Acoustic Sounds
DGG Original Source Series
By: Mark Ward

October 31st, 2024

Category:

Discography

Deutsche Grammophon Announces New Original Source Releases, Re-Pressings - and EBS Has a Signed Test Pressing Giveaway

All the latest news from the Original Sources Series - and a Call for Questions from Emil Berliner Studios, plus a chance to win a Free Signed Test Pressing

The Deutsche Grammophon Original Source series continues apace with four first-rate titles which represent such a wide range of repertoire that - as always with these releases - there is something for everyone here, from the classical newbie to the seasoned collector.

All mastered by Emil Berliner Studios directly from the 4 and 8 track master tapes to the cutting lathe, pressed at Optimal on 180gram vinyl, and presented in handsome gatefold jackets, this series continues to set the standard in AAA audiophile classical reissues, as I discussed extensively in my recent 2-part series of articles (you can read Part 1 here, and Part 2 here).

Before I get into the detail of each release, I will note that two of these titles were records which, from the inception of this series, I was especially hoping would receive the Original Source treatment, so I am thrilled to see them make their appearance here.

And stay tuned after the new release run-down for a special video message from Rainer Maillard and Sidney C. Mayer at Emil Berliner Studios asking you, dear readers, to submit your questions about the Original Source Series for a special video they will be producing in the New Year… By sending in your questions you can win a signed test pressing!

Mozart Requiem Karl Bohm Original Source DG

When any classical music lover thinks of great Mozart performances and recordings of the 20th century, the conductor Karl Böhm heads the list of interpreters closely associated with the composer.  One of the headliners in the DG catalogue for decades, Böhm completed one of the first complete cycles of the symphonies which remains a benchmark to this day.

Karl BohmKarl Böhm

Mozart’s Requiem was famously left incomplete at the composer’s death, and is most often performed in a version completed by his former pupil Franz Xaver Süssmayr.  The work attained a level of notoriety in the popular culture through its dominant role in the Oscar-winning film Amadeus (1984).

Needless to say, the Requiem has been recorded many times in all manner of styles and performing editions completed by various scholars of modern times.  However, this 1971 recording of the Süssmayr version by Karl Bohm, with a star-studded line-up of soloists, the Vienna Philharmonic Orchestra and Chorus of the Vienna State Opera, has long remained a favorite.

It is a full-blooded, grand performance in the old tradition.  Do not expect to hear any period instrument manners here.  However, this is a work that responds well to this approach, and I cannot wait to hear how the Original Source remastering freshens up the sonics.  This might well turn out to be the sleeper hit of this batch.

Claudio Abbado Boston Symphony Scriabin Poem of Ecstasy Tchaikovsky Romeo and Juliet Original Source Series DG

Now, any time I see a record of Scriabin’s music, I usually end up buying it - and this one’s a classic.  Scriabin is simply one of the most unusual, iconoclastic composers of any time, and on this record we have the great Claudio Abbado and the Boston Symphony Orchestra going full tilt at the composer’s most iconic work, Le Poéme de l’extase (The Poem of Ecstasy).

Claudio AbbadoClaudio Abbado

Fans of the Original Source Series already know that some of the most sonically bravura titles have emanated from the recordings made in Boston’s Symphony Hall, including Abbado’s own record of Debussy and Ravel.  Scriabin’s tone poem is the kind of work ideally suited to an audiophile makeover.  It’s full of Romantic Technicolor music and emotion, brilliant orchestral writing, and - yes - Ecstasy with a capital “E”!

It’s coupled with one of the mainstays of the classical repertoire, Tchaikovsky’s Fantasy Overture, Romeo and Juliet.  Okay, so this is a bit of an old chestnut which we’ve all heard way too many times, but experience has taught me that the Original Source refresh can wake up even the most jaded ears.

All of this is music which Abbado and the Bostonians play to the manner born.  Can’t wait to hear this one.

Michael Tilson Thomas Boston Symphony Orchestra Tchaikovsky Symphony No. 1 "Winter Daydreams" Original Source DG

Boston strikes again in a record which I know many have been hoping would make an appearance in this series - I know I have!  A few months ago I got an email out of the blue from Rainer Maillard containing a video clip of him and Sidney cutting this title, with him declaring this to be far and away the best version of this symphony he’d heard, and one of the best sounding recordings per se in the series so far.

