réjouis-toi mon âme (Transcr. for Organ by M. Duruflé); Mozart: Adagio & Fugue in C minor for Strings, K546; Wagner: Pilgrim's Chorus (Transcr. for Organ by F. Liszt); Berlioz: La Damnation de Faust, Op. 24 - transcr. for Organ by Henri Büsser; Rachmaninoff: Prélude in C-Sharp Minor, Op. 3 No. 2 (Transcr. for Organ by Vierne); Prokofiev: Toccata, Op. 11 (Transcr. for Organ by J. Guillou); Bach, J S: Cantata No. 22 "Jesus nahm zu sich die Zwölfe", BWV 22; Bach, J S: Partita for Violin Solo No. 2 in D minor, BWV 1004 - Transcr. for Organ by Henri Messerer. Olivier Latry (organ) Deutsche Grammophon E4748162 SACD (A Relisten)

The recordings here are very lifelike, exciting and even scary. The tremendous dynamic range and wide frequency or pitch spectrum of the pipe organ here were reproduced (via my Magico Q-Sub 15 and M2 loudspeakers) with electrostatic-like clarity, pureness and speed! Olivier Latry's mastery of both instrument and repertoire is undeniable.

 

[Yuen A.]

Britten: String Quartet No. 2 in C major, Op. 36; 3 Divertimenti for String Quartet (1936 Version); Miniature Suite; String Quartet in D Major (1974 Version) Emperor Quartet BIS SACD 1540

The Emperor Quartet gives a stupendous rendition of the Second Quartet, nuancing it with a fabulously imagined range of colour; it comes across as not only powerful but visionary ...There are sounds here that one mightn't have realised a string quartet could make. (Classic FM)

Wow, this is a real hidden gem! The recordings are very lifelike ("you are there"), dynamic, transparent, nuanced, rich, pure and three dimensional. The basslines and pizzicatos sounded amazingly realistic. Play very loud.

 

[Yuen A.]

Bach, J S: Prelude & Fugue in G major, BWV541, Chorale Prelude BWV653b 'An Wasserflüssen Babylon'; Johann Heinrich Bach: Sonata in F Major; Bach, J M I: Ach, wie sehnlich wart ich der Zeit (Aria); Bach, J S: Wer an ihn gläubet, BWV 68 (V); Bach, J C'ph: Ich lasse dich nicht, BWV Anh. 159; Bach, J Ludwig: Overture in G Major; Bach, J S: Concerto in A Major, III, BWV 1055; Bach, J S: Seht, was der Liebe tut, BWV 85 (V); Bach, J S: Chorale Prelude BWV622 'O Mensch, bewein' dein' Sünde groß'; etc. Jonathan Freeman-Attwood (trumpet) & Daniel-Ben Pienaar (piano) Linn Records CKD 418 SACD (A Relisten)​

Wow, the trumpet here has never sounded so alive, so real, so pure, so resonant, so vibrant, so airy and so dynamic until now via my updated DAC! The highs simply soar effortlessly. "Jonathan Freeman-Attwood's playing is notable for the beauty and freedom of line of his lyrical phrasing, while the bravura is exhilarating."

 

[Yuen A.]

J.S. BACH - Violin Concertos in A minor BWV 1041; in E major BWV 1042; in G minor (after BWV 1056); in A major (after BWV 1055) Rachel Podger (violin) Brecon Baroque Channel Classics CCS SA 30910 SACD

BBC says: "This crack squad of first-rate period-instrument musicians gives lithe, polished and devoted performances that make a convincing case for a one-to-a-part "orchestra". Indeed, so full-bodied is the sound that you could be forgiven for not noticing the paucity of numbers – except the precision and freedom for manoeuvre is far greater than any chamber orchestra could achieve." The sound here is amazingly immersive and lifelike. Instrumental timbre sounded so right. The basslines are full-bodied and realistic.

 

[Yuen A.]

Johannes BRAHMS Symphony No. 1 in C minor op. 68 Variations on a Theme of Haydn op. 56a Pittsburgh Symphony Orchestra/Marek Janowski PENTATONE CLASSICS PTC 5186 307 SACD (A Relisten)
ClassicsToday correctly says: "Marek Janowski is particularly adept in generating rhythmic tension in the outer movements thanks to his vigorous handling of accompanimental textures, which never sound thick or heavy. The Pittsburgh Symphony plays magnificently, and with great sensitivity. In the Andante the strings sound luminous, and the delicious third movement is perfectly paced and phrased. It all culminates in a really brilliant finale: the closing pages have a positively physical lift. The Haydn Variations are just as fine. The Pittsburgh winds sound absolutely radiant here, while Janowski characterizes each variation with real personality. The final passacaglia builds effortlessly to the work’s joyous conclusion. Pentatone’s engineers have done an excellent job capturing the orchestra in a nicely warm acoustic that permits a clear delineation of texture without undue spotlighting."

These recordings are some of the best, if not the best in both performance and sound (freshness, lifelike, three-dimensional, transparent)! I especially like Janowski''s ""well-chosen tempo with scrupulous attention to the dynamics and phrasing in the score and with warm but never heavy sonorities."

 

[No Regrets]

View attachment 105251

Catalogue No: PTC5186059 SACD

Another great recording! Here, Fischer's violin sounded so vividly present, tender, pure, sweet, and precise. Tone-color, inflexions and dynamics are perfect! There is plenty of space and air around the violin. The orchestra also sounded alive, reverberant and real.

