Credits:

Vladimir Fedoseyev , Moscow Radio Symphony Orchestra

Description:

As a commemorative project for Vladimir Fedoseyev (1932.8.5-), who celebrates his 90th birthday in 2022, Victor is now reissuing his Russian music recordings with the Moscow Radio Symphony Orchestra, recorded mainly in Moscow between 1981 and 1993, on SACD in three periods. Following the six albums recorded in 1981 (collected in three titles as the first phase) and the three titles from the second phase from 1989 to the following year, this third phase includes three albums from 1991 (collected in two titles), which Victor recorded in collaboration with Melodia at the time, and the 1993 Osaka These three albums consisted of two live 2-CD sets recreating Tchaikovsky's final concerts.

Recorded in collaboration with the Russian label Melodia, these works were recorded using state-of-the-art digital equipment of the time. The excellent recordings have now been up-converted by Kazushige Yamazaki of FLAIR Mastering Works in the presence of Fumio Hattori, the engineer at the time, and Tomoo Nojima, the director, using Victor's renowned K2 technology. The dynamism of Fedoseyev and the Moscow Radio Symphony Orchestra has been refined and the original sound further pursued. This is the first SACD album to be released on SACD, and is a fitting tribute to the 90th anniversary of Fedoseyev's birth. In terms of sound quality, including mastering, the CD master was up-converted to 192 kHz/24 bits using Victor's renowned K2 technology to respect the musical aspects of the digital recordings of the time, and to pursue the original sound. The difference can be felt not only on the SACD layer but also on the CD layer. The new SACD hybrid reissue is the latest in mastering using K2 technology (K2HD) and combines the two original albums on one disc.

The fourth movement of the "Pathetique" was recorded at Fedoseyev's insistence, as he judged it to be an "Andante" rather than an "Adagio" in the original composer's autograph score. Since its release, it has been known as an important recording with a strong persuasive power. The details of how this came about are given in the commentary, which states that after the first performance by the composer, there were many corrections made by the re-performer Napravnik, who conducted the memorial concert, and that the "adagio" notation was then established (the fact that the programme for the first performance was also misprinted as an "adagio" was also a factor that subsequently led to the recording of the work as an "adagio"). (It is said that the fact that it was misprinted as an "adagio" in the programme of the first performance was one of the reasons why there was no doubt afterwards.) Fedoseev also said that he originally wanted this movement to be less sentimental, but to express a sublime pathos hidden deep within. This performance gives the strong impression that it was recorded with the intention of depicting the essence of Tchaikovsky's music, rather than the melodic and emotional expression that has been common in the past. The performance gives the impression of Fedoseyev's strong will to reconstruct the piece and "use this as an opportunity to make many people rethink the essence of Tchaikovsky's music".

Track listing

1. pyotr ilyich tchaikovsky: Symphony No. 6 in B minor, Op. 74 'Pathetique'.
(original version) [world premiere recording from the autograph score] 2.
Dmitrij Shostakovich: Oratorio "Forest Song" op. 81

Performed by.
Alexander Vedernikov (bass)
Alexei Martynov (Tenor)
Russian Republican Choir under the name of Yuri Yurov
Girls' Choir "Spring"
Above, 2

Moscow Radio Symphony Orchestra
Vladimir Fedoseyev (conductor)

Recordings
18 March, 27-29 March (1), 16 & 17 August (2), 1991
Moscow Broadcasting Hall

Original Recordings
Producer: Atsushi Tanaka
Director: Tomoo Nojima
Engineers: Margarita Kozhukhova, Fumio Hattori
Assistant Engineer: A.Karasev (2)

Translated with DeepL