George Szell, The Cleveland Orchestra
Live in Tokyo
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1970/2000
Жанр: Orchestral
Издатель(лейбл): Sony Classical
Продолжительность: 01:23:39
Наличие сканов в содержимом раздачи: Да
Треклист:
WEBER: “Oberon” Overture
MOZART: Symphony No. 40 in G minor, K.550
SIBELIUS: Symphony No. 2 in D major, Op. 43
BERLIOZ: Rakoczy March from “The Damnation of Faust,” Op. 24
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 2.0
Доп. информация: 2000 Sony Classical Japan
This SACD rip was created using the following process:
The ISO image was created using SACD Daemon.
Excerpts from booklet included.
Источник (релизер): PhantomBlot (PS³SACD)
Оркестр: The Cleveland Orchestra
Композитор: Weber, Mozart, Sibelius, Berlioz
Дирижер: George Szell
Исполнитель: George Szell and The Cleveland Orchestra
Об альбоме (сборнике)
"Recorded live on 22 May 1970 in Tokyo during a tour of the Cleveland Orchestra to Japan, this concert took place a few months before the death of Szell who was already seriously ill with cancer.
This live recording is evidence for the very high quality of playing of the Cleveland and of Szell’s conducting; the reputation Szell had for his orchestra’s tight ensemble sometimes outweighs a deserved reputation for warmth in the results. This CD shows just what he achieved in concert."
George Szell’s last recorded concert, and one of the greatest live classical recordings made in the stereo era.
Review from David Weininger at the Boston Phoenix
Review of the Regular CD Version from David Hurwitz at Classics Today (10 Performance / 8 Sound)
This 1970 concert, recorded live in Tokyo by NHK radio engineers, is the stuff of which legends are made. Already fatally ill with the cancer that would kill him two months later, George Szell led the orchestra he had nurtured since 1946 on a triumphant tour of the Far East, sharing the podium with Pierre Boulez, husbanding his strength, refusing to give in to increasing frailty and exhaustion. On the evening of May 22, he directed the program recorded here, and it remains arguably the single-most astonishingly perfect live performance ever captured by the microphones. How lucky we are to have it, available domestically at last direct from the Cleveland Orchestra [The Cleveland Orchestra Store is here, but it’s a mess with no online ordering, and in any case the CD version is OOP].
This is all music that Szell conducted in the studio, and superbly well too. What, you already own those recordings? Never mind. The Oberon Overture has not been available in anything other than the Japanese Sony Szell Edition (in which this concert also features prominently), so its presence here is doubly welcome. The Mozart G minor Symphony should erase any notion of this conductor’s lack of flexibility. Yes, he was a severe disciplinarian, but his reputation tends to cloud people’s judgment (and clog their ears) when listening to the actual performances. This rendition thrives on subtle variations of pulse; Szell’s always-fresh way of introducing the upbeats to the principal theme whenever it returns offers one example, just as the unparalleled elegance (and yes, even playfulness) of phrasing throughout the slow movement provides another.
Szell recorded a stellar Sibelius Second with the Concertgebouw for Philips, recently reissued in magnificently remastered sound. It has long been a version of reference for the work. This performance resembles the earlier one, interpretively speaking, but even the excellence of the Dutch orchestra cannot approach the ferocious virtuosity on display here. Start with the extraordinary energy and finely layered sonorities of the first movement’s central development section, and move on from there to the dazzling sectional interplay that ignites the second movement’s agitated climaxes (another classic example of Szell flexibly and fearlessly exploiting a huge range of tempo).
By the time you reach the sizzling yet lighter-than-air strings in the scherzo (like Mravinsky/Leningrad at their peak, only with more colorful articulation), it should be clear that this performance sets a standard that remains unmatched to this day, technically and interpretively. Listen to the way Szell constructs the transition to the finale, and to its ideal mixture of Romantic expansiveness and structural solidity. The final climax rises out of the depths of the orchestra like a force of nature, a massive physical presence, and an incomparable musical experience. Berlioz’s Rákóczy March, the brilliantly played encore, is merely the icing on the cake.
Unlike the Japanese issue, this Cleveland production offers a very interesting interview with Pierre Boulez, who credits Szell with initiating his American career with his first Cleveland engagements in 1965, and who continues to enjoy a close working relationship with the Cleveland Orchestra. (Boulez was in fact conducting the group the evening that Szell died, and his moving condolence letter to the conductor’s wife is included in the booklet). It’s interesting to speculate on what might have been: Boulez notes that Szell might possibly have had him in mind as his eventual successor, but by 1970 Boulez already had been appointed music director of the New York Philharmonic and was bound by his commitment there. The rest, as they say, is history.
This release also differs sonically from its predecessor: a bit less open on top, with less hiss and the overly bright trumpets tamed to a welcome degree, but transferred at a slightly lower level. So don’t be afraid to set your volume control up a bit. You’ll still get a warm, extremely listenable sound, excellent given its provenance, and the audience emits not a whisper to disturb the proceedings (save, of course, for applause at the end of each item). Frankly, if you enjoy any of this music and don’t own this concert, you’re not thinking clearly. It’s the musical experience of a lifetime, and for a few tens of dollars you can enjoy it forever and support the orchestra that made it possible. How in heaven’s name can you justify not doing that?
Purchasing Information
As always, if you are going to keep this SACD ISO and do not already own it in any format, please purchase a legitimate copy of the album in RBCD or another format. I’m not sure if this Japanese SACD is out of print, but it is certainly expensive.
Disc purchasing options (and reviews) are available on the disc’s info page on SA-CD.net. The disc also may be in print in Japan, here are product links for Tower Japan and HMV Japan. Note that there is also a Japanese regular CD version – that version does not include the interviews included on the Cleveland Orchestra’s release of this concert.
For people who enjoy this recording, I would urge you to consider financially supporting The Cleveland Orchestra. Frankly times are tight and the Orchestra could use the help – and it’s a nice way to express appreciation for the post/music in a positive way. The donation link is here: http://www.clevelandorchestra.com/support-and-volunteers/donate-now/
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发表于 2020-12-8 15:03:04
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