This particular performance of the symphony places a greater emphasis on its power than the well-known recordings by Munch and Paray, which prioritize its beauty and finesse. Ormandy highlights the impressive talent of the Philadelphia Orchestra, while also featuring Biggs more prominently than other recordings likely due to his status as one of Columbia's most popular classical performers at the time. Additionally, the recording quality is excellent, (A great test for your subwoofers) making this one of the most popular classical pieces a fantastic release.
Artist(s): Conductor – Eugene Ormandy
Orchestra – The Philadelphia Orchestra
Organ – E. Power Biggs
Recording Info: Producer – John McClure
Recorded October 7th, 1962 in The Academy of Music, Philadelphia, PA.
Sourced from a 2-track tape
Analog: Transferred using a modified Nagra 4SJ tape deck feeding a Merrill Tape Preamp
Digital: Merging Hapi Analog to Digital Converter clocked by an Antelope Audio 10MX Atomic Clock
Power Conditioning: Shunyata Research Everest 8000 for analog components
Shunyata Research Triton and Typhon for digital components
All components grounded to Shunyata ALTAIRA Hubs
1 Adagio - Allegro Moderato 10:19
2 Poco Adagio 8:48
3 Allegro Moderato - Presto - Allegro Moderato 7:19
4 Maestoso - Più Allegro - Molto Allegro 7:19
Please Note: This release was edited in DXD PCM from a DSD256 Master
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My favourite version by far
This version is my favourite by far, chiefly because I adore the contributions of E Power Biggs. I guess that makes me a bass junkie. The HDTT version sounded a tad bright on my hi-fi system but full marks for clarity and beauty. I would love to hear the San Francisco Symphony Orchestra's recording of this wonderful, and wonderfully romantic, work in HD sometime.
A long-lost friend, revived
This was one of my first records as a kid, growing up in Philadelphia. Wonderfully restored. Brilliant choice for the catalog.
Ormandy, Biggs, and Camille Saint-Saens
Ormandy's pacing is a bit odd in places, to my mind alternately too slow or too fast. Like many recordings of the Saint-Saens 3rd, Biggs was recorded separately and in a different venue. There is a slightly different 'air' around the organ than the rest of the orchestra, but it doesn't make itself known too often, and for the first time in my experience, the organ's final descending notes can be clearly heard.
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