[SACD-R][OF] Leonard Bernstein, New York Philharmonic - Peter Ilyich Tchaikovsky: Symphony No. 4, Nutcracker Suite - 2003 (Classical)

Leonard Bernstein conducts the New York Philharmonic in Tchaikovsky’s 4th Symphony and the suite from the ballet The Nutcracker. This recording is in both stereo and MCH, with the MCH sourced from the original 3-track master (so front, center, and right are from discrete sources, and rears are synthetic ambience) or quadraphonic master.

Review from Classical CD Review
Tchaikovsky’s Symphony No. 4 is a natural for Bernstein and this performance, recorded in Manhattan Center April 28, 1975, is far superior to his 1989 DGG recording with the same orchestra, which takes almost five minutes longer. The Nutcracker excerpts were recorded much earlier—May 2, 1960, but both sound pretty much alike. Sony states both of these are from original multichannel tapes, but what we hear from the back is primarily ambient hall sound. Surprisingly, Nutcracker is a touch better than the symphony, but there is no question both recordings benefit greatly from the improved sonic capability of SACD with its wider dynamic range and broader frequency response.
Review from Classics Today (9/9)
This beautifully remastered multichannel issue of Leonard Bernstein’s second recording of Tchaikovsky’s Fourth leaps from the speakers in a manner almost unrecognizable from its previous incarnation. Gone are the shallow, shrill, constricted sonics that made the Royal Edition stereo issue sound like the performance was recorded off of a transistor radio. Now, big, rich, boldly colorful engineering does justice to this fine performance, with its impulsive opening movement, dazzling scherzo, and ebullient finale (complete with extra cymbal crashes in the principal theme’s second phrase). Yes, there may be a bit too much coming from the rear channels from time to time, but this is a small price to pay for the quantum leap in warmth, clarity, and impact.
It may be surprising hearing Bernstein’s energetic Nutcracker Suite, recorded around 1960, appearing in surround sound, whereas the Tchaikovsky exists in quad. However, a timely inquiry of Sony reveals that both performances have been remastered from original multichannel session tapes. I don’t know how they did it and I really don’t care. The proof is in the result, and here at least the results speak (or sound) for themselves more eloquently than I ever could detail in words. Could it be that surround sound will be more useful to collectors as a reissue medium than as a source of new productions? Interesting thought.