　録音についてだが、RCAが当時の最高の技術を駆使して優れたエンジニアに録らせたLIVING STEREOシリーズは、80年代に一度デジタル・リマスター（CD化）され、その後今世紀に入ってから再度オリジナルの磁気テープからリマスターをやり直したCD ブラームス:ピアノ協奏曲第1番&ベートーヴェン:ピアノ協奏曲第2番がリリースされ、今回はそのデータを用いずにもう一度アナログテープからリマスターをやり直してのハイブリッドSACD化ということである。

　80年代のデジタル・リマスターは、同時期のデジタル録音同様、ビット数の制限からダイナミックレンジの狭い、薄っぺらな音になることが一般には知られており（もっともこの演奏のCDは当時としてはかなり優れたリマスターであった）、20年後にリマスターをやり直すには十分な動機があった。BMGは録音当時を知るプロデューサーを呼び寄せてまで、オリジナルテープの修復（ただしデジタルによるノイズリダクションなどは行わない）と管球テープレコーダーの調整を行った上で、この二度目のリマスターに取り組んだ。今回SACD化されたのは、おそらくその時修復されたオリジナルテープから、最新の機材でアナログ／デジタル変換をやり直したものだと思う。

　結論から言うと、二度目のリマスターと、今回のSACDのCDトラックを比べると、両者にはほとんど違いが見られない（80年代のものとはかなり差がある）。それどころか、トラックを波形表示させてみると、二度目のリマスターのほうがいくらかダイナミックレンジが広く、音のアクセントにも敏感に反応しているのに対して、今回のリマスターのほうでは、やや80年代の波形に近い形に戻っている。

　もちろん、両者の違いは、ブラインドで聞き比べて判別することはほぼ不可能なレベルではあるが、それにしても今回使われた最新機材というのは、アナログ／デジタル変換という点に絞れば、前回より劣ることは確かである。

　手許の設備ではSACDトラックの波形表示はできないから、これについては判断が出来ない。ただ、この録音はもともと2チャンネル録音なので、その意味でもSACDのメリットは少ない。したがって今回のSACDは、SACD対応プレイヤーでCDを越えた高周波数領域（録音に使うマイクロフォンが拾える領域も越えているが）を再生した場合に、もしかしたらメリットがあるかも知れない、ということにしておきたい。

8人のお客様がこれが役に立ったと考えています

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Gerhard Gabriel

Künstlerisch und technische "Leckerbissen" = Living Stereo!

2020年10月4日にドイツでレビュー済み

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Chicago Symphonie Orchester+ Arthur Rubinstein+ Fritz Reiner - Klassik Fan, was willst du mehr?

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Francois

Wow !

2018年5月24日にカナダでレビュー済み

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Du Rubinstein à son meilleur !!! Belle reprise de ce disque légendaire !

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I. Giles

A remarkable disc especially when played back n its SACD format

2014年11月1日に英国でレビュー済み

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This recording has achieved something of a cult status and that reputation can only be enhanced by this remastered version offering the performance in SACD format.

This series of Living Stereo SACD discs mostly offers 3 track surround sound spread across the three front speakers but there are also a few examples of two track recordings using the conventional left and right speakers only. This generally applies to the earliest stereo recordings of which this is one. The recording was actually made in 1954 and is here presented in two layers - standard stereo and SACD stereo. The SACD version is a remarkable achievement and it is close to impossible to credit that such sound quality could have been achieved at that time. The SACD version has greatly enhanced realism and depth as result of the processing involved in the re-mastering and is undoubtedly the version of choice.

As regards the interpretation, Rubinstein's collaboration with Reiner produces a truly memorable result which deserves to be ranked with the very best of those currently available, an obvious alternative of historic significance being that of Curzon with Szell on Decca, now remastered in 24 bits. Reiner with his excellent orchestra provide the same sort of authoritative accompaniment to the solo part that Szell provided for Curzon. Rubinstein, for his part, delivers an interpretation developed over 50 years of playing experience. This makes for a very special collaboration which was not pursued following on from a breakdown of relationships between Rubinstein and Reiner. Collectors therefore have to be content with this disc.

