Tchaikovsky: Symphonies Nos. 4, 5 & 6 ‘Pathethique’ – Herbert von Karajan, Berlin Philharmonic Orchestra (1972/2012) [Official Digital Download 24bit/96kHz]
Herbert von Karajan, Berlin Philharmonic – Tchaikovsky: Symphonies Nos. 4, 5 & 6 (1972/2012)
FLAC (tracks) 24-bit/96 kHz | Time – 2:17:56 minutes | 2,61 GB | Genre: Classical
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © EMI Classics
Herbert von Karajan was unquestionably one of Tchaikovsky’s greatest interpreters. Under his baton, the Berlin Philharmonic Orchestra performs a batch of Tchaikovsky’s final symphonies with unparalleled virtuosity and renowned precision. With its rich sonics and colorful dynamics, this is a hair-raising performance that will leave listeners speechless. Karajan’s commitment and passion are simply unmatched, capturing every intense and emotional moment.
Back in the 1960s, a complete cycle of the symphonies of Tchaikovsky meant the Fourth, Fifth, and Sixth symphonies. So when Herbert von Karajan recorded the Fourth and Fifth in 1965 to go along with his Sixth from 1964, everybody figured he’d said all that he had to say on the subject of Tchaikovsky’s symphonies and said it as well as he could ever hope to say it. And despite going on to record all six of Tchaikovsky’s symphonies in the 1970s, Karajan had actually said all he had to say and said it as well as he could ever hope to say because his 1960s performances still retain the authority of unyielding law. The firmness of Karajan’s 1965 Fourth and the spectacular virtuosity of the Berlin Philharmonic, the epic reiterations of his 1965 Fifth and his unswerving momentum to the last note of the last movement, the trajectory of his 1964 Sixth from the despair of the opening to the suicide of its close: in all of these things, the Berlin Philharmonic less performs the music than embodies Karajan’s inflexible will. The original stereo sound of these performances was amazing in its day and the label has magnificently re-mastered it.
01 – Symphony No. 4 in F Minor, Op.36: I. Andante sostenuto-Moderato con anima
02 – Symphony No. 4 in F Minor, Op.36: II. Andantino in modo di canzone
03 – Symphony No. 4 in F Minor, Op.36: III. Scherzo: Pizzicato ostinato, allegro
04 – Symphony No. 4 in F Minor, Op.36: IV. Allegro con fuoco
05 – Symphony No. 5 in E Minor, Op.64: I. Andante – Allegro con anima
06 – Symphony No. 5 in E Minor, Op.64: II. Andante cantabile, con alcuna licenza
07 – Symphony No. 5 in E Minor, Op.64: III. Valse: Allegro moderato
08 – Symphony No. 5 in E Minor, Op.64: IV. Andante maestoso – Allegro vivace
09 – Symphony No. 6 in B Minor, Op.74 ‘Pathetique’: Adagio – Allegro con troppo
10 – Symphony No. 6 in B Minor, Op.74 ‘Pathetique’: Allegro con grazia
11 – Symphony No. 6 in B Minor, Op.74 ‘Pathetique’: Allegro molto vivace
12 – Symphony No. 6 in B Minor, Op.74 ‘Pathetique’: Finale – Adagio lamentoso
About the Mastering:
Four engineers at Abbey Road Studios in London have remastered these historic EMI recordings from their original analogue sources for release in pristine hi-def. Between them, Simon Gibson, Ian Jones, Andy Walter and Allan Ramsay have many years of experience remastering archive recordings for EMI and other record labels. The process always starts with finding all of the records and tapes in EMI’s archive in London and comparing different sources and any previous CD reissues. We consult each recording’s job file, which contains notes about the recording made by the engineer and producer. For example, this sometimes explain why there is more than one set of tapes to choose from. All of the tapes are generally in good condition and we play them on our Studer A80 π inch tape machine, after careful calibration of its replay characteristics.
In order to have the best digital remastering tools at our disposal for the remastering, we transfer from analogue to the digital domain at 96 KHz and 24-bit resolution using a Prism ADA-8 converter and capture the audio to our SADiE Digital Audio Workstation.