Peter Rösel, Berliner Sinfonie-Orchester, Kurt Sanderling – Rachmaninoff: Piano Concertos & Paganini Rhapsody (1978-1982/2022)
SACD Rip | SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 02:44:36 minutes | 6,6 GB
Genre: Classical | Publisher (label): Berlin Classics / Tower Records Japan – 0302751BC-1
These recordings by pianist Peter Rösel and the Berlin Symphony Orchestra under Kurt Sanderling were made in 1979. They are very well remastered here by the team of reissue producer Marcus Heinicke, and it might have been good to have a bit more information in the annotations about the original recordings and the reissue process. However, annotator Dirk Stöve provides valuable background about the meeting of the minds between Rösel and Sanderling that makes the recordings so distinctive. Sanderling, one learns, delayed recording Rachmaninov with the Berlin Symphony until he could find a pianist who shared his vision of the composer’s concertos, which he regarded as ill-served by the general perception of them as merely “virtuoso” works. Sanderling believed in a relatively dry approach, marked by clarity and a restrained use of vibrato, and in pianist Rösel, he found a kindred spirit. There is a certain amount of support in historical recordings for this view, and it is quite bracing to hear the music done this way. Sample the finale of the Piano Concerto No. 4 in G minor, Op. 40, glittering and coruscating as the piano enters. There are certainly weightier versions of the slow movements out there, and in general, the recording isn’t for those who like their Rachmaninov with blood and thunder. However, this is a needed look at a somewhat forgotten aspect of Rachmaninov and a highly worthwhile reissue.
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Kurt Sanderling, Berliner Sinfonie-Orchester – Sibelius: Symphonies Nos. 2 & 7 (1975/76) [Japan 2004]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 69:28 minutes | Front/Rear Covers | 1,95 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,71 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Raar Covers | 1,43 GB
This series of recordings that Kurt Sanderling did with the Berliner Sinfonia-Orchester date from the late 1970s and are remarkable for their depth of understanding and delivery. This disc, recorded in 1974 and still in completely acceptable sound. Sanderling may not be among the first names mentioned when discussing Sibelius interpreters, but he should be. His Sibelius symphonies cycle with the too-underrated Berlin Symphony is one of the very best.
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Kurt Sanderling, Berlin Symphony Orchestra – Shostakovich: Symphony No. 15 (1995) [Japan 2004]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 48:40 minutes | Front/Rear Covers | 1,32 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,13 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Rear Covers | 1004 MB
This series of recordings that Kurt Sanderling did with the Berliner Sinfonia-Orchester (BSO – not the BPO) date from the late 1970s and are remarkable for their depth of understanding and delivery. This disc, recorded in 1978 and still in completely acceptable sound, delivers one of the most convincing recordings yet made of this final symphony. This performance joins the others by Sanderling which altogether add up to a very fine series indeed.
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Kurt Sanderling, Berlin Symphony Orchestra – Shostakovich: Symphony No. 8 (1992) [Japan 2004]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 66:26 minutes | Front/Rear Covers | 1,85 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,62 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Raar Covers | 1,4 GB
Kurt Sanderling’s representation on disc is patchy at best. Apart from a rigorous, rather dour Beethoven cycle made for EMI in London in 1980 and a Dresden Brahms cycle from the early 1970s, few of his important stereo recordings have been distributed widely in the UK. His 1993’s Shostakovich Fifteenth was disappointingly bland, seemingly preoccupied with finer points of detail, and it certainly failed to impress DJF. Some of these tendencies are present in the Eighth, recorded in 1976 with his own orchestra in East Berlin. Again, it is massively slow and studied – only Dmitri Shostakovich is more deliberate – but the fires burn that much more brightly.
Some background may be helpful. After many years in the Soviet Union working primarily with the Leningrad Philharmonic, Sanderling returned to (East) Berlin in 1960 and until 1977 served as General Music Director of the Berlin Symphony Orchestra—not to be confused with the Berlin Staatskapelle (the orchestra of the state opera) or the Berlin Radio Symphony Orchestra (of West German Radio). While Sanderling’s orchestra may lack the tonal refinement of adjacent Western rivals, it responds to his direction with impressive commitment. Lest everything sounds too carefully rehearsed, the occasionally raw winds cannot help but sound spontaneous and indeed authentic in this repertoire.
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Kurt Sanderling, Berlin Symphony Orchestra – Shostakovich: Symphony No. 5 (1992) [Japan 2004]
SACD Rip | SACD ISO | DSD64 2.0 > 1-bit/2.8224 MHz | 50:41 minutes | Front/Rear Covers | 1,42 GB
or DSD64 2.0 Stereo (from SACD-ISO to Tracks.dsf) > 1-bit/2.8224 MHz | Front/Rear Covers | 1,23 GB
or FLAC Stereo (carefully converted & encoded to tracks) 24bit/96 kHz | Front/Rear Covers | 1,06 GB
Dmitry Shostakovich holds a place among the most important composers of the 20th century, and his Fifth Symphony is a symphonic masterpiece, which helped him secure that position. Kurt Sanderlings interpretation with the Berliner Sinfonie-Orchester was louded by the composer himself. He was the first conductor to conduct Shostakovichs music following the ostracism of 1948. Sanderling’s wife Barbara, a double bassist with the BSO, stated that her husband had developed an unbelievable understanding of this music. It was providential that Shostakovich expressly confirmed what Kurt Sanderling had read into the music.
Some background may be helpful. After many years in the Soviet Union working primarily with the Leningrad Philharmonic, Sanderling returned to (East) Berlin in 1960 and until 1977 served as General Music Director of the Berlin Symphony Orchestra—not to be confused with the Berlin Staatskapelle (the orchestra of the state opera) or the Berlin Radio Symphony Orchestra (of West German Radio). While Sanderling’s orchestra may lack the tonal refinement of adjacent Western rivals, it responds to his direction with impressive commitment. Lest everything sounds too carefully rehearsed, the occasionally raw winds cannot help but sound spontaneous and indeed authentic in this repertoire.
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Sviatoslav Richter & Leningrad PO, Kurt Sanderling – Rachmaninov: Piano Concertos Nos. 1 & 2 (2012)
SACD ISO | DST64 2.0 > 1-bit/2.8224 MHz | 01:14:41 minutes | 1,17 GB | Genre: Classical | © Praga Digitals
Richter only played Rachmaninov’s first two concertos before embarking on his international career in 1960. A logical compilation of two live performances plus four Préludes which were to remain his favourites for the next 50 years. A unique programme which today’s cutting edge techniques have attempted to render in all their original glory. Richter n’a joué les deux premiers concertos de Rachmaninov qu’avant sa carrière internationale qui n’a réellement débutée qu’en 1960. Couplage désormais logique et unique de deux lives complété par quatre Préludes qui resteront, eux, ses favoris pendant près d’un demi-siècle. Un programme unique que les techniques les plus récentes tentent ici de reproduire dans leur vérité première.
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Peter Rösel, Berliner Sinfonie-Orchester, Kurt Sanderling – Rachmaninoff: Piano Concertos & Paganini Rhapsody (2023)
FLAC (tracks) 24 bit/96 kHz | Time – 02:44:26 minutes | 3,04 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Berlin Classics
Rachmaninoff was one of the most gifted pianists of his time. His technical skills and musical expressiveness are unparalleled and r enabled him to thoroughly explore and transcend the boundaries of possibility in his own compositions. Star pianist Peter Rösel has dedicated himself to these legendary works in a series of recordings. The lavish remastering of the original tapes included in this edition now allows his masterful interpretation and Rachmaninoff’s work to resound in new splendor.
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