Yes, yes, yes!  This is one of the greatest Tchaikovsky recordings in the catalogue, and it is all the sweeter that it is of one of the composer’s least known works, the utterly beguiling First Symphony, known as “Winter Dreams”  I first encountered it when I bought the DG Tchaikovsky Symphony Edition box when I was 13, which also contained the legendary Yevgeny Mravinsky recordings of Symphonies 4, 5 and 6. 

Michael Tilson ThomasMichael Tilson Thomas

Michael Tilson Thomas is one of the musical treasures of our age.  I had the great pleasure of recording and producing for NPR his summer series of concerts at Great Woods (near Boston) with the Pittsburgh Symphony Orchestra back in the 1980s.  His interviews were as insightful, communicative and exciting as his performances, and his recorded catalogue yields to no-one in its range and quality.  But people forget he began his recording career with DG in Boston, and the collaboration yielded a clutch of superlative records.  This Tchaikovsky is the jewel in his DG crown, and it’s a mandatory purchase.

Karajan Berlin Philharmonic Mahler Symphony 6 Original Source DG

Speaking of mandatory purchases…  This has long been one of my favorite Karajan recordings, period - and, indeed, one of my favorite Mahler recordings.  I will confess that some time ago I started dropping strong hints to Rainer Maillard and Johannes Gleim at DG that this should definitely be on their radar for reissue in the Original Source Series.  When I heard the news that this was coming out I was thrilled beyond measure.

This recording was hailed by the critics when it was first released in 1978, and I bought a copy the week it appeared in record stores.  Unusually for a DG vinyl LP of this era, the sound was exceptionally vivid, and it has remained my reference for the work in every regard since that time (pace the excellent Bernstein, also on DG, but from the digital era).

Karajan New Year's Concert 1978Herbert von Karajan at New Year's Concert, 1978

Karajan really connects with this symphony, which is one of Mahler’s most emotionally fraught, evoking Humanity’s struggle to transcend the shackles of Life itself - to reach transcendence in the face of abject reality.  It concludes with actual massive hammer blows that literally fell the orchestra, casting the composer’s “heroic” alter-ego protagonist into the abyss and oblivion.  This is an incredible work, which Karajan and the Berliners give the workout of its life.

This release is directly cut not only from the original 8-track master tape, but also from an additional master tape of cow bells and church bells specially recorded for the original sessions (and associated live performances at the time).  For this OSS remastering Emil Berliner Studios ended up having to run four 8-track machines, syncing them manually, in order to realize this new LP, and have made a special video showing the process (which will be released when the record comes out - watch this space!).  As Sidney Meyer admits on the commentary track - this was the greatest mixing and cutting challenge of the series so far.

I can’t wait to hear the end result!

All of these new titles will be available for preorder from the DG sites in Germany and the US, plus the usual Acoustic Sounds and Elusive Disc sites here in the US. (They are being released at the beginning of February).  As always, these will be individually numbered, limited edition runs.

In addition to the above new titles, DG has also repressed several earlier releases in the Original Source Series (unnumbered), and all of these are highly desirable.

Brahms Piano Concertos Emil Gilels Eugen Jochum 

Karajan Verdi Requiem Original Source DG

Claudio Abbado Boston Symphony Ravel Debussy Original Source

Seiji Ozawa Boston Symphony Berlioz Symphonie Fantastique Original Source

You will be able to look up detailed reviews on this site of all of these releases, but I will put in a special plug for the Ozawa Berlioz Symphonie Fantastique, which I gave a rave review of when it was first released.  If you missed this one, do not hesitate. Details are on the DG site.

ASK EMIL BERLINER STUDIOS A QUESTION AND WIN A SIGNED ORIGINAL SOURCE TEST PRESSING!

There are more exciting new OSS releases on their way, in particular something that will absolutely be a mandatory purchase - another title that I have been quietly hoping would appear.  Not allowed to say what it is yet, but I know many of you out there have been hoping for this one...

In association with future releases, Rainer Maillard and Sidney C. Meyer will be putting together a video answering questions you all have about the series.  Here is the video they have just dropped soliciting those questions, and I urge you all to submit in a timely fashion before the deadline at the end of November.  The email address to which you should send your questions is: oss@ebsberlin.com.

 

This is your chance to ask about anything related to the Original Source Series.  Don’t be shy - they’d love to hear from you.

And when you submit your question(s) you will be entered into a raffle to win one of three test pressings being offered by EBS, signed by Rainer and Sidney!

So - time to dust off your interrogatories!

And, as always, Tracking Angle will be following this remarkable series of audiophile reissues every step of the way. Be sure to read (or re-read) our extensive collection of articles, reviews and videos covering the Original Source Series from its inception.  The reviews by my colleague Michael Johnson of the most recent batch can be read here and here.

