Search - Beethoven, Kleiber, Vpo :: Beethoven: Symphonies Nos. 5 & 7

Warning to audiophiles: it's 96/24 PCM

A techno geek | Kihei, Maui, HI USA | 04/19/2005

(3 out of 5 stars)

"While the 5:1 SACD sound is better than any CD, it is only incrementally better. After noticing the lack of "breath" and "space" in the sound, a staleness in the strings. I checked the liner notes, and sure enough, the sound passed through a 96KHz, 24 bit pulse code modulation (PCM) bottleneck during remastering. I buy SACDs for one reason: to get DSD sound, and frankly, I feel ripped off again. Numerous other SACD/DSD discs are 96/24PCM, and sound like hell --- the Lindsay Beethoven op. 130, Hillary Hahn's SACDs, Alison Krauss, Mozart with Manze. Philips and Sony had better change their licensing of the DSD/SACD mark to stop the brand dilution by PCM mastering. You want to hear real DSD sound? Get Mozart's Requiem with Harnoncourt, or Mozart with Midori. Once you've heard real DSD, you can spot 96/24 PCM every time. I won't buy SACDs anymore unless I can verify they are PCM-free."

The Legacy of a Genius

J. F. Laurson | Washington, DC United States | 07/20/2004

(5 out of 5 stars)

"Carlos Kleiber, who died aged 74 on July 13th 2004, was the most exciting and frustrating conductor. An acknowledged genius, admired to the point of reverence by such different personalities as Herbert von Karajan and Claudio Abbado, whenever he lifted his baton (which happened rarely enough, no matter what he was promised - unlimited rehearsals, any ammount of money), something greater than music happened.



Even more rarely did he venture into the recording studio. Again: whenever he did, something special came about. His legendary recording of the 5th (and also the 7th) is almost unanimously considered the greatest 5th ever recorded. All others must be meassured by it, none pass this test. Kleiber 'did' rhythm as well and better than, say, Mengelberg - his grasp on texture was firmer even than Karajan's - his sense of musical architecture exceeds that of Karl Bohm. No conductor had his uncanny ability to end a piece. The shy, gratutiously difficult, perhaps somewhat autistic, sometimes abbrasive, sometimes witty Kleiber, never recorded a work that could not feasibly be the best recording of the particular piece he chose (his repertoire was painfully narrow - LvB 5th, Brahms 2nd, Schubert 3rd, Tristan, La Traviata, Der Rosenkavalier, Die Fledermaus...).



None, however, have reached the undisputed status of this one. In its third life as a SACD, it will continue to outshine, outsell, outlive all other rivals. Forget 'historically informed', forget discussions about tempo... under Kleiber this work is everything you can imagine it to be, and all along it will always sound 'just right'. Never forced, never wilful, there is not a hint of 'interpretation' - just music at its most frightening, at its most beautiful, lyrical...



Enjoy!"

Musical value: 100 percent; Sound upgrade: 100 percent

Larry VanDeSande | Mason, Michigan United States | 05/16/2006

(5 out of 5 stars)

"Here is the return of one of classical music's most revered recordings in sound that makes it competitive with everything recorded today. I don't subscribe to the audiophile warning given elsewhere on this page, for this recording sounds every bit as good as 2005 first editions recorded with DSD technology.



The current reissue is, for SACD, reproduced in five-channel SurroundSound with three distinct front channels and two rear surround channels. The sonic picture is at least 100 percent improved from the 30-year-old original with the greatest improvement in the mid ranges affecting timpani, bassoon and other lower instruments. The mid range improvement also helps the Vienna Philharmonic horns sound even more glorious than they were on the stereo edition.



Musically, this CD has been hailed as one of the greatest Beethoven recordings in history from the day it arrived in 1976. It is still one of the great recordings available of these two titanic symphonies and the sound improvement makes it a clear first choice for the Symphony No. 5. Many people were always put off by Kleinber's perhaps too direct approach to the Symphony No. 7 and nothing here will mute that criticism.



If you want an upgrade in this music or just want to sample the marvel known as SACD, this recording fits the bill. The upgrade from the three decade old original is wonderful and all the original intensity of attack is maintained. Even if you are more interested in technology than musical content, there is no reason to hesitate.



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