The Meaning of Recordings
By
stumpf

Stokowski conducts Bach Transcriptions
Philadelphia Orchestra 1927-40
Classica D'Oro 1011

Stokowski conducts Tchaikovsky
Symphonies #4 and 5
Romeo and Juliet
Marche Slave (sic)
NBCSO and Philadelphia (Symphony #5
Classica D'Oro 1012 (2 discs)

Furtwangler conducts Beethoven
Symphonies #5 & 7
Berlin Philharmonic (1943)
Classica D'Oro  1002

Also #'s 4 and 9
Good International 2050 (2 discs)

Furtwangler conducts Bruckner's 5th (1942)
Classica D'Oro 1023

Also consulted, Stokowski:
     Bach Transcriptions
     Pearl 1836

     Tchaikovsky: Symphony #4
     CALA 505

     Tchaikovsky: Symphony #5
     Biddulph 015

Also consulted, Furtwangler in Bruckner's 5th
     DG 427 774

Since copyrights have expired on all of these recordings, and since there
is a market, no matter its size, for older recordings, almost everyone in
town is playing the game.  Where do the masters come from that are used?
More than likely from Pearl, Biddulph and Cala in the case of the
Stokowski.  In the case of Furtwangler I am not as sure, but Music and Arts
is certainly a likely source.  On the other hand, the Bruckner was surely
from DGs release.  From the flood represented in this article, I can
recommend fully only two.  Reasons follow.

The D'Oro label has issued several operas already in their efforts.  Their
set of Furtwangler's 1950 La Scala "Ring" excellent.  The sound was clear,
detailed and had depth and warmth as well.  So it was with interest that
I ordered the above items.  (Fred Maroth, head of Music and Arts, told me
that D'Oro "stole" his transfers to make their set.  More than likely,
however, they bought the original CDs, maybe even from Fred, and didn't
steal anything.  After all, all they have to do is add a bit of Cedaring,
some reverb, cut it at a higher or lower level, any or all of the above,
and they have their "own" remastering.  Ta..dah!)

When you add the "Good International" set...well it gets peculiarer and
peculiarer.  This means that the customer really has no clue as to the
quality of what s/he is buying unless they read articles like this.  As
a result, many of them skip it altogether and that has its consequences,
too.  So, as part of an experiment for my theory on feedback, I actually
purchased the discs from D'Oro and G/I and will now report the results.

First, let's get the bad out of the way.  Insert notes for the Classica
series are short and often error riddled.  In addition, the author makes
questionable statements.  Of the Stokowski/Bach recordings Mr.  Cosentino
states, "Stokowski's biggest moment of fame came in 1940, when he bent down
from his Olympian podium to shake hands with Mickey Mouse at the beginning
of Walt Disney's Fantasia." At the beginning? Biggest moment of fame? What
about the US premiere of Stravinsky's "Rite" which landed Stokowski on the
cover of Time? Elsewhere he refers to Stokowski as the "Oz of the
magnificent Philadelphia Orchestra".  On the other hand, he does offer a
pretty good description of the Bach transcriptions, "brooding romanticism
and mystical overtones summoned up primal emotions heretofore untapped in
Bach's music..." The prose is purple.  The notes for the G/I Furtwangler
release are in Japanese on one disc and in the other comments like this are
offered, "In 1949 he was appointed conductor of the hostility of public
opinion in America." What is that supposed to mean?

As for the recordings, there is more bad news.  Both the Classica and
G/I releases have a pause before the final movement of the Beethoven 5th
Symphony.  On the former it is 4 seconds and on the latter it is two.
What is that all about? It certainly ruins the effect.  I tried to contact
Allegro, who is listed as the source of Classica, to ask if there was any
plans to correct the problem on their release.  I went to the web site
cited on the back of the CD and it is not correct.  After a search and an
email, I did locate the Allegro corporation that does distribute the label.
I have emailed them inquiring about the series and if the problem with the
5th will be remedied.  At this point I have had no answer.  As for the
symphonies of Tchaikovsky, both suffer from problems.  The Fourth Symphony
is remastered as a higher level than the CALA release.  The result is too
bright.  The CALA is warmer but still detailed.  The Fifth Symphony comes
from a source that is off pitch.  The opening woodwinds sound awful.  This
is not the case in the Biddulph release.

