Beethoven: Symphony No. 6 - Walter

Beethoven: Symphony No. 6 - Walter

Sony Classical  SS 06012

Stereo Single Layer

Classical - Orchestral

Beethoven: Symphony No. 6 "Pastoral"

Columbia Symphony Orchestra
Bruno Walter (conductor)

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14 of 14 recommend this, would you recommend it?  yes | no

Analogue recording
Comments (6)

Comment by hiredfox - March 28, 2018 (1 of 6)

I am aware of the recent release of this famous old recording on Analogue Productions who have re-mastered in DSD from old analogue tapes but this appears true also for this Sony single layer release available from Japan.

Has anybody had the opportunity to compare the two discs? More importantly for this thread 14 of 14 people have liked this disc, would any one of them care to tell us their opinion of why.

One clear difference is pricing, the Sony version can be had for around £30 in the UK whereas the AP version is over £60.

Why? Are there any differences in SQ other than minor ones worth the doubling of price

I have owned the original "ploughing" CBS vinyl LP for many, many years - indeed only this evening it was given a spin - it is unquestionably one of the finest, if not the finest recording of the Pastoral ever committed to disc in its many historical forms. Only Fischer comes remotely close.

Comment by William Hecht - March 30, 2018 (2 of 6)

The nostalgia is really getting heavy in the air. Wandering aimlessly through the recent comments indicates a greater interest in recordings by Steinberg, Kleiber, Jochum, Bernstein, Munch, and now Walter than in recent/current productions. As a penurious college student in the '60s I cut my collecting teeth on the various Walter CSO recordings among other "budget" series, and I understand the allure of the recordings from which I first learned swaths of the standard rep. But if we'd like sacd to remain viable we need to move on and support the depressingly few folks making new recordings.

And John, I'm not taking a shot at you, I know you do your bit to support new recordings, but there are others here who never post about anything other than the latest reissue from Japan.

Comment by hiredfox - March 31, 2018 (3 of 6)

Classical music is by nature largely nostalgic, most of the great composers and performance artistes died a very long time ago. As we settle into our listening rooms we are by and large taking a nostalgic journey into the past - brought alive in the moment by the artistes of our day perhaps - but nevertheless connecting with the minds of highly gifted composers who lived a very long time go.

You & I, Bill, have the advantage over many younger colleagues and friends on here of having lived through much of the post-war (WW2) modern recording era and thereby having had the opportunity of being exposed to a very wide range of artistes and performances first hand in our lifetimes. In our enjoyment and assessment of music today we are perhaps much better placed than many to understand the context of our listening. Any new recording must stand the test of comparison with all that has gone before.

Of course great performances are not the sole province of the past any more than all performances of the past have been in any sense of the word 'great'. Technically, musicianship has never been at such a high level universally and recording techniques have improved beyond all comprehension. These elements should give a head start to modern music makers over their forebears but those elements alone are not the key to great music making.

That comes from the hearts and minds of musicians and conductors, understanding the emotions and state of mind of the composer at the time of composition and expressing this in a way that connects the listener's soul directly to that of the composer. As it has been always you might say. Such ability is rare and timeless and when universally acknowledged and applauded should be preserved for all time for every generation to enjoy. Nostalgia is not a word heard often in association with the Great Bard.

We should not conflict our love of the SACD medium and modernity with its importance as an archive of the greatest music ever to have graced our lives. Keeping SACD alive is an imperative for as long as possible in whatever mantle it is dressed but we should never forget that it is a means to an end rather than an 'end' in itself.

Comment by SteelyTom - April 7, 2018 (4 of 6)

I completely agree with William Hecht. To the necrophilia of excessive attention to long-dead composers, resulting in disdain of anything new or approximately new, we have a unhealthy attachment to long-dead performers and their recordings. Frankly, comparing contemporary musicians to their predecessors is a fool's errand given the demise of the recording industry. How does Solti's Mahler cycle compare with, say, Honeck's? We'll never know, because available resources didn't enable Honeck to complete his. The days of 'major-label' musicians recording whatever they wanted are long over, while their predecessors's recordings glut the market to the exclusion of everything else.

Now, to view the glass as half-full-- if you're a teenager and win a Euro competition, you get to make a couple of records for Ars Produktion, in DSD sound. So there's that.

Comment by Adrian Quanjer - April 7, 2018 (5 of 6)

Steely Tom said: "if you're a teenager and win a Euro competition, you get to make a couple of records for Ars Produktion, in DSD sound. So there's that"

I'm not sure what you mean. Can you explain?

Comment by hiredfox - April 8, 2018 (6 of 6)

Of course we are not preoccupied by the composers themselves but the music that they left behind for future generations which is very much alive in the hands of today's musicians when heard afresh in concert halls. Their music is for all time past and present and good performances are rare at any time and should be lauded.


SRGR707 in Japan.