This SACD version of the recording is in limited supply and should be seriously considered by all collectors before stocks finally run out. Those with SACD playback facilities will find this to be a particularly impressive recording achievement that completely belies its age.

4人のお客様がこれが役に立ったと考えています

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Robert Auld

Excellent performance and recording

2010年12月1日にアメリカ合衆国でレビュー済み

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This SACD reproduces the first stereo recording made of this concerto, in April of 1954. Despite the early date, the recording is first rate, characterized by an unusually close perspective on both piano and orchestra. Many of the details of Brahms' scoring come through more clearly than in many later recordings, especially the woodwinds (which are unusually present, and spread across the stereo image) and the low strings, which are reproduced with superb fidelity. A slight mis-tuning of a couple of upper piano notes is the only notable flaw. (It is also interesting that Reiner had the Chicago Symphony strings in the older european seating plan with 1st. violins on the left, 2nd violins on the right, and the basses on the left, which the recording reproduces accurately. The following season, he had the strings adopt the "American" seating plan used by most orchestras today, with both violin sections to the left and basses to the right.)

Rubinstein's way with Brahms is fascinating to listen to. He was known for his ability to clarify the musical phrasing of composers such as Chopin, and he does the same thing with Brahms, without ever neglecting Brahms' counterpoint. Rubinstein has a natural feel for rubato that he constantly uses to shape musical phrases and enable a sense of forward motion. He is ably abetted in this by Fritz Reiner, who also understands the uses of rubato, without ever losing the sense of the music's architecture. In that sense, this recording is an object lesson in romantic style.

I compared the first movement of this recording to a couple of others I had on hand. Horatio Guitierrez recorded this concerto for Telarc with Andre Previn directing the Royal Philharmonic. The sound quality, as one expects from Telarc, is very fine, with the tympani parts especially vivid. However, the performance seems very slow and static compared to Rubenstein and Reiner. It is not so much a matter of overall speed--the timing of the first movement of Guitierrez and Previn is only about 30 odd seconds slower. But there is nowhere near the same use of rubato to shape and enliven their performance--Previn from the first plods along at a steady tempo and Guitierrez dutifully follows.

I have the LP issue of Rudolf Serkin's recording with George Szell and the Cleveland Orchestra (mid-1960's). The sound of the recording is nowhere near as good as the 1954 Rubenstein/Reiner rendition--the piano is clear, but sounds monophonic and the orchestra is some distance behind the piano, which results in many internal details of scoring being covered. I would expect the CD version to have a cleaner background and possibly better tonal balance, but the problem of the artificial perspective would remain.

Serkin and Szell do not lack for speed--their first movement is just over 21 minutes long, which is fast, compared to most other versions. Serkin also knows how to phrase and shape the music. Still, he lacks the natural rubato and feel for legato that Rubenstein displays. In loud passages, Serkin tends to bang a bit, and Szell and his orchestra display the sharp-edged attack they were known for. I have always respected this recording, while not particularly enjoying it. (Footnote: in the late 1940's, Serkin recorded this concerto with Fritz Reiner conducting the Pittsburgh Symphony. While the sound is not very good mono, I have always enjoyed that recording for its vigorous, straightforward approach. Reiner is the type of conductor who can adapt himself to his soloist, and he brings out the best in Serkin.)

Short review: this historic stereo recording is one of the best that has been made of this concerto. Highly recommended.

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P. H.

Bravura Brahms

2018年6月29日にアメリカ合衆国でレビュー済み

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If you like your Brahms with bravura and panache, this is a performance you will play over and over. Reiner, Rubenstein and the Chicago Symphony provide a performance that is powerful, nuanced, and extremely well recorded. Reiner was an exceptional concerto conductor, in no small measure due to his ability to simultaneously use his entire body and its parts to communicate what he wanted to the orchestra in support of the soloists headlining the performances. In addition, Reiner was outstanding in the Germanic and Central European literature that comprises so many of his landmark-level recordings. Thus, depending on your preference, this performance is either the best, or merely one of the best performances of this work you will hear. With nuance and heart as well as strength, you will find it difficult, if not impossible, not to applaud at the end, even if you are alone in the room. Highly recommended.

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Piano Concerto No 1 (Hybr)

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