Beethoven Symphony No. 7
And Fidelio Overture
Fritz Reiner - Chicago Symphony Orchestra

Review by Karl Lozier
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CD Stock Number: JVC JMCXR-0006

 

  At the JVC booth during CES this year, my eye was attracted to some new remastered RCA recordings from the so called "Golden Age" of recording which is approximately 1954-63 give or take a year in either direction. The earlier date is basically the beginning of the earliest releases of true stereophonic recordings. I limited my purchases to Dvorak's Cello Concerto and this Beethoven Symphony.

My initial and lasting impression of the performance is of impressive dynamics with a single vision of the score and performed by one of the world's great orchestras at the height of its performing capabilities. The feeling of the tremendous power created by Beethoven's genius is conveyed with a monolithic solidarity thanks to the mature insight of s great conductor at the zenith of his career. Yet, when called for, the danceable rhythms are allowed to flow. Recorded Reiner performances of Beethoven's music at times were greeted by mixed critical reviews. Reiner's interpretation and performance as showcased here are just fine in my opinion. Ditto for the added Fidelio Overture, Op.72b.

With my copy of this recording, the seven pages of liner notes were in Japanese; this might be of some concern to those of you not yet fluent in that language. Only the notes about this new JVC extended resolution compact disc 2 (xrcd2) were in English. "The end result of this mastering and manufacturing process is the highest quality transfer from the original master tape to compact disc. This attention to detail allows the listener to enjoy the music in to same way the artist, producer, and engineers intended it to be enjoyed. Every nuance of the performance is duplicated as it was recorded. This is the extended resolution compact disc 2... listen and compare." My listening comparison will follow after two intervening paragraph.

Cover notes for the album state that the symphony was recorded October 24, 1955. Also, according to these notes, it was produced by Richard Mohr with Lewis Layton as recording engineer. In Jonathan Valin's superb book, The RCA Bible, he states that this recording, released in 1956 as LSC-1991, was produced by John Pfeiffer and that the recording engineer was Leslie Chase! What is going on here? Who is right and why the controversy. Also, I am bringing up more controversy by questioning whether the original and only master tape (other than the separate monaural recording's master tape) was two or three track!

First controversy first. Valin says "Pfeiffer and Chase; JVC says Mohr and Layton. We're talking about two of the top five teams in the history of stereophonic classical music sound reproduction. It doesn't make a great deal of difference, but credit is due to only one pair - or is it? I think there is no question that in 1954 Pfeiffer and Chase handled the two channel stereo classical recordings for RCA, (LSC-1806) recorded in March 1954 for example. In Michael Gray's seminal article in the TAS magazine issue #49, he stated, "...by 1954, RCA had to double manpower at the recording sessions. Mohr and Layton (who eventually earned 18 Grammy nominations) now ran the mono sound recording. Stereo tapes were made by a second crew, usually producer Jack Pfeiffer and engineer Leslie Chase." Though actual recording dates and their order do not always follow the order of published recordings, by LSC-2100 and thereafter for some years, it appears that Lewis Layton was the usual listed recording engineer, often partnered with producer Richard Mohr who had earned a reputation for demanding "natural string tone." Most of the recordings in the LSC 1900 series as well as the LSC 2000 series were pretty much split between Layton and Chase. I was unable to pin things down more exactingly than that.

Referring to my "upstart controversy", JVC notes clearly state, "new master tapes were made at BMG/RCA Studio in New York from the original three-track tapes." My LSC-1991 album cover of this same recording, clearly states "These recordings (Symphony No. 7 + Fidelio Overture) were made from original dual track stereo master tapes." Here I could go into more detail and supporting evidences, but will let interested readers attempt to figure out - who is correct? Any additional information would be most appreciated by yours truly. There has often been debate as to whether or not, two-channel recording (when done to perfection) can routinely be surpassed for equaling the best seat in the concert hall, not trying to improve upon that.

While writing this very favorable review of this JVC recording, I realized that so far in 2002 (mid February) I had not played any LPs. While evaluating and reviewing equipment it is so common and easy for audio equipment reviewers to get in the habit of using CDs for a number of convenience reasons such as quick and easy repetition of musical passages for comparisons, etcetera. As a consequence, CD sound becomes the norm. By now you have guessed that I put my very early shaded dog copy of RCA-LSC #1991 on the VPI table, turned on Herron's phono amp and started Grado's The Reference pickup cartridge in the lead in grooves. I quickly got hit with a mild case of shock. As good as the JVC recording is, particularly in portraying the dynamic power of a great orchestra led by a great conductor, the forty seven year old stereo LP was simply even better! Yes, better in nearly every respect, more dynamic and more sense of natural ambiance and detail creating a sensation of reality and somehow being more relaxed at the same time.

Particularly surprising was either a more extended response at both ends of the spectrum or more clarity and detail in those areas, or both. As with other companies attempting to resurrect the truly great recordings from the Golden Age of recording, I believe that JVC is simply but clearly, or I should say not so clearly, hampered and limited by the expected deterioration of the almost half century old original tapes. Nuances and fine details are lost. Unfortunately those fine details are what often mainly distinguish good from excellent recordings. It's comparable to what happens when a fine recording is played back on an excellent system as compared to the results when listening to an okay system. The differences often, if not usually, are in the fine details or lack there of. Then the more nearly real, natural, musical and satisfying the sound becomes. Since you cannot expect to find the early LP, RCA-LSC# 1991 but should know and enjoy this performance of one of the great symphonies, this JVC recording receives my warm recommendation to you.