Klemperer Conducts Wagner

2 SACD Hybrid Set Release Date: December 26 2019 TOWER RECORDS DEFINITION SERIES TDSA-134/5 192kHz/24bit Remastering from the original master. Deluxe digipak specification. With Klemperer chronology (separate attachment). Using the latest mastering sound source in 2019 (mastering the sacd layer and cd layer separately). Original jacket design used (some other original jacket designs are also used in the commentary). Commentary: Mr. Noboru Kawase (new commentary), total 16 pages of commentary Introduction and technical details from booklet: Machine translated from Japanese. "Following Mahler released in September 2019, this time, among the sound sources that can be said to be the essence of Klemperer, all recordings on Bruckner's former EMI label, which in a sense doubles with Mahler, and Wagner recordings, which also occupy an important position. Nakaka I picked up a total of 2 pieces, a set of 3 albums of original orchestral music. While Klemperer's world fame in his later years was gained by the success of Mozart and Beethoven, Bruckner's reputation may not be established even today. However, since Bruckner had a long history of performances and was already popular in Germany from the mid-1920s to the 1930s, Klemperer gave many performances with Furtwängler and was often featured outside of Germany. rice field. On the other hand, it is less popular in the UK, and it seems that there was a complicated story behind how these old EMI recordings were made. During my time with the Philharmonia Orchestra, due to Walter Legg's judgment that sales would be difficult, recordings other than Nos. 4 and 7 were not permitted. Klemperer, who wanted to record more Bruckner, conflicted with Legg, and recorded No. 6, which he suddenly wanted to record from a certain point, as soon as the New Philharmonia Orchestra was established. The recording of the remaining six songs spans about 10 years from 1960, the oldest recording of No. 7, to October and November 1970, No. 8. The style of performance is consistent, and the performance is based on the viewpoint that the whole is constructed based on Klemperer's lucidity and microscopic point of view. It stands out from the rest. In that sense, the higher the sound quality, the more detailed Klemperer's intentions can be understood, and you will be amazed at its precision and thoroughness. Nos. 8 and 9, recorded in 1970, are particularly remarkable (In addition, the 4th movement of No. 8 has two famous cuts. interesting explanation). Also, regarding the recording, the sound quality is different for all six songs, and there are differences in balance, range, and resolution. There was also a recording. For this reprint, when I listened to the latest digitized master from the original analog master tape, there was a difference in the condition, but overall it was well-balanced and the sincere sound was engraved. I was able to confirm that For this reason, we place great importance on the balance of the original as much as possible, and try to master from a musical point of view. thereby the instrument The sense of distance and depth has improved, and the improved localization has made it possible to feel the consistency of each song as a recording. Unlike Mahler, the general evaluation of Klemperer's Bruckner may not have been so high, but I hope that this reprint will overturn that evaluation. Wagner's orchestral works were recorded in 1960 and the following year, and the 15 LPs were released in chronological chronological order divided into three discs. In the CD era, a total of 16 songs, including "Siegfried Pastoral," are contained in two discs. At the time of these recordings, Klemperer was recovering from serious burns and was in excellent physical condition, and many recordings were made, including those that were later called masterpieces. In general, the tempo is slow, and the solidity that matches the melody is combined with the conventional detailed interpretation, and it is characterized by a large-scale performance. However, although the recordings were made at the same time, the sound quality here was vastly different. Also, due to the difference in condition, mastering was extremely difficult, but as with Bruckner above, we place importance on the original. Its effect is similar. Regarding the sound source, based on the 192kHz/24bit WAV data ordered from the home country, after converting to DSD for the SACD layer, mastering was performed, and separately for the CD layer was also mastered in PCM, so the SACD layer and CD layer are mastered independently. Rather than performing a single mastering process, such as converting to DSD after editing in PCM, or converting to PCM after editing in DSD, we focused on the characteristics and sound quality of each of SACD and CD and individually mastered. At that time, we tried to make the most of the music by comparing it with the sound sources released in the past as much as possible, and tried to do the best mastering while respecting the original analog master tapes. The mastering engineer is Mr. Fujita, who has been in charge of the authoring of this series. He has also worked on many orchestral session recordings, and is well-versed in mastering for this series so far. In this series, we have newly ordered high-quality sound sources that have not yet been digitized, but please understand that some of them may have defects due to aging. In the gap between time and technology, I would like to do my utmost to release sound sources that will remain for future generations. (The above is the text common to the 26th edition of "DEFINITION SERIES") Susumu Kitamura (Tower Records Japan Inc.)"