CBSO Nelsons Also Sprach on R3

[gedsmk]

was it my system or was the broadcast of this concert over "HD"/internet compressed? There didn't seem to be much attempt to capture the atmosphere of Symphony Hall, and to me it sounded as if it were being played in a heavily curtained and carpeted hall, with microphones very close to instruments.

[Bryn]

was it my system or was the broadcast of this concert over "HD"/internet compressed? There didn't seem to be much attempt to capture the atmosphere of Symphony Hall, and to me it sounded as if it were being played in a heavily curtained and carpeted hall, with microphones very close to instruments.

No sign of dynamic compression. Indeed, there was a rather greater dynamic range in the iPlayer HD Sound offering than is usual. The peak level was just 1.8 dB of saturation, whereas they normally allow a headroom of around 6 dB.

[gedsmk]

No sign of dynamic compression. Indeed, there was a rather greater dynamic range in the iPlayer HD Sound offering than is usual. The peak level was just 1.8 dB of saturation, whereas they normally allow a headroom of around 6 dB.

thanks. I shall have to investigate further and see what my sound card is up to!

[salymap]

No views on the music, just the 'dynamic compression'? I enjoyed the Rach 1 piano concerto with Hough, but unfortunately, my really bad tinnitus couldn't cope with the Strauss, although I normally love both works played.

I listened on my new TV set up and sound seemed good, the fault was my hearing for which I must get help.

[gedsmk]

No views on the music, just the 'dynamic compression'? I enjoyed the Rach 1 piano concerto with Hough, but unfortunately, my really bad tinnitus couldn't cope with the Strauss, although I normally love both works played.

I listened on my new TV set up and sound seemed good, the fault was my hearing for which I must get help.

I just caught up with "Tod und Verklärung" on listen again. Even with 128 AAC it sounds like a beautifully prepared reading. Listening while looking at this beautiful afternoon sunshine in London helps, of course!

[Simon B]

I can't say anything about the broadcast as I haven't heard it. However, I was at the 2nd performance at Symphony Hall on Saturday. There was a sea of microphones in use as Orfeo were recording some or all of it for future release.

In the usual way of live commercial recordings, the Orfeo mics would have been in use on Thursday too - would the BBC have taken a "feed" off a subset of them rather than adding their own sea of mics and tangle of wires? Maybe this somehow accounts for the odd broadcast quality?

In line with my expectations from previous Nelsons/CBSO performances of some of the other tone poems (particularly Ein Heldenleben and the Alpine Symphony) both Strauss works were given glowing, nuanced performances. Particularly so Tod und Verklärung - the slower passages notably slow but with such shading and differentiation as to never be in danger of dragging. There was nothing awry with the sound in the hall - ravishing, refulgent and other hyperbolic adjectives starting with 'r'...

The Rachmaninov PC #1 sounded, as it often does to me (my loss) like a whole lot of notes to no particular effect - brilliantly executed on this occasion though.

I'm not always convinced of the alleged uniform brilliance of Nelsons, but this concert confirmed that the CBSO are the business in R Strauss at the moment when he's carving.

[cloughie]

The R Strauss items sounded excellent performances - CBSO still sounding great - they chosen MDs well Rattle>Oramo>Nelsons how do they find them?

[Osborn]

Just occasionally something really works for you. I thought the CBSO gave a masterclass in dazzling precision (some of the string playing was breathtaking) & showing how to generate massive power & still keep the sound transparent (the sheer weight of the final chord of the Zarathustra opening was incredible). Live, thrilling & I'm so glad I didn't miss it.The change after the darker string sounds of Oramo is quite evident & with rampant blazing horns & brass the CBSO sounds quite american - I could almost imagine George Szell allowing himself a little smile of approval for the naturalness & eloquence with which Nelsons unfolds the music & his iron control over every orchestra section.

Without doubt the whole programme was well prepared & rehearsed. You always get an exciting ride with Stephen Hough, his fingers must have been flying everywhere in Rach PC 1, there was no self-indulgence, no old fashioned glutinous soul-searching; he just fired it out in an impressively detached way with the CBSO absolutely rock solid & responding within a nanosecond to him.

I've said before that IMO UK orchestras are pretty samey except Elder's Halle, Nelsons' CBSO, & Pappano's ROH. Andris Nelsons is a hot property so it's great news that he has renewed his contract until 2014 - only fair really because his renown is to a fair degree due to his superb orchestra & being resident at Symphony Hall.