Recordings of June 1984: Two Great Telarc CDs
Rudolph Serkin, piano; Boston Symphony Orchestra, Seiji Ozawa, cond.
Telarc CD-80065 (CD). Robert Woods, prod., Jack Renner, eng.
Vivaldi: "The Four Seasons"
Joseph Silverstein, violin; Boston Symphony Orchestra, Seiji Ozawa, cond.
Telarc CD-80070 (CD). Robert Woods, prod., Jack Renner, eng.
I have never been a fan of Seiji Ozawa, feeling that his interpretive approach is too often cold and attached. That's not true of this performance of the "Emperor" Concerto. In fact, my only criticism is that the performance seems at time a little too broadly Romantic, where somewhat tighter phrasing would have been in order. Ozawa and Serkin have turned in one of the most satisfying performances in Telarc's catalog, which contains a remarkable number of lackluster performances.
The recording is also one of Telarc's best, although I continue to wish they would get a little closer to the orchestra; the perspective is always row-M, not most concert-goers' ideal location. The massed viola sound at the start of the second movement is simply ravishing, the richest, smoothest massed-string sound I have ever heard reproduced.
Unfortunately, there is the now-familiar sense of some strain and wiriness from the violin sound when the orchestra is playing full-blast. Telarc uses the Schoeps "Colette" microphones, whose string-pickup sound I have never liked as much as the old (and long-discontinued) CM-60 vacuum-tube mike.
Brass sound is excellent, instrumental balances impeccable, and the piano slightly wirythough in the manner of a wiry-sounding piano, rather than a wiry-sounding recording. There's no scintillating percussion or floor-shaking bass drum here to use for audio demo, but this is one of the best classical releases on CD to date.
I am so sated with the endless procession of Seasons over the past five years that I was considering passing this one up. Fortunately, I bothered to audition this one from Telarc because it is one of the nicest of the whole crop of recent releases. Telarc has used good judgment here in moving the BSO's strings out of Symphony Hall, whose sound is just too warmly resonant for a work as light-textured as this, and into the drier, more pristine acoustical environment of Wellesley College's Houghton Chapel.
The sound is very good, with only a trace of massed-violin shrillness, and that is the only thing that that prevents this CD from being a "Definitive Disc." But the performances are elegant and the sound more than adequate. This is our first "Top-of-the-Pile" CD (footnote 1).J. Gordon Holt
Footnote 1: "Top-of-the-Pile" designates a very good recording of a very good performancea recommended recording. The name reflects the fact that, at least among people who pile their records, the ones most often played are nearest the top.