After almost seven years, finally revisited with the benefits of the Black Bird Gang and the Audio Research SP15….and in 192 kHz
The eternal question: Why does a digital recording sound much better, when played from vinyl, compared to the CD? Indeed, this is fact on almost all recordings. But in this case, Telarc used the full benefits of the master tapes (“only” 16 bit & 50 kHz its time), that were played in the full range, not beeing reduced to 44.1 kHz for the CD-norm. The HiFi-sound becomes a Hi-End-sound and you remain speechless and want to hear it again and again. Enjoy!
You are warned: take care of your amp and (more) of your speakers. Don’t play it too loud, until you know, how loud you can get it. Telarc’s timpani and bass drum are terrific!
Composer: Peter Tchaikowsky
Orchestra: The Cleveland Orchestra
Conductor: Lorin Maazel
Number of discs: 1
DR-Analysis: DR 15
Size: 1.53 GB
Tchaikovsky didn’t write his 4th Symphony casually; he was making a grand statement that summarized many of his inner struggles. It’s fateful and sometimes hopeless, the product of a composer who never learned to successfully fight depression. But too many times interpreters take this symphony (and his others) as nice pieces with impressive tunes. There’s a mastery of orchestration hidden within this great score.
Maazel has been a very convincent Tchaikovsky interpreter and here he did one of the best and judicious 4th`s on record, in the best sound. The sound spectrum is smooth and captures every subtlety and nuance of dynamics and color by the instrumentalists.
Lorin Maazel has a long history as a Tchaikovsky conductor, having recorded the complete Symphonies in the 1960’s with the Vienna Philharmonic. What we have here are early digital recondings, the Overture from 1981 and the Symphony from 1979, made with then state of the art Soundstream digital technology. It is simply remarkable to hear how beautiful they sound. Everything is beautifully balanced, and there is none of the steeliness to the violins that is so familiar from the early digital days. And none of this was wasted on the Cleveland Orchestra.
As is evident from their Decca/London LPs, Maazel emphasized a lusher, smoother sound to the orchestra than was evident in the George Szell regime. It is especially appropriate to Tchaikovsky. The string playing in particular is drop dead gorgeous. As interpretations, Maazel’s readings emphasize lucidity and liquid mellifluousness. There is no lack of drama in the big moments, though, and the brass and percussion come through with real impact.
|Symphony No. 4 In F Minor, Op. 36|
|A||I. Andante Sostenuto — Moderato Con Anima — Moderato Assai, Quasi Andante — Allegro Vivo||17:04|
|B1||II. Andantino In Modo Di Canzone||9:30|
|B2||III. Scherzo: Pizzicato Ostinato — Allegro||5:52|
|B3||IV. Finale: Allegro Con Fuoco||9:00|
Analyzed Folder: /192k Tchaikowsky . Symphony No. 4 – Maazel_dr.txt ———————————————————————————————-
DR Peak RMS Filename
DR14 -0.38 dB -20.58 dB A Symphony No. 4 In F Minor, Op. 36 – I. Andante Sostenuto – Moderato Con Anima – Moderato Assai, Quasi Andante – Allegro Vivo.flac
DR15 -5.94 dB -28.01 dB B1 Symphony No. 4 In F Minor, Op. 36 – II. Andantino In Modo Di Canzone.flac
DR17 -9.22 dB -31.43 dB B2 Symphony No. 4 In F Minor, Op. 36 – III. Scherzo- Pizzicato Ostinato – Allegro.flac
DR14 -0.39 dB -19.15 dB B3 Symphony No. 4 In F Minor, Op. 36 – IV. Finale- Allegro Con Fuoco.flac
Number of Files: 4
Official DR Value: DR15
- Composed By – Peter Tchaikovsky
- Conductor – Lorin Maazel
- Engineer [Sound Engineer] – Jack Renner
- Mastered By [Mastering Engineer] – Stan Ricker
- Orchestra – The Cleveland Orchestra
- Producer – Robert Woods
- Recorded By, Edited By – Bruce Rothaar, Jules Bloomenthal, Thomas Stockham
- RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
- TT: Vintage (1982) Yamaha PX-3
- Cartridge: Sumiko Black Bird
Cartridge: ZYX 50R Bloom
- Phono amp: Audio Research SP15 own tube phono section.
- ADC/DAC: RME Fireface UC
- Pre Amp: Audio Research SP15
- Finals: Opera Consonance 9.9 Mono (Tube)
- Speakers: Dali Helikon 400
- Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
A few words about the way i’ve been cleaning vinyl records and post-processing rips, since summer 2017: After washing and recording the vinyl, I use a kind of mixed cleaning of the rip, which consists of mostly manual rather than automatic de-clicking, (the latter only on unimportant passages, such as end of the groove, beginning and end of the songs, applause, speaking). I often leave the rips almost rough, de-clicking only the silences between the tracks. Never de-noising or/and EQ, as unfortunately some do. I prefer to hear a bit of quiet noises of the clean groove, that contain something of the music, rather than generate clinically clean files that may, eventually, sound a bit dead. If you do not agree, do not download my rips and buy instead digital files or CDs.
When I listen to music I “don’t hear” any noise: I enjoy the music 😀
I do not make rips for headphones!
- Software: iZotope RX 5 Advanced, Adobe Audition CS 5.5, Twisted Wave 1.18
- Very careful de-clicking with iZotope, significant clicks manually removed, never de-noising
- Wave 32/192(32/384) —> Flac 24/96 & 24/192: Twisted Wave 1.18
- Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5
If you like what i do, please consider that a little donation would be very appreciated.
I reinvest all donations in maintenance of my rig, for purchasing cleaning solutions and, most important of all, purchasing of new vinyls.
Click on the “Donate”-button. Thank you very much !