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Was my first exposure to the piece, and myriad Lp Mahler 9th's later, I still can't shake my memories of K's way with the score. Only Barbirolli "gets me there" the way K does, (or did).
That said, my experience with 180 gram "new" pressings has been just short of traumatizing: from the first Music Matters 45 rpm Jazz lp's--all warped; to three returns of the Bernstein DGG Mahler 2nd box set, to one return of Faure's lovely Requiem with Willcocks on HQ Supercuts; I may very well be banned from buying any more lp's from the usual suspects.
Early digital too, but....
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Three strikes and they are out.
The only classical reissue that sounds better than the original so far is the recent Razor & Tie distributed Sony's Gould Goldberg Variations '81 version. The noise floor does not match that of the latest from the Music Matters but it retained natural colours. So many of classical reissues stripped of flesh to clean up the rest.
Did you listen to the HQ Supercut or have any others? I'm asking because I bought a few and was not impressed by the sound-- too bright for me.
but still, IMHO it's THE Faure Requiem. Something about the Philharmonia's poise coupled with the warmth of their playing...the performance steals into the room, as I suppose a mostly gentle requiem of this sort should.
Anyway this particular HQ compared very favorably to an original I have, sold to me as NM by a UK seller, as if, but don't get me started.
Terrific news. Have his analog recording of this but I hear this one is special. American Record Guide recommends it above all other recordings, and it says the digital sound on this one is "terrific". So now we only need to hope the record is flat and the pressing is not noisy.
I know the analog version pretty well and IMHO the final performance is better. Leaps and bounds better. Some of the 1st mov't passages on the Lp version and downright painful. Not DGG's best massed-string sound, (which isn't saying much). I can't recall the recording quality of the digital live take, but the DGG live recordings I've heard--Bernstein's Beethoven Op 131 and Brahms PC's with Zimerman--have more "air" and "warmth."
The two areas in which K scores over the previous recording, (and most, IMHO) are 1) the 3rd mov't interlude, which has a wonderful bittersweet quality about it and becomes almost hallucinogenic by the end, and 2) the entire 4th mov't: the concentration never flags. I love the "cold" quality of the material connecting the big, lyrical string music. Riveting.
The Berlin play their hearts out.
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