Post by Tom AmoladPost by wadePost by Tom AmoladThe user reviews and (even more annoyingly catty) comments on Sony's
2010 issue of Reiner's RCA Wagner recordings (http://www.amazon.com/
Reiner-Conducts-Wagner/dp/B003YI3D36/) aren't kind about the sound,
but since none of the writers in question give any indication of ever
having heard any other issue of these recordings (admission: I haven't
either), I'm skeptical. Did Sony botch this, or are these simply a
bunch of obnoxious would-be audiophiles who don't like the way it was
recorded in 1954? Is another CD issue any better (or as good)?
Also, did Reiner record any Wanger in the studio in Chicago that's not
on this CD?
Thanks,
Tom
these were recorded much later than 1954.
I really should double-check facts before posting. Okay, make that
1959/60. Whenever it was, how's the original recording, and how does
this CD issue compare to others?
Spring 1959. I assume that you mean the Meistersinger and
Gotterdammerung excerpts.
"The original recording" could mean many versions, from the original
Victor LP to various LP reissues and various CDs. All sound sound
subtly different. I don't know the CD to which you refer. I'll write
here about the RCA "Living Stereo" CD.
I heard Reiner and the CSO live in Orchestra Hall. In Wagner, too. I
can testify that the "Living Presence" RCA CD really does capture the
sound as it was in person: amazingly rich and full and colorful, with
brass playing of almost vocal expressivess, inflected note-by-note.
It's all audible in the brass playing in the climactic parts of the
Gotterdammerung Rhine Journey.
Don Tait
That's funny because you say what you hear on the recording matches
what you heard in concert, but what you describe doesn't match what's
on the recording. There is some nicely phrased and expressive string
playing, some characterful contributions from the woodwinds (not so
much from the mostly strained and muffled sounding horns though) and
the buildup to the first climax in Rheinfahrt is handled very well.
But once the climax is reached and the brass blasts away, it's all
over. There is not a trace of "vocal expressiveness" there and it
certainly is not "inflected note-by-note". Rather, it is a pretty
nasty forced and compressed sound, shrill and blaring, stiff and
completely uninflected. Each note is played with the exact same forced
sostenuto and clipped at the end. Also, in those passages, the
trumpets and trombones suddenly appear *in front* of the orchestra -
was it like that in concert, too? Did they suddenly magically appear
in front of the orchestra? And were they amplified in those passages
in the concert just like the engineers here obviously pulled up their
track faders?