Berlin Symphony Orchestra

Kurt Sanderling, Berlin Symphony Orchestra – Shostakovich: Symphony No. 15 (1995) [Japan 2004]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 48:40 minutes | Front/Rear Covers | 1,32 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,13 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Rear Covers | 1004 MB

This series of recordings that Kurt Sanderling did with the Berliner Sinfonia-Orchester (BSO – not the BPO) date from the late 1970s and are remarkable for their depth of understanding and delivery. This disc, recorded in 1978 and still in completely acceptable sound, delivers one of the most convincing recordings yet made of this final symphony. This performance joins the others by Sanderling which altogether add up to a very fine series indeed.

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Kurt Sanderling, Berlin Symphony Orchestra – Shostakovich: Symphony No. 8 (1992) [Japan 2004]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 66:26 minutes | Front/Rear Covers | 1,85 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,62 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Raar Covers | 1,4 GB

Kurt Sanderling’s representation on disc is patchy at best. Apart from a rigorous, rather dour Beethoven cycle made for EMI in London in 1980 and a Dresden Brahms cycle from the early 1970s, few of his important stereo recordings have been distributed widely in the UK. His 1993’s Shostakovich Fifteenth was disappointingly bland, seemingly preoccupied with finer points of detail, and it certainly failed to impress DJF. Some of these tendencies are present in the Eighth, recorded in 1976 with his own orchestra in East Berlin. Again, it is massively slow and studied – only Dmitri Shostakovich is more deliberate – but the fires burn that much more brightly.

Some background may be helpful. After many years in the Soviet Union working primarily with the Leningrad Philharmonic, Sanderling returned to (East) Berlin in 1960 and until 1977 served as General Music Director of the Berlin Symphony Orchestra—not to be confused with the Berlin Staatskapelle (the orchestra of the state opera) or the Berlin Radio Symphony Orchestra (of West German Radio). While Sanderling’s orchestra may lack the tonal refinement of adjacent Western rivals, it responds to his direction with impressive commitment. Lest everything sounds too carefully rehearsed, the occasionally raw winds cannot help but sound spontaneous and indeed authentic in this repertoire.

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Kurt Sanderling, Berlin Symphony Orchestra – Shostakovich: Symphony No. 5 (1992) [Japan 2004]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 50:41 minutes | Front/Rear Covers | 1,42 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,23 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Rear Covers | 1,06 GB

Dmitry Shostakovich holds a place among the most important composers of the 20th century, and his Fifth Symphony is a symphonic masterpiece, which helped him secure that position. Kurt Sanderlings interpretation with the Berliner Sinfonie-Orchester was louded by the composer himself. He was the first conductor to conduct Shostakovichs music following the ostracism of 1948. Sanderling’s wife Barbara, a double bassist with the BSO, stated that her husband had developed an unbelievable understanding of this music. It was providential that Shostakovich expressly confirmed what Kurt Sanderling had read into the music.

Some background may be helpful. After many years in the Soviet Union working primarily with the Leningrad Philharmonic, Sanderling returned to (East) Berlin in 1960 and until 1977 served as General Music Director of the Berlin Symphony Orchestra—not to be confused with the Berlin Staatskapelle (the orchestra of the state opera) or the Berlin Radio Symphony Orchestra (of West German Radio). While Sanderling’s orchestra may lack the tonal refinement of adjacent Western rivals, it responds to his direction with impressive commitment. Lest everything sounds too carefully rehearsed, the occasionally raw winds cannot help but sound spontaneous and indeed authentic in this repertoire.

(more…)