Comments

  • 2024-10-31 11:36:08 PM

    Thomas Ream wrote:

    Well..shoot the earlier teaser about the Ozawa Ravel release was just a teaser! At least for now. I hope that one is still in the works. Glad to see the MTT Tchaikovsky 1 on this list.

    • 2024-11-02 03:10:22 AM

      Mark Ward wrote:

      Me too!

  • 2024-11-01 05:45:54 AM

    Come on wrote:

    Great to know! I hope the specific reviews/ratings come early in the preorder phase now, not thereafter ;-)

    • 2024-11-02 03:10:47 AM

      Mark Ward wrote:

      We'll do our best....

  • 2024-11-01 06:29:42 AM

    Bryan M. wrote:

    This batch of releases (as was the last batch) are really just crap. Stuff played for Pop concert filler (Dvorak 9) or to put people asleep and then to wake up and write checks. (Mozart.)There's no such thing as a better recording of Mozart. Oxymoron. Who cares? The Mahler 6 is certainly worth celebrating. The rest are garbage. Tchaikovsky 1st? Seriously? Does anyone listen to that on purpose? I feel for you Man. You've become a shill because Fremer is paying you to write this stuff. Where are the real goods? DG has the deepest classical catalog ever amassed. Sometimes they pick true gems - the Mahler 6th, the Strauss Last Songs, The Bartok Concerto for Orchestra, etc. Most of the rest has been mediocre. There are WAY better recordings of Also Sprach and The Planets on other labels. As you have admitted yourself, the Verdi Requiem is pretty lousy. Plus that Steinberg (and the Bruckner) box sets were WAY overpriced for what they are. I respect you a lot Mark. I think you know what you are talking about. But stop slobbering over these Original Source records. Many of them are just not that good. And deep down, you know it...

    • 2024-11-02 12:39:19 AM

      Bryan M. wrote:

      Mark, I want to apologize to you. After rereading my screed above, I realized it probably comes off as a personal attack on you. This was definitely not my intent. Unfortunately, I don't think you can edit a post once it's up there - anyway I couldn't figure it out. I think my main frustrations are with DG's repertoire choices overall and their seeming lack of being to do anything about Optimal's quality control issues. The fact that you like their choices is of course perfectly fine. I (and some other people) would just like to see a bit more variety from the catalog I guess. Anyway, sorry again...

      • 2024-11-02 02:19:44 AM

        Mark Ward wrote:

        I appreciate your apology - most kind and decent of you to do so in such a heartfelt manner. (And yes, you cannot edit after the fact). I also understand that people get heated over these issues - they are passionate about the music. See my comments below about repertoire issues. As to pressing quality, I can assure you that the folks at DG and Optimal are aware of some the QC issues that have arisen, and they are really trying to address this. For myself, of all the copies that have passed through my system I've only had one record (in the Bruckner box) that had an ingrained scratch (not visible) that I would have considered trying to replace that lasted some 10 revolutions or so (it's in my review), another in the same box that had a scratch for a shorter time. I decided to let both pass. Otherwise the occasional click has been easily cured by a good cleaning. I've actually auditioned a few records with no prior cleaning and they have been immaculate. I can honestly say that these Optimal pressings have been amongst the most consistently pristine vinyl I've bought in recent years. Having said that, I am very aware of the troubles others have had, and have communicated that to DG - they are doing their best. Not much consolation for anyone who gets a faulty record, but I can assure you DG is not ignoring buyers' concerns.

        • 2024-11-04 10:33:05 PM

          NLak wrote:

          I ranted like a madman over my extreme disappointment with the Bruckner box set. I know I wasn't the only one as Mr. Kershaw of Audiophilia ran into the same problem. Mine happened on the first record I played, the ninth. The visible scratch was almost two inches in length. How does this happen? In any event, I couldn't keep it and decided to send it back, the seller would not send me a replacement as he had already raised the prices and refunded me. I still want it, but now I read you had similar issues. I do hope with your input and others DG corrects this. Strangely, this has only happened with the box set, not with the individual records.

          • 2024-11-07 08:51:14 PM

            Mark Ward wrote:

            My issues were not nearly so extreme, and the one persistent scratch I had was not visible and I decided I could live with it. Glad you got your refund.

