Digital vs Analog recordings

[mahalo]

Inspired by Waldstein's post, I would like to write one article.

I have been thinking on Karajan's position against "quality of recording".
Karajan recorded mainly on DG after 60s. Since late 60s, there has been EMI(Electrola) recordings.
As for the former, Guenter Hermanns was the recording engineer in most cases.
As for the latter, Wolfgang Guelich was the most important engineer.
In 80s, there were few recordings for EMI.

Basically, I prefer EMI's recordings to DG's ones from the "viewpoint of sound quality".
This is my guess and the truth might not be right.
However, DG's "multi-microphone-like" technique is helpful to listen to each instrument clearly.
But, they often lacks massiveness of bass and ability of representation of the sound space.
EMI's sound is sometimes ambiguous, but I think it is more similar to what we can listen in
the concert hall itself. And bass is more powerful than DG's.

Please do not take the above what I wrote about quality of performance.
I did not compare the difference of performance of the same musical piece between
EMI and DG (eg. Bruckner 4&7, Tchaikovsky 4,5,6 and so on).

I wonder if Karajan preferred which one. This may be a meaningless question, because he might think
BOTH were ideal.

[Deleted]

waldstein:
"Ah, the digital Bethoven set is something really miraculous - both as sound and as interpretation. I think Karajan has reached the peak here. Although the 60s set is perhaps more important historically the digital recordings in my opinion are the most passionate and fiery Beethoven that Karajan, if not anybody, recorded."

This is interesting as the Beethoven 8th 3rd mvt is so much slower in the 1980 version that it's hard to imagine it is the same cond.

[lee]

Hi Alexander

I've been meaning to respond to your posting about the Dvorak 8 for some time now. Whilst I very much enjoy Karajan's way with Dvorak (I'm thinking of the New World Symphony, the [very brilliant!] Slavonic Dances made in the late 1950's, as well as that wonderfully warm and affectionate rendition of the String Serenade), I struggle a little with the Eighth Symphony. To be specific, it's the third movement that troubles me, since in Karajan's hands it seems to evoke the sophistication of the Viennese ballroom rather than something more simple and rustic as is found in the performances of Kubelik, Ancerl and Talich. Maybe I'm making too much of this and if so, it's because I so admire and enjoy the other three movements under Karajan's baton that maybe my slight disappointment is compounded.

That said, I'm at one with you about the sound on the re-recorded Sony DVDs. Admittedly the digital "glare" that was prevalent on some of the original DG releases has gone and the sound is somewhat smoother, but the results seem a little "dull." I was particularly disappointed with the Ein Heldenleben release. What are your thoughts Alexander ?

I also agree with you about the EMI Berlin Dvorak 8 - this isn't a disasterous reading at all; okay, maybe it is too grand and opulent, but it is (as you say) extraordinarily well played and is no mere run through, the Berliners responding with beauty and dedication. As for the Decca Vienna version, I'm just about to play it once this performance of the Mozart Requiem has finished - this CD is worth mentioning here as I've only just received it and it also contains a performance of Ave Verum Corpus on it with HvK, the Philharmonia and Singverein. Now I've got this CD I have every single work Karajan recorded commercially in my collection. (The Requiem incidently is conducted by Fruhbeck de Burgos of all people, but is actually very good).

Now that I'm listening to the Decca Dvorak 8 (for the first time for a number of years), my first impression is one of astonishment at the sound, incredibly good for its age, and to my ears, more detailed than the DG digital version, although this could be down to Karajan a little too - he sounds more fastidious here than his later self. I thought that at the climax of the Adagio (just after 5 minutes), the timps seemed a little recessed though which was disappointing as this is probably my favourite moment of all in all of Dvorak's works. The third moment conversely seemed slightly mannered this time round and in the last moment the horns are indeed magnificent - as is the gear change down in the coda, just before the sprint to the finish (don't think HvK did this on the other recordings - it's effective if a little jarring). Overall, if I just prefer the later Vienna account this is personal preference.

Whilst I can understand that you feel this Dvorak is the best of all the remarkable group of orchestral recordings made by Karajan in Vienna for Decca in the late 1950's and early '60's, being objective, I would say that the Zarathustra and Planets lay claim to be the greatest, the former as it was used (uncredited) as the soundtrack for the film 2001 and The Planets as this recording probably catapulted what was up until that point a quintessentially English work into an international score; Imogen Holst, the composer's daughter and a very fine interpreter of her father's music, also considered Karajan's Vienna recording the best performance she had ever heard of the score. That said, is there a weak link amongst this remarkable group of recordings ?

With best regards, Lee

[Rosy]

Hi Alexander!

I completely agree with you about Lee's posts, there's always something to learn from them! Besides I want to thank you for your valuable work of diffusion of some fundamental parts of a book that is very important to know the maestro: Roger Vaughan book! Unfortunately in this period I have little time to write, but I always read all members'posts!

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Best Wishes
Rosy

[Rosy]

Lee,
for your complete collection of Karajan commercial recordings:
enjoy! ;D

*********************

Best Wishes
Rosy

[charlesb]

Regarding Dvorak's 8th Symphony, Waldstein says:

"Berliner Philharmoniker, late 70s, EMI.
This recording is 'calamitous' if you believe the readers of Gramophone. Rather harsh opinion I should think."

I wonder if the Gramophone comment refers to the original LP. All the CD releases of this performance sound fine, but the UK LP transfer sounds hideous, as though the master tape had been soaked in vinegar before the transfer was made.