[SACD-R][OF] Sir Colin Davis, London Symphony Orchestra and Chorus - Berlioz – Requiem Op. 5, "Grande Messe des Morts" - 1970/2008 (Orchestral, Choral)

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Sir Colin Davis, London Symphony Orchestra and Chorus
Berlioz – Requiem Op. 5, "Grande Messe des Morts"
- Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1970/2008
Жанр: Orchestral, Choral
Издатель(лейбл): PentaTone
Продолжительность: 00:40:57 + 00:50:22
Наличие сканов в содержимом раздачи: Да
Disc 1: 5186 192
1. Requiem – Kyrie 11:39
2. Dies irae – Tuba mirum 13:46
3. Quid sum miser 3:17
4. Rex tremendae 6:56
5. Quaerens me 5:18
Disc 2: 5186 193
1. Lacrymosa 11:07
2. Domine Jesu Christe 11:03
3. Hostias 3:37
4. Sanctus 11:17
5. Agnus Dei 13:16-Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DST64
Количество каналов: 5.0, 2.0
Доп. информация: Remastered Quadro Recording
PTC 5186 191 (2 discs)
Released July 1st, 2008
Recorded November 1969 at Westminster Cathedral, London
Источник (релизер): jasondonovan (PS³SACD)
Оркестр: London Symphony Orchestra and Chorus
Композитор: Hector Berlioz
Дирижер: Sir Colin Davis-


Ronald Dowd (tenor)
Wandsworth School Boys' Choir
London Symphony Orchestra & Chorus
Sir Colin Davis (conductor)-

Об альбоме (сборнике)