            • 2024-11-21 01:01:36 AM

              NLak wrote:

              Got my batch of Pollini, Kubelik and HvK/Peer Gynt yesterday. Today, I started with the HvK and it seems my poor track record continues, the first side was dead quiet, but the second side was marred by pops and ticks, something unacceptable at this price level. This is in continuation from my poor experience with the HvK Bruckner box set, which had to go back. The Grieg sadly, is going back, I hope the other two are better, but seriously considering giving up on all these OG releases, lately it’s been nothing but misery. Sigh!

  • 2024-11-01 02:52:19 PM

    Ryan Sullivan wrote:

    Any thoughts or guesses on what this might be? "There are more exciting new OSS releases on their way, in particular something that will absolutely be a mandatory purchase - another title that I have been quietly hoping would appear. Not allowed to say what it is yet, but I know many of you out there have been hoping for this one..."

    • 2024-11-01 09:45:02 PM

      EAD wrote:

      I hope a Debussy recording by Arturo Benedetti Michelangeli (Preludes I, Children's Corner and Images I+II were recorded by him for DG in the seventies).

      • 2024-11-02 02:23:25 AM

        Mark Ward wrote:

        All three Michelangeli Debussy records are high on my wishlist to DG - first two are analogue, the third digital, so why not give us a box! (We know from the two Bruckner boxes that EBS can work wonders with digital). These are seminal records, all let down by horribly tinny sound. If the master tapes are in good condition I would be thrilled to see these records appear in the Original Source Series.

    • 2024-11-02 03:09:53 AM

      Mark Ward wrote:

      Apologies for the shameless tease here - but I am desperately excited about this release which will be with us next year - barring any technical hiccups. I felt you should all share in my impatient wait for what I think will be a real highlight of the OSS so far. Yup, I've done it again - teased and tweaked your expectations!!! But isn't it great to just have the opportunity to be excited about AAA classical vinyl reissues again?!

      • 2024-11-03 08:25:53 PM

        Ryan Sullivan wrote:

        Mark, the fact that you take the time to write these articles and then respond to comments is just terrific. Yes, I can see why some comments think perhaps you praise a bit too much, but perhaps, like me, you are just excited to see such a niche market such as the “Classical Audiophile World” get such quality care and attention. Thanks from a 30 something who loves their ever growing collection, thanks to DG, EBS, Tracking Angle and others. (P.S. When playing Bruckner from the Original Source it shakes my whole home, I love it, neighbours not so much!)

        • 2024-11-07 08:52:31 PM

          Mark Ward wrote:

          Great to hear from a 30-something who is a/ into classical music; and b/ cranking it up!!! More power to you!

  • 2024-11-01 09:23:06 PM

    Daniele Mastrangelo wrote:

    Dear Mark I have all the records of the Original Source Series, some satisfy my musical tastes, some my collector's preferences, some both. For this reason consider my doubts and criticisms without prejudices and polemical spirit. But I have to say that I'm a little disappointed. No chamber music in the last batches, the same name too often (Abbado, Karajan, Tchaikowsky, Mahler), too much blockbuster. How many recordings Karl Böhm did that are better then his Mozart's Requiem? One example: Tristan und Isolde. The same for Tilson Thomas. One example: the Ives/Ruggles/Piston recording. The image of the listener that emerges from the titles of this series is that of someone attached to a few titles and performers: the old cliché. And then if they want to celebrate the year of birth 2024 is not only the year of Bruckner, but also of Smetana...and how many beautiful recordings they have in their catalogue of the latter!

  • 2024-11-02 03:01:12 AM

    Mark Ward wrote:

    To your point re. repertoire, which has been brought up by many. We have to cast our minds back to a year ago (and beyond) when DG made the decision to launch this series. There was no guarantee this was going to find a willing consumer base, and the expense involved in hiring Emil Berliner Studios to do this properly would have been considerable (and those costs have gone up as EBS had to build custom equipment to be able to master from 8 track etc., as detailed in my review of the Karajan/Bruckner box). No bones about it - this was a risky financial venture for everyone involved, and I think the first order of business here is to just be incredibly grateful for Rainer Maillard's dogged determination to persuade DG to do full justice to the analogue legacy of this great label, and DG's Johannes Gleim's willingness to take what was really a big risk financially, and to shepherd the whole project through the corporate corridors of power which - let's be honest - do not view classical music as an integral part of their bottom line (and kudos to the higher-ups at DG and Universal for taking a chance on this whole venture). After all, DG could have so easily just decided to go on doing vinyl reissues from digital files (which has been Decca's path, alas). A much cheaper and easier option. Therefore repertoire choices necessarily focused on recordings with a proven track record, star musicians, repertoire that lent itself to showcasing the audiophile treatment.

