Ludwig van Beethoven – Symphonies 3 & 1
Herbert Kegel / Dresdner Philharmonie
SACD ISO (2.0/MCH): 4,35 GB | 24B/88,2kHz Stereo FLAC: 1,20 GB | Full Artwork
Label/Cat#: Capriccio # SACD 71 008 | Country/Year: Germany 2003 | 3% Recovery Info
Genre: Classical | Style: Viennese School

Artist Biography by Adrian Corleonis

Known in the United States primarily as the conductor of a surefire recording of Orff’s Carmina Burana, Herbert Kegel was respected in Europe as a pivotal figure in establishing the works of such individual Modernists as Blacher, Dallapiccola, Dessau, Penderecki, and Nono in the concert hall and on discs. He was one of the first to champion Britten’s War Requiem, while his recording of Schoenberg’s Moses und Aron was instrumental in keeping this difficult and challenging work before the public. His involvement with Orff’s music typifies the duality of a distinguished career whose impact is not yet fully appreciated and whose legacy remains to be assimilated, for beside the ever-popular Carmina Burana, Kegel also recorded — superbly — the remaining cantatas, Catulli Carmina and Trionfo di Afrodite, speech-inflected works the composer regarded as parts of a single cycle of Trionfi and that look ahead to the uncompromising utterance of his Antigonae and Oedipus der Tyrann. Kegel studied at the Dresden Conservatory, where Karl Böhm was one of his teachers, from 1935 to 1940, beginning his career, after serving as a conscript during the war in 1946, as kapellmeister of the Volkstheater Rostock. From 1949 to 1978 he was associated with the Leipzig Radio Orchestra & Choir, becoming choirmaster, music director, and principal conductor of the Great Radio Orchestra and Radio Choir in 1953. He became principal conductor of the Leipzig Symphony Orchestra & Choir in 1960. In 1977 he was named principal conductor of the Dresden Philharmonic, a post he held until 1985. From 1985 until his death he frequently appeared as guest conductor at the Dresden and Leipzig opera houses, the Staatsoper Berlin, and the NHK Orchestra, Tokyo. Teaching engagements included a professorship with the Mendelssohn Bartholdy Hochschule für Musik in Leipzig from 1975 until 1978, and a Dresden master class in 1980. Kegel’s grasp extended over the standard repertoire, from Bach to Stravinsky, though his center of interest revolved around the German Romantics, Bruckner and Mahler in particular, and the Modernists, great and minor — Hartmann, Honegger, or Theodorakis no less than Bartók, Berg, and Hindemith — with a smattering of such audience pleasers as Carmen and Margarethe (that is, Gounod’s Faust for German audiences). Several recordings — including Carmina Burana and Mahler’s Symphony No. 4 — feature distinguished solo work by Kegel’s second wife, soprano Celestina Casapietra. His manner was without affectation or grandiosity, rhythmically alert and lyrically poised, always efficient and often inspired. He committed suicide in Dresden on November 20, 1990. ~allmusicguide


Anton Heiller – J.S. Bach. Organ Works (2004)
PS3 Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 43:39 minutes | Scans included (PDF) | 1,76 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included (PDF) | 872 MB

Anton Heiller (1923-1979) was one of the great organists of his time. He was also renowned as a keyboard improviser in the tradition of Bach himself, as evidenced in many of the recordings he made for Vanguard Classics.
Vanguard Classics remade this collection of organ warhorses from J.S. Bach (1675-1750) in 2004, redoing their earlier failed stereo collection that originally included the Bach warhorse of all warhorses, the Tocatta and Fuuge in D minor BWV 565. Thankfully, Vangauard left it out of this collection.
The Austrian organist Anton Heiller made this recording on Vangaurd HM 73 and it was also issued as Bach Guild BGS-70675. For the performance on this recording, he selected the organ at the St. Mary Church in Helsingborg in Sweden. It was previously available on CD in the Organ Works by Bach and other recordings of variable quality. This version is the best-sounding one yet, produced by Artemus Records, which purchased the Vanguard Classics line from Omega Records in 2003. A lengthy discussion on this is included in the well-written but difficult to read seven pages of notes that accompany this issue.


Anton Bruckner – Symphony No. 8 in C minor (1890) / Symphony No. 9 in D Minor
Wiener Philharmoniker / Carl Schuricht (conductor)
2xSACD ISO (Stereo): 5,11 GB | 2x24B/88,2kHz Stereo FLAC: 2,26 GB | Full Artwork | 3% Recovery Info
Label/Cat#: EMI Classics “Signature Series” # 50999 9 55984 2 0 | Country/Year: UK 2012, 1961 & 1963
Genre: Classical | Style: Romantic, Orchestral

First of all, let me tell you that I am not a musician in the proper sense. By this I mean that I am not a player (though sometimes I struggle with my double-bass…) but a listener.
(And for the record, I think that we, the listeners, are as important for the music as the players themselves, because if we are not there to attend, playing should be no less that infertile and meaningless)
For so many times I’ve read reviews wrote by musicians, also intended for musicians that have to know every term in it to understand why the interpretation was good enough, or not. From scholars to scholars.
In my case, listening to music has to do with pleasure and not with any other approach. I’ve always thought that when a well known conductor at the podium gives us his interpretation of a piece of music, he knows how to read a score quite well, and his decisions are taken seriously after a thoughtful study.
Then we come in, and we like it or we don’t. And for me that is all what matters.
Now, I will speak briefly about this SACD, because I cannot say anything more than this: it is a miracle. The way EMI remastered these old takes from 1961 and 1963 is astonishing. I am not saying that this SACD will sound as perfect as a new production, but… what levels of mastery had those technicians in the past that used to edit the tape sometimes cutting it with razor blades.
Not to tell the clarity that Schuricht gives to the music. He is probably an old fashioned conductor for nowadays standards, as we can say about Furtwängler, Klemperer or Jochum, for example. But those good old days gave us lots of great musicians that are now a source of inspiration for the new stars.
Schuricht’s Eight is the Nowak Ed. (with some liberties taken by the conductor, as the booklet says and I quote: “…he never forgot that the conductor was ultimately in charge of a performance.”)
The scherzos of both Symphonies are taken at a beautifil fast speed but allowing you to hear all the fine details. And how beautiful are both Adagios, two of the more wonderful pieces of music ever written.
This music finds the Vienna Philharmonic at its best. And if you like Bruckner’s music this is a must.
I do remember when I’ve read an article that said that Bruckner was a sort of province musician with boring ideas, as Brahms thought about him: a kind of “symphonic boa-constrictor”. Well, for me, it is absolutely impossible to understand what happened next, at the end of the XIX century, with Mahler, Sibelius, etc, without the music of Anton Bruckner, one of the greatest composers ever.
Go and get it. ~sa-cd.net