Now, come comparisons.  The G/I is typical of most historic releases.
The sound is okay and Cedaring has reduced some surface noise.  Still, in
comparison with the Classica, the more distant, lower level of transfer
obscures detail and reduces the impact of the music.  While I am glad
I have added the 4th and "Pastorale" to my collection of Furtwangler
recordings, it is only a stopgap.  Finally, the timings on the 4th and
7th Symphonies are reversed in the notes, but so are the recordings.
In a phrase, avoid this release.

The Classica series is much more musical, with the noted exceptions of the
Tchaikovsky.  The general procedure they follow is to transfer the music at
a higher level and add reverberation.  The result offers more detail and
a deeper, richer sound than other releases.  I would recommend the Bach
and Bruckner especially if you already have the other incarnations.  The
Toccata and Fugue has the best sound I have heard.  You can really hear
the double basses dig into the music, an element not as clear as in the
Pearl.  On the other hand, the Bach does omit the Chaconne, my favorite
Stokowski/Bach piece.  The Furtwangler Beethoven disc is marvelous and, as
I mentioned, I have tried to see if they plan to correct the problem.  The
sound on both is fantastic and involves you NOW.  By comparison, the G/I is
emotionally flat.  It makes you wonder if it is the same recording.

The Classica Bruckner offers the same improvements over the previous
release on DG.  A higher level of transfer and added reverberation provides
a more compelling listening experience.  To cite but one instance, at 4:20
into the first movement the lower strings play a pizzicato that is clear
and almost tactile in the Classica whereas you have to really listen to
hear it in the DG release.  The music is different.

Now, what does all of this "mean"? What follows is philosophic in nature,
and essence, and this is the warning to those who wish to skip it and
simply make what purchases they wish.

Al Franz, an old friend of mine, was a dedicated LP fan.  He invested in
the finest equipment around to play those records.  Whenever I'd visit he'd
put them on and hand me his headphones so I could "hear" how good they
were.  He used to say, "There's more music in those grooves than we used to
hear.  This brings it out." I miss Al.

Anyway, his comments are certainly apt in this case.  Obviously there is
"more music" coming from some source.  I doubt it is from the original LPs,
however, because that would be more expensive than companies like Classica
(whoever they are) are likely to spend.  It is also obvious that cutting
masters at a higher level brings out more music.  On the other hand,
sometimes it also produces a pitch that I find intolerable after a few
moments, such as in the Stokowski/Tchaikovsky mentioned above.  Merely
increasing the volume of the older releases doesn't produce the same
musical effect.  On the other hand, an echat with Mark (Transfrguy)
Obert-Thorn was educational about what can be done.  In fact, they can
transfer a different CD at a higher level and by adding de-noising, as well
as Cedaring, the consequence is a much different recording.  Mark told me
about a time he sent a recording in for de-noising and the disc he was sent
back had an impact that was not in the master he sent.  Whatever.

Here is the point, how a recording means is what it means.  When you listen
to any recording the recording itself is part of the process.  That means
that to separate the process into parts misses the whole point.  It is
asking the wrong question.  How a recording means is another instance,
or proof, that feedback is what holds it all together.  That is, your
perception and appreciation of any given recording will have a lot to do
with the quality of the middleman, the medium.  The ear of the producer,
and perhaps just happenstance, can affect your appreciation because it
affects your perception.  Ergo, the "it" outside of you also is engaged in
a feedback with the "it" which is your "self".

Post Script:  I recently picked up two more Classia discs.  One contains
Furtwangler's 1944 Vienna Bruckner 8th.  The other's main course is Brahms
4th from 1948 with the Berlin Philharmonic.  The Brahms suffers from the
pitch problem alluded to above.  The Bruckner is less worse, but still gets
on my ear's nerves after a bit.  On the other hand, it is a hell of a
performance.

Peace from he who is stumpf