    • 2024-11-02 03:02:03 AM

      Mark Ward wrote:

      Another important factor here is that master tapes have to pass technical and sonic muster with Rainer and his team at EBS. I know some titles have been passed over simply because the masters do not meet his exacting standards. Like many of you, I would love to see more instrumental and chamber music, but the plain fact of the matter is that these records are never going to sell in the kind of numbers that The Rite of Spring and Beethoven's 7th Symphony will. They never have done, they never will. Hell, I'd love to see some really esoteric stuff get reissued - but I know that is unlikely because of the realities of the business. Having said that, I think DG has taken a risk with some of these - the Bruckner boxes, the Steinberg box, are not necessarily obvious choices. Yes, Karl Bohm's Mozart Requiem wouldn't be anywhere near my list of top titles to reissue, but we have to remember that for many this is a core classical work, and Bohm a beloved interpreter. As I mentioned in my preview article, I am hoping to be surprised by the OSS sonic revamp (and, of course, I may not be). The Karajan Verdi Requiem (which was reviewed by my colleague, Michael Johnson) was likewise far from the top of my list of favorite DG, or even Karajan, recordings - but let me tell you I was blown away by the power of the singing, the effortless manner in which the Original Source remastering was accommodating the timbre and dynamic of supreme soloists on top form. (And I immediately started sending out fervent prayers for the Karajan/Janowitz Strauss 4 Last Songs to get the OSS treatment - which it did to utterly glorious effect).

      • 2024-11-02 03:02:42 AM

        Mark Ward wrote:

        To your point about the relative merits of the Tilson Thomas Tchaikovsky 1st versus his Ives/Ruggles record - the latter is indeed a benchmark, but I fervently believe so is the Tchaikovsky - but DG has to consider which title is more commercial. I will also add that two of my favorite records in the series so far have been the solo piano albums from Gilels and Pollini - the new Pollini is simply stunning on every level and should be in every classical music lover's collection. Both records contain some of the most sonically captivating piano sound I've heard - not necessarily the "BEST PIANO SOUND", but the most vivid capturing of a particular piano in a particular space. In conclusion, the best news here is that DG is going to continue with this series so long as we keep buying them, and they are aware of what we the punters would like to see coming down the pike (and, hallelujah, they are repressing some of the most popular titles - everyone must buy that Ozawa Symphonie Fantastique). I urge you all to submit your questions to EBS about all this and anything else, as referenced in my article above.

        • 2024-11-02 09:35:43 PM

          Daniele Mastrangelo wrote:

          Dear Mark I'm really thankful for your detailed answer: your spirit of conversation is exemplary. I apologize in advance if I go on (just a little bit). I agree with almost everything you wrote and yet I am still convinced that the same old big classical record companies should change their idea of ​​listener (if they want to survive in the long period). Those who listen to classical music today and prefer vinyl are probably more adventurous listeners than they would have us believe: maybe it's a listener who loves jazz and avant-garde music, who buys Blue Note, ECM, Nonesuch records, who is at home with George Crumb and Andrew Hill etc.etc. Those are my two cents and and I apologize for my bad English ...

          • 2024-11-03 07:42:21 AM

            Come on wrote:

            Yes I agree from my side. I guess not only me but also others are more adventurous than being trout quintet listeners ;-)

            • 2024-11-07 08:54:36 PM

              Mark Ward wrote:

              Adventurous is good!!! Just hard to persuade classical labels of the more corporate kind that they can cater more to our tastes. I remain optimistic, though...

        • 2024-11-02 09:35:44 PM

          Daniele Mastrangelo wrote:

          Dear Mark I'm really thankful for your detailed answer: your spirit of conversation is exemplary. I apologize in advance if I go on (just a little bit). I agree with almost everything you wrote and yet I am still convinced that the same old big classical record companies should change their idea of ​​listener (if they want to survive in the long period). Those who listen to classical music today and prefer vinyl are probably more adventurous listeners than they would have us believe: maybe it's a listener who loves jazz and avant-garde music, who buys Blue Note, ECM, Nonesuch records, who is at home with George Crumb and Andrew Hill etc.etc. Those are my two cents and and I apologize for my bad English ...

        • 2024-11-02 09:35:47 PM

          Daniele Mastrangelo wrote:

          Dear Mark I'm really thankful for your detailed answer: your spirit of conversation is exemplary. I apologize in advance if I go on (just a little bit). I agree with almost everything you wrote and yet I am still convinced that the same old big classical record companies should change their idea of ​​listener (if they want to survive in the long period). Those who listen to classical music today and prefer vinyl are probably more adventurous listeners than they would have us believe: maybe it's a listener who loves jazz and avant-garde music, who buys Blue Note, ECM, Nonesuch records, who is at home with George Crumb and Andrew Hill etc.etc. Those are my two cents and and I apologize for my bad English ...

