Gerhart Hetzel Last Sessions 3 SACD Hybrid TOWER RECORDS JAPAN 

Product introduction

Planned 30 years after the death of G. Hetzel.

As the concertmaster of the Vienna Philharmonic, the last session left by Gerhart Hetzel, who has gained the trust and respect of many famous conductors, is a collection of three works.

The latest reprint of the commentary at the time of the first appearance by Mr. Helmut Deutsch, Mr. Kozo Asato, Mr. Shunsuke Wakabayashi and others.

Newly mastered by Tomoyoshi Esaki for this reprint. Limited edition of 700 sets with serial number!

As a concertmaster of the prestigious Vienna Philharmonic, Gerhart Hetzel has earned the trust and respect of many famous conductors and has held the position for over 20 years. The three pieces recorded here are the last sessions left by Hetzel. Two chamber music works in the end of 1991, Brahms' sonata half a year before his death in 1992. All of them are records of the dignified swordsmanship left by Hetzel in the mature period. This is a must-have set for fans such as Shigeo Itakura's new manuscript, SACD hybrid version that re-records all the explanations of the old version, new mastering by Tomoyoshi Esaki in 2022, and green label specifications.

The news that Gerhart Hetzel, the famous concertmaster of the Vienna Philharmonic, fell while climbing in St. Gilgen near Salzburg and died in a full-body bruise on July 29, 1992, shocked music lovers at the time. There was nothing. Hetzel was born on April 24, 1940 and was 52 years old at the time. This is because his art has reached its maturity, and he has been promised to be more and more active as a concertmaster of prestigious orchestras, a chamber musician, and a soloist. The story that he smashed his head and legs because he instinctively covered his hands as a musician made the fans even more sad. This three-disc set includes two of the last recording clusters that have recorded numerous masterpieces as the leader of the Vienna Chamber Ensemble since 1971, and the last one as a soloist. Here, the figure of Hetzel in the "ripe period" mentioned above is engraved.

Hetzel, like the concertmasters of the Vienna Philharmonic, began his career as a chamber music leader by forming the "Vienna Chamber Ensemble" in 1970, shortly after he joined the group. The original second violin was Wilhelm Huebner (1914-96) and the viola was Rudolf Streng (1915-88). They are great veterans who have co-starred with Boskovsky, Bariri and Weller in chamber music, and Hetzel learned the tradition of "Chamber Music in Vienna" through playing with them. He made his first recording of two LPs on Trio Records when he came to Japan in 1971, and after that he recorded to Yamaha, Rodi, and Teichiku every time he came to Japan. From 1972 to 1980, he recorded four LPs to Deutsche Grammophon under the name of "Vienna Philharmonic Chamber Ensemble". Recorded 5 LPs on Eurodisc from 1979 to 1980. From 1991 to 1992, Nippon Columbia recorded 4 CDs. Then, in December 1991, two CDs included in this set were recorded.

Among them, Mozart's clarinet quintet is a performance that strongly impresses the tradition inheritance, maintenance and development of "Chamber Music in Vienna". The song has a masterpiece on the 1951 Westminster label by Wlach & Wiener Konzerthaus, which was recorded in 1979 with Wlach's disciple Prinz. The two-sided movement of this recording inherited that tradition and was played at a slow tempo similar to that of Urach, but since the middle movement was played at a faster tempo, it became a performance with a strong contrast of slow and fast. rice field. In the recording with this set, the tempo of both movements is slightly faster and the tempo of the middle movement is suppressed, so the contrast of the tempo between movements is weakened, and a more natural flow is obtained. At the same time, although there are two ways to draw phrasing and intonation with the historical masterpiece of Urach, by refraining from using portamento and rubato, while inheriting the tradition of "chamber music in Vienna", the year at the time of recording. We have succeeded in sublimating the performance to match the aesthetic sense of the audience.

On the other hand, Brahms, who became the only violin sonata recording, said that his art was "ripening" as Hetzel said, "It seems that we can make music that everyone can listen to." I was fully aware that I had entered this recording, and I devoted myself to Brahms with the piano Deutsch, and completed it over 6 days. The recording, which was released like a memorial board, was a hot topic and was praised by both the audience and critics, which proved that his attitude was correct.

This reprint is the latest reprint by Mr. Hirai of the current Octavia Records who originally worked on these recordings during the Canyon Classics era, and Mr. Esaki who is credited as a recording director, so while retaining the atmosphere of that time, High-quality sound and mastering have been performed using the latest equipment and technology. It is an orthodox reprint with the very most suitable lineup. After 30 years, a precious sound source that can be said to be a legacy left by Hetzel has been reborn with high sound quality. In addition, Mr. Hetzel's first name in this product is not the conventional "Gerhard" but "Geahart". This was proposed by Mr. Shunsuke Wakabayashi at the time of recording at that time, and with the consent of Mr. Hetzel himself, it was said to be "Geahart" which is close to the actual pronunciation. In this reprint, we respect the circumstances and use the "Geahart" notation on the product as it was when it first appeared.

In this Japanese manual, a new preface commentary is posted in the preface, and a commentary at the time of each first appearance is posted. Paying attention to the sound quality, Mr. Tomoyoshi Esaki, the representative of Octavia Records who was the producer of the original recording, made a new mastering for this release. Limited to 700 sets with serial number stickers.

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