Otto Klemperer Bruckner Symphonies 6 SACD Hybrid TOWER RECORDS JAPAN

Product introduction

The old EMI Bruckner recordings, which were his specialty, are finally available on SACD! All songs except No. 6 are on SACD for the first time in the world. The unpretentious, true Bruckner image is a masterpiece! Newly reprinted from the British original analog master tape. New Japanese explanation included

All six Bruckner songs by Klemperer, recorded on the old EMI label from 1960 to 1970, are now available as SACD hybrids! This is the world's first SACD version of all of Klemperer's songs except No. 6. Finally, it has been revived with high sound quality that shows the true value of the performance. This is an important legacy that should be reevaluated. A true image of Bruckner, without any pretentiousness, has more weight now. This time, we have reprinted the latest version with the aim of achieving the highest sound quality under current conditions. Mastered separately for SACD and CD layers using masters digitized at 96kHz/24bit from original analog master tapes in the UK. Includes new Japanese explanation. This is a permanent preservation record.

While Klemperer's worldwide fame in his later years was achieved through the success of Mozart and Beethoven, Bruckner's reputation may not be as well established even in modern times. However, he had a long performance history, and Bruckner was already popular in Germany from the mid-1920s to the 1930s, so Klemperer performed many times with Furtwängler and was often featured outside of Germany. I did. On the other hand, it is not popular in the UK, and there seems to be a complicated history of these old EMI recordings. During his time with the Philharmonia Orchestra, he was not allowed to record any songs other than No. 4 and No. 7, as Walter Legg judged that they would be difficult to sell. Klemperer, who wanted to include more of Bruckner, was in conflict with Legg, and at a certain point he suddenly wanted to record the 6th, so much so that he recorded it immediately after the New Philharmonia Orchestra was established. He must have had a strong attachment to Bruckner.

The remaining six songs were recorded over a period of approximately 10 years, from the oldest recorded No. 7 in 1960 to No. 8 in October and November 1970. His playing style is consistent, with Klemperer's clarity and microscopic perspective as the main focus of his performance, with emphasis on the melodic line and expansion of the dynamic range to create performance effects. It is a clear departure from those aimed at. In that sense, the higher the quality of the sound, the more you can understand Klemperer's intentions in detail, and you will be surprised at its precision and thoroughness. Particularly notable are No. 8 and No. 9 recorded in 1970 (in addition, there are two famous cuts in the fourth movement of No. 8. For speculation on this, please see Noboru Kawase's commentary this time. Please refer to the book). In addition, the sound quality of all six songs differs in recording, and there are differences in balance, range, and resolution, so on conventional CDs, some recordings have heavy makeup, perhaps to improve the effect during the mastering stage. did. For this reissue, I listened to the latest digitized master from the original analog master tape, and although there were differences in condition, the overall balance was well-balanced, and the sincere sound was engraved. I was able to confirm. For this reason, we place as much emphasis on the balance of the original as possible, and try to master from a musical perspective. As a result, the sense of distance and depth of the instruments has been improved, and the improved localization has made it possible to feel the consistency of each song as a recording. Unlike Mahler, Klemperer's general opinion of Bruckner may not have been necessarily high, but I hope that this reprint will change that opinion.

In this series, the SACD layer aims for high resolution and a rich sound field with extended high frequencies and soft nuances, while the CD layer aims for a realistic tone that is pushed out with a solid sound. The CD itself has great potential, so please enjoy it as an SACD hybrid disc that allows you to enjoy the best of both worlds.

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