Product Number :ESSW-90315
JAN:4907034226030

[Contents]
[DISC 1]
Symphony No. 4 in E-flat Major "Romantic" (1878/80 version, Novak edition)
[1] 1st movement: Bewegt, nicht zu schnell
[2] 2nd movement: Andante quasi allegretto
[3] 3rd movement: Scherzo: Bewegt - Trio: Nicht zu Schnell, keinesfalls schleppend
[4] 4th movement: Finale: Bewegt, doch nicht zu schnell

[DISC 2]
Symphony No. 9 in D Minor (Novak edition)
[1] 1st movement: Feierlich, misterioso
[2] 2nd movement: Scherzo: Bewegt, lebhaft - Trio: Schnell
[3] 3rd movement: Adagio - Langsam, feierlich

[Machine Translation]

[Performer
Staatskapelle Dresden
Conductor:Eugen Jochum
[Recording] December 1-7, 1975 (No.4), January 13-16, 1978 (No.9), Luke Church, Dresden
[First appearance] No.4 ETERNA 8 27 533/4 (1982), No.9 ETERNA 8 27 197 (1979)
[Japanese issue] No.4 Toshiba-EMI/Angel EAC-90104 (Mar. 1982) No.9 Toshiba-EMI/Angel EAC-90086 (May 1982)
[Original Recording]
[Produced by] David Motley, Rymer Bluth (No.9)
[Recording Engineer] Klaus Streuben
[Super Audio CD Producer] Motoaki Omachi (Esoteric Mastering Center)
[Super Audio CD Associate Producer] Minoru Yoshida (ESOTERIC Mastering Center)
[Super Audio CD remastering engineer] Shinya Higashino (ESOTERIC Mastering Center)
[Super Audio CD remastering] September 2025 Esoteric Mastering system, Esoteric Audio Room
[Commentary] Kozo Asazato, Ryosuke Masuda
[Planning and sales] TEAC Corporation
[Planning and Cooperation] Tokyo Denka Co.

Two superb pieces from the complete symphonies, which are said to be the culmination of the life of Jochum, the leading Bruckner performer.

ESOTERIC's Super Audio CD Hybrid Software
The ESOTERIC Masterpieces reissue series continues to receive high acclaim for its insatiable dedication to the original master sound and the overwhelming improvement in sound quality achieved by the Super Audio CD hybridization. The series has been highly regarded as the definitive masterpieces since its release and has never disappeared from the catalog until the present day. This time, EMI will release the Super Audio CD hybrids of the best performances and recordings representing the analog era from the old EMI's master recordings.

Two of Jochum's most famous and masterful performances of Bruckner at the pinnacle of his career.
Eugen Jochum was a master of the German musical tradition, and was respected as one of the foremost Bruckner performers. Super Audio CD Hybrid Edition. Jochum has made many Bruckner recordings, but this is his second collection, following his first complete symphony cycle (1958-67, Deutsche Grammophon) in which he conducted the Berlin Philharmonic (5 works) and the Bavarian Radio Symphony Orchestra (4 works) . Jochum, who is regarded as a Bruckner conductor, gave a superb performance with the Staatskapelle Dresden, which can be said to be the final product. This performance should be regarded as the pinnacle of Jochum's Bruckner performances.
The tone of the East German Staatskapelle Dresden is warm and beautiful, and Jochum's conducting is dynamic and powerful. The powerful climax and the deep slow movement are always a treat to listen to. Just to hear these sounds alone makes this recording invaluable.

Bruckner's performances increased rapidly in the stereo era and at the peak of the LP era.
Bruckner, who celebrated the 200th anniversary of his birth, was one of the most famous Austrian composers of the Romantic era, but it was not until the latter half of the 20th century that he became widely known. In the 1960s, with the advent of the stereo boom, Bruckner's longer works became more accepted. In the 1960s, with the advent of the stereo boom and the growing acceptance of longer pieces, more Bruckner recordings were made. Jochum's first complete symphony cycle with the Berlin Philharmonic and the Bavarian Radio Symphony Orchestra (Gramophone) was also a catalyst for the rapid increase in Bruckner recordings.

