I wrote a review of a new Trout Quintet CD recording a couple of weeks ago. In my research for that disappointing release, I searched Audiophilia for my review of a Decca LP reissue of the Trout.  I thought I reviewed it last year. Nothing there, which leads me to this very pleasant task—reviewing a classic performance and reissue recording of one of Schubert's most endearing works. 

Schubert usually wrote chamber music with specific musical friends in mind, which may be the reason for the quintet's odd instrumentation; piano, violin, viola, cello and double bass. No matter, because typical of Schubert, his genius for exquisite melody and concomitant harmony is in full swing here. It's called the Trout because the 4th movement is a set of variations on his song Die Forelle (The Trout). 

I am a big admirer of Seong-Jin Cho’s piano playing and Debussy’s spectacularly beautiful piano music. As recorded by DGG, this new recording of both may be a perfect musical match.

Cho is the recent laureate of the International Chopin Piano Competition [2015]. I followed his progress with greta interest on the MediciTV live webcasts. His runner up, Canadian Charles Richard-Hamelin gave him great competition, but ultimately, Cho won over the jury with his exquisite touch and innate musicality. When you reach that far into the world's best piano competition, it's assumed one has the technical chops. Cho does. 

Cho was signed quickly by DGG, a label synonymous with the greatest pianists, and with some heavy duty Debussy recordings already in the catalogue. 

I recently paid $50 for a 180g vinyl reissue of Schubert's effervescent Trout Quintet. The joys of vinyl are all there in the great performance by Sir Clifford Curzon and members of the Vienna Octet on Decca. It's the only work on the album. That's where the CD shines—up to 80 minutes. Well, that, and capturing much needed new performances of old masterpieces. On this new DGG album, we get the best of CD logistics, plus the crackerjack promise by stars of the DGG house.  

The Trout Quintet is the given name to Schubert's Piano Quintet in A major, D. 667, composed in 1819, but published only after his death in 1829. What a musical crime—only friends, family and admirers were to experience this chamber masterpiece during the composer's lifetime. 

As chosen by Audiophilia's Publisher, Anthony Kershaw.

Images link to Audiophilia review for your information.

Available at most online sites. Reviews have to be published in Audiophilia during 2017 and the recording released internationally in 2017. Media and label noted under the image.

I'm often asked what's my favorite LP. I always respond with it's too difficult to choose. Yet, to myself, Bill Evans' Waltz for Debby sometimes shoots to the front of my cerebral cortex or Dorati's LSO Firebird on Mercury. Muddy Waters Folk Singer on MoFi, too. Reiner/Chicago has to have a couple of LSCs in there, right? But, you know, there is one, no matter the year, the month, the day, the mood, which always places itself first among equals, pushed to the front of my line by its brilliance and unquantifiable musical kismet. A perfect musical storm. Arnold: Overtures with the composer, Malcolm Arnold conducting the London Philharmonic Orchestra on Reference Recordings. 

The primary reason I'm writing this article is to give a copy of this brilliant album (newly remastered and pressed by Reference Recordings) to one of our readers, not simply to give you my nominee for heavenly vinyl status. That said, I'm sure many of you have one for stardom. Please comment below. I would like to read your choice. 

Sony Classical asked me if I was interested in reviewing a comprehensive set of Glenn Gould's seminal recording of Bach's Goldberg Variations. There have been quite a few 'collections' over the years as Sony cash in on one of its most valuable classical assets. As recording technology improves, especially digital restoration, out come the reissues. Being a huge fan of Gould, 'sure', I said, expecting the typical chubby box of remastered (yet again) CDs.  

What I received at the office was a large package from Sony Classical with a very heavy box inside. I was surprised and thrilled at the same time. Next time, I'll read the email requests more carefully. The box was so heavy, I thought it was a set of LPs. It's actually 7 CDs, a large poster, the original LP in a new, 180g pressing, and a book (280 page, hard cover, coffee table book with 45 newly discovered photos). The major weight comes from the very comprehensive book discussing the recording legacy of this 1955 mono release in great detail. Seemingly, no information is left out. We even see how much Gould (and Steinway) were paid for each side of the LP. Charming. 

This record is famous for its superlative Berliner Philharmoniker performances and Karajan’s sophisticated interpretations more than its DG house sound sonics. It’s earned its reputation well over the years, but sadly for audiophiles, the sound doesn’t improve on this DG 180g vinyl reissue. 

Unlike the four Kleiber DG reissues reviewed recently in Audiophilia, where the DG remastering managed to salvage slightly better instrumental timbre and a smidgen of the glorious acoustic of Vienna’s Musikverein, we get no such luck here in Berlin. 

The sound is unflattering throughout with compression at the loudest dynamics and a general lack of sparkle. Otto Gerdes (producer) and Günter Hermanns (engineer), the legendary team that recorded lots of 60s DGs, missed the mark, here. Maybe it was Karajan’s influence? He had an odd sense of ‘natural’ recorded sound considering he produced a uniformly beautiful one live with his orchestra.

I love quality vinyl reissues. Many of the DGs, though, are handcuffed from the start because of the original sound. This one doesn’t escape the murk. What a shame, as you will not find better performances anywhere.

Is there a better opening in music than the mighty Feierlich, Misterioso of Bruckner’s final symphony? Like the start of most of his symphonies, a quiet tremolando in the strings makes way for the drama to follow, here in the superb key of D minor. Just to remind your ear, Bruckner plonks down a unison D in the oboes and bassoons' lowest registers, before the horn section commences its glorious climb toward heaven. It’s nobility personified. 

Italian maestro Riccardo Muti is a master Bruckner conductor. Interestingly, he stays away from Mahler -- the two usually go hand in hand for many conductors. Before they became mainstream, writers would often pair the two as the subjects of essays and books. I've had lots of arguments with my friends, family and colleagues why I think Bruckner the superior composer (in so many ways), though I do love Mahler, especially his very late masterpieces. This argument is almost as heated amongst musicians as the vinyl/digital debate is with audiophiles. 

Anyway, enough of that. You're here because you're a Bruckner or Muti fan. Let me tell you why you can buy this Chicago Symphony Orchestra self release (its ReSound label) with the utmost confidence.

This is the big daddy. The Citizen Kane of classical recordings. The greatest classical recording ever made! 

Silly, yes, considering the pantheon of superlative classical recordings, but there is some truth to the imprimatur. 

The magician of conductors, Carlos Kleiber became legendary at an early age for his ability to take the great classics, all with very famous interpretations attached to them, and make them singular, fresh, brilliant, invigorating.  

Deutsche Grammophon selected four of Kleiber’s gems, remastered them and released them on 180 gram vinyl. All have now been reviewed in these pages. 

From the prophetic rhythm of the most famous four bars in music, Kleiber sets out his stall. I’ve never heard the notes so beautifully balanced with so much propulsion. This high octane energy is maintained throughout the opening movement, interrupted magically by the quietest transition chords. Mesmerizing stuff. The Wiener Philharmoniker is peerless here. Personally, I’ve never heard it played better.