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Bruckner - Symphony No 8 (original version) Karajan

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Music : Classical : Lossless
                 
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                    Anton Bruckner (1824-1896)

Symphony No. 8 in G minor
(original version)

I. Allegro moderato
II. Scherzo (Allegro moderato) & Trio (Poco andante)
III. Adagio
IV.
Finale (Solenne, non allegro)

Berlin Philharmonic / Herbert von Karajan

(recorded 1957; EMI /
Angel)

_____________

Anton Bruckner

Symphony No. 8 in G minor
(original
version)

Berlin Philharmonic / Herbert von Karajan

(recorded 1957 by EMI; digitally remastered
version; EMI, 1996)

Symphony No. 8 in G minor
(original version)

1st Movement
(converted to mono)

___________________________

Some Upload Notes:

In a broad sense,
the term "digital remastering" can be understood as being in many cases (though not all) a rebranding of the
term "electronically reprocessed to simulate stereo effect" (a.k.a. "fake stereo") - a term used,
among other similar terms, during the 1960's and 1970's to describe the electronic reprocessing of older mono
recordings for the purpose of re-selling them. Record consumers from the 1960's and 1970's, however, tended
not to like the sound of electronically reprocessed recordings and consequently tended not to buy them. This was because
of the poor and often artificial quality of electronically reprocessed sound - which in turn was due to the inept
practice and / or inadequate technical methods employed in the reprocessing of the time. 

But technology
marches on. In the meantime, sound technology has improved and new tools have become available so that the reprocessing
of old recordings can now be not quite as inept and noticable as was the case earlier (depending, of course, on how
expensive one's equipment is and how competent one's engineers are). 

However, the name for
reprocessing needed to be changed along with the methods - otherwise, someone might remember the older clumsy,
artificial-sounding reprocessed recordings and be again unwilling to buy the "new improved" versions.

Nevertheless, some listeners do want to hear how older recordings optimally sounded at the time of their original
issue (at least, this is my own impression) - but the simple problem is that few people now possess high quality
playback equipment dating from 1932, 1952 - or even 1972 (not to mention ever having heard let alone seen and / or lived
with such equipment). 

When one combines (as can be done with any stereo recording) both of the tracks of the
1996 "digitally remastered" version of Karajan's 1957 recording of Bruckner's 8th Symphony to
produce a mono recording, the result is a recording which does not sound completely removed from the transfer of the
original 1957 LPs being offered here (yes, there are differences, but not hugely decisive differences). 

Both
tracks of any recording can be converted to mono by combining them electronically or digitally; or by selecting one
track to serve as both right and left tracks; the usual method being an electronic / digital combination in which both
tracks are combined - unless one is dealing with a mono recording from a sound source in which one of the tracks has,
for example, unusual damage and which would be better to discard in favor of the less damaged or undamaged track.  

When one puts the CD tracks of the 1996 "digitally remastered" version of Karajan's 1957 mono
recording into a sound editor, the first thing one sees are all the totally unmistakable characteristics of a stereo
recording: each track (right and left) have the noticably different visual configurations usually encountered with a
stereo recording. And that is what this 1996 "digitally remastered" version indeed sounds like: a stereo
recording which could have been made somewhat later than the ancient date of 1957. 

To the contrary, both
tracks of the LP of the 1957 mono recording of Bruckner's 8th Symphony, when put into a sound editor, have visual
configurations in which both tracks appear almost identical with only slight differences and usually (as is the case
with this particular recording) have the combined sound of a mono recording (but not a stereo recording). There is, of
course, a lot more which could be said about all of this - but in a nutshell, this is essentially what "digital
remastering" very often amounts to: an unstated conversion to what amounts to fake stereo sound.

Finally, then, it is no accident that neither the term "stereo" - or the kiss-of-death term "mono"
- appear anywhere in the notes for the 1996 "digitally remastered" version of Karajan's 1957 recording of
Bruckner's 8th Symphony ... but, on the other hand, there is a considerable amount written about such things as
"subtle modification of the recording to enhance the sense of presence and depth"; "multi-track tapes for
which a new balance has been created"; "the challenge as how to best reproduce the authenticity of the
original recordings", etc. ... which can be interpreted as simply different ways of saying, "electronically
reprocessed to simulate stereo effect."
   
A transfer of the original LPs of Karajan's 1957 mono
recording of Bruckner's 8th Symphony is therefore included - but which has been passed through an analogue
equalizer during the transfer process in order to add a warm-sounding treble and bass in a manner similar to that which
would have already been possible in 1957 by simply turning the bass and treble controls of one's High Fidelity
player in one direction or the another. 

The 1996 "digitally remastered" First Movement of
Bruckner's 8th Symphony is included - but converted into mono sound so that it can be compared with the LP
transfer.

The four CD tracks of the 1996 "digitally remastered" version of Karajan's 1957 mono
recording of Bruckner's 8th Symphony are naturally also included - ripped in their original untouched state of
"electronically reprocessed to simulate stereo effect" sound.  

LP transfers; Digital material.
Includes covers, label and notes.
(English, German and French).
                 
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