Telarc’s first 1812 caused quite a stir when it appeared more than 20 years ago. Here was a recording that purported to capture the full dynamic range of real firing cannons (as well as church bells), all cut into LP grooves that looked like seismograph readings (the first turntable I played it on wouldn’t track it for anything). Now, in order to promote the new DSD and surround-sound technologies (as well as hopefully to repeat the first album’s enormous commercial success), Telarc has re-recorded the same program, albeit with a few additional items. But how do you top the ultimate 1812? By making one even more “ultimate” with the addition of the Kiev Chorus and recording it in six-channel sound.
Oddly enough, little has changed in Telarc’s approach to balances in the intervening years. The cannons still take priority, while the orchestra is relegated to the background, which means the recording as a whole is low level. The chorus only exacerbates the problem, placed far too close in the mix (no way they would sound like that at a live performance) so they can be heard over the orchestra. And what about the bells that made such a spectacular effect in the first recording? Not to be found here. Musically speaking, Erich Kunzel’s reading then was pretty much a dull affair, and he apparently has found no reason to inject any new life into this remake. After a grand and ceremonial introduction intoned by the chorus, and an initially exciting orchestra argument, the performance goes on auto-pilot. It’s as though Kunzel were really only interested in the spectacular concluding passages. Compare this to Mehta’s Los Angeles recording on Eloquence, or Bernstein’s with the Israel Philharmonic on Deutsche Grammophon (not to mention Dorati’s Mercury classic), and you find yourself wondering how anybody’s patriotic spirit could be stirred by such uncommitted music making.
I’m afraid this same indifference extends to much of the remainder of the program: a stale Eugene Onegin waltz, a matter-of-fact Marche Slav (especially compared to Steinberg/Pittsburgh on EMI), and a Capriccio Italien beaten to a pulp by an over-prominent bass drum. At least the Eugene Onegin Polonaise and the Cossack Dance from Mazzepa manage to generate some genuine excitement, with the Cincinnati Pops sounding as if they’re having fun. Oh, and the Festival Coronation March? It does what it should (assuming you still care). This kind of disc would have been acceptable, even lauded in the days of audiophile showoff records (such as those issued by Sheffield Labs in the late 1970s and early ’80s). But now that we live in a time when audiophile quality sound can be found on recordings from just about any label, we should, and do expect more from the musical content offered. So, if you want a musical 1812 (and some would argue that is an oxymoron), go for the alternatives. It you want loud noises, this one’s right up your alley. Rating reflects 1812 mostly.