  • 2024-11-02 03:41:50 AM

    Come on wrote:

    As always, thanks for your extensive feedback to everyone Mark!

    What I forgot to beg for in upcoming reviews, is a sound quality rating, that’s orientated on absolute quality, not relative to what DGG was able to record or what they achieved in remastering compared to the original record.

    In case you especially want to honor the latter (which I understand), please differentiate between those options. It doesn’t really help if a still thin sounding piano or strings get a 10 or 11, just because it sounded even thinner on the OG.

    • 2024-11-02 05:02:55 AM

      Mark Ward wrote:

      I can't speak for Michael, but my ratings are always in absolute terms - not in relation to anything else. If there's an additional number in parentheses, it's usually indicated in the text what it's referring to. At least, this is my aim...

      • 2024-11-04 09:36:34 PM

        Come on wrote:

        Thanks Mark, yes I’m even a little more sure with him ;-)

        Of all I bought so far, in terms of sound quality I found the Berlioz, the Strauss and the Hindemith out of the Steinberg box great and up to the ratings in their own way, although still not really perfect in tonality and therefore not really near an 11. Kleiber 7, Gilels Adieux and Barenboim/Bruckner 4 more or less ok but no top quality and Mahler 5, the Stravinsky and the rest of the Steinberg box underperforming compared to the ratings and in absolute sound quality generally.

        I love that those releases are done and I’m also enthusiastic about the achievements compared to the OG’s, but I think most are overrated by 1 or 2 points in an absolute sense. Already considered that even a really bad quality isn’t rated below 7 anyway.

        • 2024-11-07 08:57:46 PM

          Mark Ward wrote:

          Great to hear your feedback, as always. I kinda hate the ratings system - certainly as a purchaser reading other critics I go more by what they write than what ratings numbers they settle on. I think Michael's ratings are very fair indeed. Isn't that Hindemith record an unexpected joy? I wish they would release that separately...

          • 2024-11-07 11:12:53 PM

            Come on wrote:

            Fully agree (read vs. rating) and as soon as one can judge the reviewer better, it’s possible to integrate his rating logic into one’s own. Always looking forward to your next feature!

  • 2024-11-02 05:05:49 AM

    Fred Morris wrote:

    Fine overview Mark. Especially looking forward to the MTT Tchaikovsky 1, terrific performance with hitherto mediocre sound. Always puzzled by the dismissal of great composers with the apparently unforgivable knack for writing beautiful tunes- e.g. Tchaikovsky, Puccini, and now Dvorak and Mozart fer gawdsakes.

    • 2024-11-07 09:03:32 PM

      Mark Ward wrote:

      Couldn't agree more. No one talks about Tchaikovsky's supreme craftsmanship as an orchestrator, and don't get me started on Puccini - one of the most underrated composers of all time. I defy anyone to go to a performance of "Turandot" and not be blown away by the absorption of modernism in that piece, let alone the orchestration which is as extraordinary as anything in Messiaen or Stravinsky or Ravel etc. But they both wrote great tunes, you see, so how can we possibly take them as seriously as Bruckner or Mahler (Tchaikovsky) or Berg or Richard Strauss (Puccini)?!

  • 2024-11-02 09:39:00 AM

    Swann36 wrote:

    Great preview of the up coming releases Mark, your reviews and Michael’s of course, here on TA are my primary source of learning about and understanding the history and relative merits of this music, which is pretty much all new to me as I’m coming from mainly a jazz

    • 2024-11-07 09:04:18 PM

      Mark Ward wrote:

      So happy that we are helping you with your voyage of discovery!

  • 2024-11-02 10:34:48 AM

    Jeff wrote:

    I am very excited for the Mahler 6, I have the Mahler 5 and while not being the best sounding OSS reissue (I also have the Kleiber Beethoven 7, Karajan and Janowitz 4 Last Songs and the Bruckner Box) it is a criminally underrated interpretation. I really hope the OSS can get around to all of Karajan's Mahler, especially his fabulous studio 9th. I would also really like to see some opera reissues from the series (unlikely as this may be). I think there are some great candidates in the Böhm Capriccio with Janowitz and Fischer-Dieskau, the Kleiber Traviata with Cotrubas and Domingo and the Kleiber Freischütz with Janowitz, Mathis and Schreier. I think these would all be great candidates from the 70s. I would also really like to see some Wagner, even if it is just some Preludes/Orchestral Highlights, and can't wait to see what they do with the 8-Track Mahler 6. If it is anything like the Bruckner Box it will be marvellous. Will definetely stay posted for the reviews from Mark and Michael, and can't wait for the next batch!