Reviews from SA-CD.net:
By Polly Nomial:
A wonderful reissue from Pentatone that deserves the widest circulation.
Compared to Berlioz: Requiem – Norrington, the approach of Davis here is very much smoother and rounded; probing the depths rather than revealing the notes with astonishing clarity. Both approaches have their gains and losses and it is mood of the moment that dictates my preference in most aspects.
As far as the performance goes, the LSO play like gods and reaffirm their reputation as one of the finest (modern-style) Berlioz orchestras of the recording era; a great deal of credit has to be given to Davis for the fine training he has provided this orchestra for several decades, showcasing the effects in the relative infancy of their relationship. The choral singing, in particular that of the Wandsworth School Boys’ Choir, is good but at the most taxing moments, they cannot quite match the professional singers of Norrington’s set; one must also be prepared to accept that the amount of vibrato that singers employed in the 1960’s is far greater than what is usual today – even if one rules out the fairly extreme approach of Norrington. Nor perhaps does Ronald Dowd acquit himself as well as Norrington’s Toby Spence but these are minor quibbles in such a fine overall conception and performance.
This is a true classic of the recording world and it is our gain that we can finally get to hear it as the Philips engineering team (and presumably Davis et al) wished. The clarity achieved in Westminster Cathedral is remarkable and one is continually surprised by the details that sear through the textures in a seemingly natural way; a bonus is the clarity the larger performing space gives to the lower end of the tonal spectrum. Perhaps from a multi-channel perspective there is one disappointing aspect – the spaced extra brass/wind players. Whilst they are very clearly delineated in the fine sound, it is a shame that Davis or the original engineers were so conservative in their positioning of these groups – a sensational aspect of the Norrington performance is the way these players blaze out from all sides which is quite lost here. There is also a fairly high degree of tape noise in quieter moments but nothing too intrusive and the ears quickly adjust.
So which to buy? In stereo, it’s purely down to performance preference – either Davis or Norrington will provide a highly satisfying and exciting rendition but in different ways. For those who enjoy multi-channel, Berlioz: Requiem – Norrington cannot be ignored, even if one has strong stylistic preferences for Davis.
Strongly recommended.
By Castor:
Even before the first notes of this wonderful performance are heard, the palpable acoustic of Westminster Cathedral is miraculously created by the 4.0 recording superbly re-mastered from the original Philips tapes by PentaTone in their RQR series.
As the SACD box indicates, the recording took place in November 1969 in Westminster cathedral at a time when Colin Davis had only recently begun his lifelong devotion to, and championship of, the music of Berlioz. It has been in the catalogue for nearly forty years yet its full sonic potential is only now realised with this issue.
The London Symphony Chorus does not appear to be comprised of huge body of singers, but their diction is so clear that any worries about the lack of the text in the accompanying booklet are rendered quite superfluous. Their full-bodied yet refined singing is joy throughout, from the huge cries of Rex at the opening of the ‘Rex Tremendae’ to the rapt, devotional “a capella” ‘Quaerens me’ they triumphantly meet the demands put upon them.
In the ‘Sanctus’, Davis’s soloist is the fine Ronald Dowd. Though he lacks the authentic Gallic timbre and elegance of say Leopold Simoneau on the 1959 Munch recording and does show a trace of strain on his high B flats, his firm, open and passionate delivery is a decided asset to the performance as a whole.
What in the end, however, makes this recording so special is Colin Davis’s unerring sense of the way this work should be communicated to the listener. Though he has committed it to disc on more than one occasion, his conception has changed remarkably little over the years, and this, his first recording of it, has never been bettered He treats the piece as a visionary masterpiece never as a sonic spectacular, and, as a result the awesome movements, such as the ‘Tuba mirum’, ‘Rex tremendae’ and ‘Lacrymosa’ make an even greater impact than usual.
The Berlioz Grande Messe des Morts has always been an obvious and prime candidate for surround sound and here the technology is put firmly at the service of the music. The most massive climaxes are handled without strain whilst the clarity in the many quiet passages is equally remarkable. This is a most successful and enthralling issue.
By gonzostick:
I own all the surround versions of this music in SACD and DVD-audio formats. Much as I like the Norrington on SACD, this one is the best, musically. The original LPs and RBCD issues, while good, did not do justice to what the Philips engineers had captured on their master tapes at Westminster Cathedral in November of 1969. The Spano on Telarc, while good, is way too polite for the fire and brimstone this work really needs. His also lacks the acoustics this work needs to envelop the listener, not to mention Spano is tame, when compared to Davis. Davis can be completely sweet and lyrical, then suddenly ferocious, while always succeeding in maintaining the long lines of musical argument.
This is wonderful. Colin Davis has made a specialty of this work for many, many years. The best thing about the wrap-around sound of this disc is that it reproduces the sound of this amazing piece in an acoustic that does it justice. No, it does NOT have Telarc-size bass! The perspective is more distant, but it captures the sound of inspired performers making impassioned music and responding to the work AND the acoustics of the space in which they are performing the work. The tempos are unfailingly musical, while never dragging, and the performance works on all levels. The acoustics, though not mentioned in the Pentatone booklet, are those of Westminster Cathedral, according to the Matthew B. Tepper Internet site which lists all of the recordings of the work.
The performance is subtle but has great ferocity when needed in the big moments. When the men push to sing through the barrage of percussion and brass in the Tuba Mirum, they cut loose with wonderful energy that is quite hair-raising. As the other sections of the choir join in, they respond with the same level of energy and purpose. The engineers resist the temptation to change the dynamics of the work, so the dynamic range of the piece is pretty much on the tapes as transferred. The Lacrymosa manages to have both rhythmic precision AND long, singing lines, with amazing bite when needed. The counterpoint of the orchestral accompaniment and the syncopations are pointed and really well-proportioned, so the rhythm just blooms around the superb choral work.
The recording is 4.0 surround. The best way to hear it is with matching, full-range speakers around the listening area. The bass response has NOT been ticked up. It sounds like huge forces in a huge building, enveloping the listener in waves of sound. There is plenty of clarity for the smaller moments, but the building sings right along with the Godly racket when the full forces are unleashed.
This classic recording has been brought back in the format that finally does it justice. Do not buy this unless you intend to open it wide on the system and let it roll through the house!
If you love this piece, as I do, and you want to hear one of the great recordings of this work in the best format to ever do it justice, this release is self-recommending!
GET THIS and SUPPORT PENTATONE Classics! BRAVO to all concerned, in 1969 AND 2008!!! PLEASE, PentaTone, give us more of the Davis recordings from Philips in Boston, especially the COMPLETE Sibelius with that great, gleaming Boston Symphony Orchestra!!!

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