As mentioned above, Eugen Jochum (1902-87) was a great maestro who contributed most to the popularization of Bruckner's music from the first half of the 20th century, when Bruckner was still not well known internationally.
Eugen Jochum (1902-87) was the master who contributed most to its popularization. Born in Babenhausen in Bavaria in southern Germany, he studied organ, piano, and composition at the Conservatory of Music, and was recognized by Munich Philharmonic conductor Siegmund von Hausager as a conductor, where he was greatly influenced by his teacher, who was a pioneer in performing Bruckner's original editions. He made his debut with the Munich Philharmonic in 1926 with Bruckner's Symphony No. 7, and from 1934 to 1949 he was music director of the Hamburg State Philharmonic and Opera, where he was also active in opera, especially Bruckner, for which he received high praise and was a guest conductor every season from 1932. He also conducted seven Bruckner symphonies with the Berlin Philharmonic, with the exception of the 2nd and 3rd symphonies. At the time, Bruckner's symphonies were generally performed in revised versions by Schalk and Leve, but Jochum took the initiative in performing the original versions, which had just been published.
After World War II, Jochum became the first principal conductor of the Bavarian Radio Symphony Orchestra, which was founded in 1949, and developed it into an orchestra comparable to the Berlin Philharmonic, while also increasing its reputation around the world with a major repertoire of German and Austrian works from Bach's religious music to 20th century Orff, He conducted the Amsterdam Concertgebouw Orchestra, of which he was principal conductor from 1961-64, until the end of his life, and also served as principal conductor and principal guest conductor of the Bamberg Symphony Orchestra, with which he had a close relationship since the 1960s, and the London Symphony Orchestra and the London Philharmonic Orchestra, and in 1977 was awarded the title of Conductor Laureate by the London Symphony. In 1977, he was named a laureate conductor by the London Symphony Orchestra.
Jochum made many recordings during his career, most notably of Bruckner's symphonies, which he recorded from the early days of LPs, and from 1958 to 1967, when the era of stereo recordings began, he completed the world's first complete symphony cycle (above, Gramophone) as mentioned above. In the 1970s, Jochum, who had reached the age of maturity, continued to record many masterpieces, and then began recording the complete Bruckner symphonies with the Staatskapelle in Dresden.
In his second Bruckner cycle, this recording of two Bruckner symphonies, No. 4 and No. 9, is a masterful performance in which Jochum's true essence of expressing the essence of the work is demonstrated at its highest level. The recording by Klaus Streuben, a master engineer who knows the rich sound of the Staatskapelle Dresden and the acoustics of the Luke Church, is also excellent, resulting in a hybrid disc that allows the listener to enjoy everything to the fullest.

Staatskapelle Dresden, the most venerable of the venerable
The Staatskapelle Dresden is by far the oldest of the old, having its origins in the court choir and court orchestra founded by the Elector of Saxony in 1548. It is no exaggeration to say that the history of the Staatskapelle Dresden is the history of German music itself. After a period of prosperity and prosperity, the Staatskapelle Dresden was destroyed during World War II in 1948. However, the East German government of the time started reconstruction efforts, and in the late 1960s, the theater was rebuilt in Dresden. The 1970s, when this recording was made, was the very midst of the Cold War, and the sound of the orchestra, which plays music with instruments of slightly inferior quality to match the abilities of its members, is not a gorgeous tone, but rather a deeply tasty, serene, and powerful one. The sound is not gorgeous, but rather serene, tranquil, and powerful, which matches the music that Jochum intended, and is one of the elements that enhances the appeal of the work. In addition, the acoustics of the Luke Church, an evangelical church in the southern suburbs of Dresden, Saxony, where the recording was made, also played a role in providing the best conditions for the unique sound of the orchestra.

The original masters from the heyday of LPs are recorded in their entirety....
This is the second time that the two recordings have been hybridized on Super Audio CD, following the 2017 box set of the complete works. As in the past, no compromises were made from the selection of the masters to the final DSD mastering process. In particular, we used Esoteric Mastering for DSD mastering. The Master Sound Discrete DAC and Master Sound Discrete Clock, ESOTERIC's top-of-the-line equipment, were carefully tuned. The generous use of MEXCEL cables enabled us to transfer the information from the original master to disc with a smooth sound.

The performance has a sense of musical warmth. The deep, austere sound of the Staatskapelle Dresden enriches this music even more.
This is a recording of Jochum at the peak of his maturity. The master's ability to depict the individuality of the work while respecting the orchestra and making the most of the appeal of its sound is unparalleled. The high quality of this recording is unparalleled, and it envelops the listener with great emotion without being overly self-assertive. The attention to detail is even more thorough than in the old complete works, and the accumulation of these elements forms a magnificent flow of music." ("Classical Immortal Masterpieces 1000," 2007, ONTOMOMOOK Ongaku no Tomo Sha)
The Staatskapelle's sound here is beautiful beyond description, and the famous conductor Jochum must have fallen in love with it. The Staatskapelle's sound is especially good for Bruckner. The charm of the mellow, smoked silver tone color reminds me of that soft early summer day in Dresden. ("Eternal Masterpieces 1000," 1984, Ongaku no Tomo Publishing Co.)
The second complete cycle of Bruckner's music is the fruit of his passion for Bruckner. The scale is larger than that of the first edition, and the performances are rich in romantic lyricism and religiosity. The Novak edition is used. (Classical Record Book by Performer Vol. 1: Conductor Edition, 1987, Ongaku no Tomo Sha)
The performance of Bruckner's No. 4 is a performance of musical warmth amidst Bruckner's enormous musical structure. The tempo changes are quite significant, and the passionate swell of the music makes us strongly aware of the fact that Bruckner was a Romantic composer. The deep and austere sound of the Dresden State Orchestra enriches the music, and Damm's horns are also very active here." ("Classical Masterpieces: Symphony Edition," 1998, ONTOMOMOOK Ongaku no Tomo Sha)
The Ninth is a willful Bruckner. The first movement, with its urgent speed of the scherzo and romantic tempo, is not without its doubts, but the conductor has captured the essence of Bruckner so well that the drama of the sound never detracts from the music. ("Record Geijutsu Hen Meikyoku Meiban 300" 1999, ONTOMOMOOK Ongaku no Tomo Sha)

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