by Karl Nehring
Ešenvalds: Mass of the Eternal Flame; Lux Æterna; Stars; The Heavens’ Flock; O Salutaris Hostia; Salutation; Who Can Sail Without the Wind; Laurin: Dedisti Domine, Op. 85; Diptych, Op. 107 – I. Bucolico II. Con fuoco. The Choir of Christ Church Cathedral, Houston (Robert Simpson, Canon for Music, conductor); The Treble Choir of Houston at Christ Church Cathedral (Marianna Parnas-Simpson, conductor); Thomas Marvil, organ; Daryl Robinson, organ; with Paragon Brass; Craig Hauschildt, percussion; Laura Smith, harp. Acis APL53868
The other works by Ešenvalds sustain the reverential atmosphere of the
Mass, the brief (2:59) Lux Æterna for choir only, then Stars featuring the other-wordly sound of The Treble Choir with their voices augmented by the ringing of water-tuned glasses – a celestial combination indeed! Following the gorgeous The Heavens’ Flock performed by the Cathedral Choir. The Treble Choir continues to weave its spell in O Salutaris Hostia, this time with solo voices added to the mix. The Cathedral Choir returns for the composer’s settings of a poem by the Bengali poet and musician Rabindranath Tagore, Salutation, which adopts a more subdued tone, an attitude of prayer and supplication. The final piece by Ešenvalds, Who Can Sail Without the Wind, finds the Treble Choir accompanied by a harp. As the title implies, it is a song of parting; actually, it is a Swedish folk song, so something of a departure from the more religious orientation of the previous compositions. However, it does not feel entirely out of place.
The program continues with a pair of compositions by the late Canadian composer and organist Rachel Laurin (1961-2023). Dedisti Domine is a motet that she composed for the 50th anniversary of her parish in Ottawa, Canada. It is one of the few choral pieces that she wrote, and features a Latin text sung here by the Cathedral Choir and accompanied by Thomas Mervil on organ. The piece takes the listener back to the more religious atmosphere of the Ešenvalds Mass, but with a somewhat different slant.
The CD closes with Laurin’s Diptych, a work for organ in two parts, both of which are played by organist Daryl Robinson. The first, designated Bucolico, comprises five minutes of relatively calm, contemplative music, similar to what one might hear played in church. The second section, Con fuoco, gets more energetic, more virtuosic – out of church, into the recital hall, bringing the program to a rousing if somewhat disconnected finish. To be honest, however, I’m a bit puzzled as to why an organ piece was added to the program of choral music; it just doesn’t quite fit in. Unfortunately, in this context it just seems – and sounds – tacked on. It is enjoyable music in itself, but perhaps the producers would have been better advised to leave it off the program
and leave us with an all-choral release.
Still, this is an album well worth recommending for the sheer excellence of the works it contains by Ēriks Ešenvalds (and the Laurin choral work), which are outstanding.
by Karl Nehring
Also: “Freue Dich! (Rejoice!) Sonata for Violin and Cello. Baiba Skride, violin; Harriet Krijgh, cello; Elsbeth Moser, bayan; NDR Radiophilharmonie; Andrew Manze, conductor. ORFEO C230121
(By the way, when I went to look for the album on Amazon, I found the composer listed not as Gubaidulina, but rather as – are you ready for this? – Mozart. Huh? The best I can figure is that the AI “brain” or whatever they now use to put their site together somehow confused “Moser” and “Mozart,” had some sort of foggy mountain breakdown, and forgot all about poor Sofia. Sigh…)
The liner notes are informative, the engineering is of a high standard, and the music – the concerto especially – is certainly interesting. Although I find the two compositions on this CD mismatched in terms of style and sonority, your taste may surely vary – and the concerto is well worth an audition by anyone with an ear inclined toward contemporary music. It would certainly be be nice for a number of you to step up an prove me wrong, for this release is a fine one.
by Karl Nehring
Please allow me to close with a suggestion. The next time you plan to listen to some music, type “Abeshouse” into the Classical Candor search box to the left of this post and scroll through the many recordings that pop up. Find one that suits your mood, then give it a listen in honor of our fellow human being who was taken from us far too early.
John J. Puccio, Founder and Contributor
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl Nehring, Editor and Contributor
For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technologies that enable us to enjoy it in so many wonderful ways.
William (Bill) Heck, Webmaster and Contributor
Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.
The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.
Ryan Ross, Contributor
I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.
I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
Mission Statement
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
Contact Information
Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.
