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Three recent SACDs (and an observation about "live" recordings)

Posted by Doktor Brahms (A) on December 12, 2005 at 09:59:14

Fellow Inmates:

I thought I would share my reactions to three classical SACDs I've recently acquired.

1. Brahms: Clarinet Works (BIS). Given my affinity for this composer, and given the excellence of Frost's Mozart SACD (also on the BIS label), I have to confess that this disc was a bit disappointing. Musically, the trio comes off better than the sonatas. Sonically, the clarinet is given exaggerated presence at the expense of the piano, which (at least on my system) is placed a bit too far in the background. I do not mean to imply that this disc is a complete failure; there is much musical and sonic pleasure to be had here. But having enjoyed Frost's Mozart disc so much, I had hoped that lightning would strike twice. Alas, this Brahms must be reckoned a near-miss.

2. Beethoven: Symphonies 4 & 7/Herreweghe/Talent Recordings. What a pleasant surprise! Herreweghe is a familiar name, of course, but the orchestra and the label were totally unknown quantities to me. After reading warmly favorable reviews of this disc in both Fanfare and American Record Guide, however, I decided to give this disc a try. I'm glad I did. The recording is rich and warm--string basses especially have a remarkable presence--and the performances are surprisingly effective. The orchestra sounds as though it uses modern instruments played with "authentic" techniques (e.g. string vibrato is minimal verging on non-existent). Give this one a try.

3. Bach: Orchestral Suites (Overtures)/Suzuki/BIS. Glorious music, splendidly performed, with sonics that make you glad SACD was invented. A pleasure from first note to last. The recording venue (a college chapel) features a generous acoustic that makes its presence felt. If you like a super-close "in-your-face" acoustic, this disc may sound a bit distant. Otherwise, though, Suzuki's Bach is an unalloyed delight. If BIS decides to issue a new DSD recording of Suzuki conducting the Brandenburg Concertos, I'd be the first in line to purchase it!

Finally, a point to ponder. Recently several inmates have posted negative comments about the LSO Live SACDs. These discs tend to be described as close, dry, and shallow. The notoriously dry acoustic of the Barbican--LSO's performing venue--is normally blamed for this. Consider, though, that recording an orchestra "live" forces the engineers to place the microphones very close to the orchestra to minimize audience noise. If the LSO were recorded in an empty Barbican, and the engineers were free to place their mikes wherever they wanted without worrying about some guy with a hacking cough sitting in Row H, what would the results sound like? I have to think that "live" recordings are sonically compromised from the beginning. Close miking minimizes audience noise, but yields a dry, lifeless acoustic. If the mikes are moved back, the sonic picture becomes a bit more spacious, but you also get a permanent record of the audience's various respiratory ailments. Of course the engineers can fake in some reverb after the fact, but the results of such knob-twiddling exercises can be ghastly. For these reasons, it seems reasonable to conclude that "live" recordings can be musically very satisfying, but will never represent the absolute state of the recording art. Reactions, anyone?

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