I actually have this recording on vinyl and it is indeed very nice!

I have been dedicated to vinyl for the last 50 years and am now just updating the digital side of my stereo system. I just bought a Jay's Audio dedicated cd transport and a new Mojo Audio Mystique X 24AM NOS dac.

Please forgive my ignorance as I feel as if I have been living under a rock the last few decades

I know that my new digital acquisitions will not play SACD, but do all of these SACD recordings also have a PCM layer so that my gear can play them?

How would I know if it has this PCM layer?

As with vinyl records, the pressing matters quite a bit in regards to the sound quality. Would buying a SACD recording and just listening to the PCM layer be considered a great pressing or would I be wasting money on pursing any of these recordings?

Thank you for helping me better understand the digital side of things.

Best wishes to you all,
Don

 

[Yuen A.]

I actually have this recording on vinyl and it is indeed very nice!

I have been dedicated to vinyl for the last 50 years and am now just updating the digital side of my stereo system. I just bought a Jay's Audio dedicated cd transport and a new Mojo Audio Mystique X 24AM NOS dac.

Please forgive my ignorance as I feel as if I have been living under a rock the last few decades

I know that my new digital acquisitions will not play SACD, but do all of these SACD recordings also have a PCM layer so that my gear can play them?

How would I know if it has this PCM layer?

As with vinyl records, the pressing matters quite a bit in regards to the sound quality. Would buying a SACD recording and just listening to the PCM layer be considered a great pressing or would I be wasting money on pursing any of these recordings?

Thank you for helping me better understand the digital side of things.

Best wishes to you all,
Don

Hi Don, you are right, without a SACD transport, you won't be able to play the SACD layer. However, you will automatically be able to play the Redbook layer. But of course the high resolution layer will sound much better than the CD layer.

 

[No Regrets]

Hi Don, you are right, without a SACD transport, you won't be able to play the SACD layer. However, you will automatically be able to play the Redbook layer. But of course the high resolution layer will sound much better than the CD layer.

Hello and thank you for your reply. Can you also help me better understand a couple of things when it comes to these SACD recordings?

1. Do all of these SACD recordings always have a Redbook layer in addition to the SACD layer? Or do I have to be careful when ordering these SACD discs?

2. Let's say I wanted to buy an Orchestral recording. There might be a cd recording that was pressed in just Redbook. Then at a later time, the same Orchestral recording might have been repressed in the SACD format that might also happen to have a Redbook layer. Would you think that the Redbook layer of the SACD recording would sound better than the earlier Redbook only cd?

Thank you for sharing your thoughts with me!
Best wishes,
Don

 

[Kingrex]

Hi Don, you are right, without a SACD transport, you won't be able to play the SACD layer. However, you will automatically be able to play the Redbook layer. But of course the high resolution layer will sound much better than the CD layer.

The only reason I have not jumped n a Jays Audio CD.

 

[No Regrets]

The only reason I have not jumped n a Jays Audio CD.

I can certainly understand that. I had a similar hesitation myself.

However, I had talked with many music lovers who had the capability to also play SACD, but in reality they didn't have hardly any SACD recordings. It's not that they didn't like the SACD recordings, but rather the overwhelming vast majority of their recordings were Redbook.

They said that if you have a proper dedicated cd transport and a well designed dac, that Redbook can sound as satisfying as Hi-Rez or SACD. Most of them preferred NOS Ladder type dac's for their Redbook playback.

I've collected thousands of vinyl lp's over the last few decades, with over 1,000 of them being truly mint and noise free on wonderful pressings. I truly cherish them and will not be turning my back on my vinyl rig. However, I have come to learn that there is a lot of great music out there that is not being recorded on vinyl and I don't want to miss out being able to listen to it.

I would imagine that the quality of the mastering and pressing of the cd may also play a role in the resultant sound quality, just as it does with vinyl records. So, I am trying to ascertain which recordings to search for... plain ole Redbook or SACD that has a Redbook layer? Or should I be looking at other parameters.

I don't want to take this thread off the rails, but I thought because this is dedicated to SACD recordings, it might be a place to simply ask about the sound quality of the Redbook layer of these SACD recordings being discussed here.

Thanks much!
Don

 

[Bso]

I am trying to ascertain which recordings to search for... plain ole Redbook or SACD that has a Redbook layer? Or should I be looking at other parameters.


Thanks much!
Don

All things being equal the SACD layer should sound better than the other layer. SACD recording is quite common today.

As this wonderful thread clearly attests!

 

[No Regrets]

All things being equal the SACD layer should sound better than the other layer. SACD recording is quite common today.

Hello and thank you for your post!

I'm afraid that I might not be understanding you correctly. Please let me try again...

I understand that most people would agree that the SACD layer should sound better than the Redbook layer of the SACD disc.
What I am asking is this... would the Redbook layer of a SACD disc sound better than just a Redbook Only cd disc of the same performance.

Or maybe another way to look at it.... is the mastering done differently and/or better on the Redbook layer of a SACD disc than that of a Redbook Only cd disc of the same recording?

I appreciate everyone's patience with me as I am trying to learn and understand the digital side of music.

Thank you and best wishes to you all,
Don