This stereo-only SACD offers the first presentation of these early Telarc recordings transferred from the original 50 kHz digital masters, which means that you now get to hear their full dynamic impact. And let me tell you, it’s quite impressive, from the stunning bass drum transients to the projectile piccolo notes–all of which register with newly enhanced clarity. In addition, distinct sonic differences between the two recording locations, Cleveland’s Severance Hall (Stravinsky) and the Masonic Auditorium (Tchaikovsky), are readily discernible. Both recordings were widely praised for their sonic realism when released on LP (and later CD), just as the performances received high marks for their technical brilliance. However, in the case of Tchaikovsky’s Fourth, Telarc (or perhaps Maazel?) gilded the lily by adding percussion to the opening brass fanfare, thereby spoiling the composer’s carefully planned surprise in the finale. Perhaps it was a gimmick intended to show off the then-new digital technology’s phenomenal bass response, but today it just sounds silly.
There’s no need to rig the game in the Rite of Spring, as Stravinsky provides ample opportunity for the bass drum to show off, and the Cleveland players take full advantage. Still, Maazel’s performances have since been superceded by later recordings with this same orchestra. Chailly on Decca offers a more violently intense rendition of the Stravinsky (with an even more prominent bass drum), while Maazel himself went on to record another Tchaikovsky Fourth for CBS/Sony, this time without the offending percussion. However, if you can ignore that bit of annoyance and prefer to have both of these works on one disc, then this Telarc release will provide many sonic–and musical–thrills.