    • 2024-11-07 09:08:10 PM

      Mark Ward wrote:

      Ah - opera! You and me both (but I am not holding my breath -though lobbying in that direction). Ah those Kleibers - utterly fantastic. Yes to Wagner - but I am not sure there is anything on DG from that period. On EMI, however, the Karajan 70s collections are magnificent. Seek out his box set of Verdi Preludes and Overtures on DG - one of the gems in his catalogue and the sound isn't half bad - beautifully illustrated book too.

      • 2024-11-15 10:02:07 AM

        Jeff wrote:

        Thanks so much Mark, will definetely look out for those!

        • 2024-11-15 10:16:33 AM

          Jeff wrote:

          One completely unrelated question about the Berlin Philharmonic recording label, have you listened to the Furtwängler Radio Recordings Vinyl or the new Mahler Symphonies release on vinyl, as I am thinking about purchasing these but haven't found any reviews of them. I am gravitating towards getting the Furtwängler but am a little concerned about the digital sound on the Mahler recordings. Haven't heard any LPs from this label, but have heard great things about the D2D Brahms release. (P.S. do you think I will have to get a mono stylus for the Furtwängler recording, as I don't currently have one). Thanks again for all your help, and keep up the great reviews and videos, really enjoy your coverage of the OSS.

          • 2024-11-15 09:04:35 PM

            Mark Ward wrote:

            As I just replied to another inquiry below on this matter, I am finishing up a review of the Furtwangler, with more in the pipeline. So first of all, no need to buy a Mono cartridge. As with most modern Mono reissues, this is cut with a stereo head (and a slight phasing effect was used to create a fake stereo soundstage - nothing obtrusive, but should be defeatable with a mono switch if you have one). I have both the larger Furtwangler CD/SACD set and the LPs. I love both, but give the nod to the LPs very narrowly for listenability - this is down to my equipment more than anything. With the extensive accompanying book which is a fascinating read, the gorgeous design, no need to hesitate. I have quite a few BPO vinyl and CD/SACD sets. Yes, they are all cut from digital, but done very well. Sonically the outstanding set is the Rattle/Beethoven cycle which was miked differently than the equivalent CD set. Yes, the D2D sets are in a league of their own - but so are the prices!

            • 2024-11-15 09:06:43 PM

              Mark Ward wrote:

              I do not own the Mahler yet, but hopefully will be able to get a copy for review.

              • 2024-11-15 09:26:12 PM

                Mark Ward wrote:

                I see that the Mahler set is currently only available on physical media as either vinyl or CD/Blu Ray. Now what usually happens is that after a certain amount of time, BPO also releases as a cheaper CD/SACD set, without all the special packaging. But as of right now, the only way you can get the higher-res version of this set is either as a download or as vinyl (a limited edition of 1000). If this seriously interests you, and are willing to pay the premium, I would not hesitate on the vinyl. These are all gorgeous sets.

                • 2024-11-17 03:13:09 AM

                  Jeff wrote:

                  Once again thanks so much for your detailed responses Mark. Will stay tuned for your review of the Furtwängler, good to know that I won't need to get a mono cartridge. With regards to the Mahler I think I will pass for the time being due to the price, and as I already some other versions on vinyl, such as the OSS Mahler 5 (and hopefully 6 when it releases in Australia), and some of Solti's CSO cycle. I will be very interested to see the responses to the new BPO box, am leaning towards getting the Furtwängler. I have been listening to a few of the recordings on streaming without the latest remasterings and they are fabulous. The Coriolan, Beethoven Violin Concerto and the Tristan und Isolde are especially wonderful, some of, if not the best performances I have heard. So all in all I think the Furtwängler for now and maybe the Mahler in future.

  • 2024-11-03 01:48:20 AM

    Jennnifer Martin wrote:

    Thanks, Mark! I look forward to each one, especially the Mahler and the MTT.

    • 2024-11-07 09:11:26 PM

      Mark Ward wrote:

      YES!!!!

  • 2024-11-03 01:32:30 PM

    EAD wrote:

    Thank you Mark for your article and insightful comments.

