Tacet L984 - 180 Gram Virgin Vinyl -
Pure Analogue Audiophile Remaster - Pressed at Pallas Germany - Limited Edition
The sound quality is fabulous. Heinz Gelking HIFI Review
Ludwig van Beethoven: Symphony No. 6 in F major op. 68 ("Pastorale") - The Polish Chamber Philharmonic Orchestra conducted by Wojciech Rajski
Ludwig van Beethoven
Symphony No. 6 in F major
"Pastorale" op. 68
Polish Chamber Philharmonic Orchestra
Wojciech Rajski
Tube only / Transistorfree
In contrast to the contemplative, peaceful character of Beethoven’s Sixth Symphony, disharmony and contention was rife everywhere around it. Not only was the very first performance bungled and criticised by musical 'clairvoyants' of the day who saw their vision of a heroic musical titan fade away in the sensitive melodiousness of the music, but the never-ending question of whether this is programme music or absolute music was raised continuously.
The interpretation is quite another matter, however. The “Pastorale” Symphony is a real challenge and test for every orchestra when it comes to producing a refined sound and finely graded changes of tempo.
Here, Wojciech Rajski and his Polish Philharmonic Chamber Orchestra – who have won international acclaim for their Beethoven recordings – are in their element. With a succinct yet differentiated sound colouring in the strings in all registers, the ensemble treads lightly through the picturesque landscape, carefully weighs in each melodious figure, and produces crackling, sparkling tension through sensitive changes of tempo. In the Finale one can quite justly speak of an abundance of gorgeous sound, and one must certainly be thankful for the use of pure analogue technique that results in such wonderful sound in this studio recording.
Inspiring Tube Sound:
What is it that makes "tube sound" what it is? The advantages of tubes over transistors are difficult to describe in technical terms. Perhaps the reference to the higher and different type of distortion with tube amplifiers is most applicable, although "distortion" has a rather negative meaning: the more distortion, the worse it is. So this can't be entirely right. Besides, the distortions of these microphones of 1947 are much too slight to be really noticeable. The recording of the Partitas of Johann Sebastian Bach with Florin Paul is, for me, although meanwhile almost 23 years old, still the best example in our TACET catalogue of the special quality of tube microphones. The two U 47 microphones by Neumann made their contribution.
For the LP, however, (except for rare exceptions, justified for musical reasons) the signal is even stored on a tube tape recorder and then mastered with valve equipment, so that one would be right in saying that for the entire production not a single transistor was used.
We have always been especially pleased to receive so much feedback about our Tube Only productions. This motivates us even more to keep working with this technology and rescue it from oblivion. People have told us that the music sounds warmer, without losing any of its TACET brilliance. The timbres glow more. We have also heard that people have the impression of a more homogeneous sound, whatever that is meant to be. So let everyone listen to their own hearts and to the Tube Only recordings and feel something special! Even the sheer joy of this slightly nostalgic outstanding technology can be reason enough to like these productions. Yet what would it all be without the wonderful work of the artists!
Musicians:
Polish Chamber Philharmonic Orchestra
Wojciech Rajski, conductor
Selections:
Ludwig van Beethoven (1770-1827)
Symphony No. 6 in F major "Pastorale" op. 68
1. Allegro ma non troppo
2. Andante molto moto
3. Allegro
4. Allegro
5. Allegretto
Tube Only” means: only tube microphones and amplifiers were used for the recording.
For the LP, (except for rare exceptions, justified for musical reasons) the signal is even stored on a tube tape recorder and then mastered with valve equipment, so that one would be right in saying that for the entire production not a single transistor was used.
We have always been especially pleased to receive so much feedback about our Tube Only productions. This motivates us even more to keep working with this technology and rescue it from oblivion. People have told us that the music sounds warmer, without losing any of its TACET brilliance. The timbres glow more. We have also heard that people have the impression of a more homogeneous sound, whatever that is meant to be. So let everyone listen to their own hearts and to the Tube Only recordings and feel something special! Even the sheer joy of this slightly nostalgic outstanding technology can be reason enough to like these productions. Yet what would it all be without the wonderful work of the artists!