    I am looking forward to the Mozart Requiem. As you said, it is not a period instrument performance, but I will be more than happy with this. I think that now when period instrument ensembles are performing late 19th century works, there must also be a place for these non-period-instrument performances (of the past?) and appreciate them for what they truly are: Great performances ;-). I am glad the Verdi Requiem is available again (I missed the 1st issue). As you mentioned the emphasis in this recording is on the singers and I like this approach.

    If I have to say what is perhaps missing in the series, it has to be the composer whose name starts also with a B. We have had Bartok, Beethoven, Brahms, Bruckner, but Bach is missing ;-). For me it would be great to have some piano recordings of his works by Wilhelm Kempff, who did some recordings - if I am correct - in the seventies. I remember listening to his recordings of the English Suites in seventies on the stereo of my older brother. I liked these recordings very much.

    Anyway I am happy with the issues sofar and let us see and be pleasently surprised.

    • 2024-11-03 04:20:25 PM

      EAD wrote:

      After some researching I found the record by Kempff was from 1975 and included just one English Suite and one French Suite. The record contained the folowing pieces: English Suite No. 3 French Suite No. 5 Toccata No. 3 for keyboard in D major Capriccio on the Departure of a Beloved Brother in B flat majorh Suite No. 5

      • 2024-11-07 09:10:59 PM

        Mark Ward wrote:

        I am SO glad you reminded me about those Kempff Bach records - amongst my desert island picks My CD versions of those - especially the transcriptions - are rarely far from my CD player. I immediately added them to my wishlist for DG to consider.

  • 2024-11-06 04:56:06 PM

    Kjetil Haaland wrote:

    Dear Mark, First I must thank you for the work you do to promote well played, recorded and mastered music, both in this series and others. I have bought many but not all TOS records so far. I’ve skipped the Sacre, LvB7, Dvorak9, the Mozart and the big Bruckner box (bought 4-9 as download instead). There’s almost a non commercial pattern to my picks; 11 of the releases so far including the Steinberg. From this next batch I’m ordering the Scriabin/Tchai and the M6, maybe the MTT (do I like the music enough?) and not the K.626. That pattern again. There is an interesting glitch on the Chopin Preludes cover (superb also as a test record btw). It shows session logs for the Etudes op. 10. I can only hope.

    • 2024-11-07 09:14:27 PM

      Mark Ward wrote:

      Yes, someone on the Hoffman forums pointed out that printing error (which I had missed). Whoops! Yeah, the Mahler 6 and the Scriabin/Tchaik are mandatory - but again so is the MTT - and I truly love this symphony. re. the Pollini Etudes, I suspect (but do not know) this does not meet the technical specs, alas. We shall see...

  • 2024-11-06 10:32:53 PM

    Matthew Conroy wrote:

    Thanks, Mark, for all your wonderful insights into this excellent series. Like others have stated, I'd appreciate a little less orchestral music and a little more piano and chamber music but you can't have it all - and I will be patient. At the top of my piano list would be Gilels' wonderful recording of Grieg's "Lyric Pieces" from 1974 and Pollini's pairing of Stravinsky's "Petrushka" with Prokofiev's 7th Sonata from 1972. We've also had no string quartets yet. Would love to see them dip into that a bit more. Good to hear that they are extending this project.

    • 2024-11-07 09:16:24 PM

      Mark Ward wrote:

      I thoroughly agree with both piano picks, and they are on my wishlist to DG. And yes for some string quartets (although I am not a fan of the Amadeus recordings). I have lobbied for the Schubert String Quintet with the Melos and Rostropovich.

      • 2024-11-08 07:33:00 AM

        Come on wrote:

        I’m sure you partly already do this, but with your lobbying influence I’d be glad if the very best sounding of the musically great ones were chosen first. There should be enough of them for the moment. I’d prefer this over pure music orientated recommendations where many “horribly tinny” sounding ones will then just sound comparably little better.

  • 2024-11-15 01:28:44 AM

    Johnny wrote:

    Slightly off topic, but now that the Berlin Phil has released the Mahler set on vinyl, has anyone heard it on vinyl? Mark, any chance you’ll be reviewing this release on this web site? Thx

    • 2024-11-15 09:33:33 AM

      Mark Ward wrote:

      Funny you should mention this.... I've had a bunch of BPO label releases in the review pipeline. Just putting the finishing touches on the Furtwangler box, which will be followed by two excellent Kirill Petrenko releases. I very much hope to review the Mahler set, but have yet to get the records. Also plan to do the Ozawa and Karajan boxes. It's just time, man, time...