Schumann & Grieg: Piano Concertos (XRCD review)

Radu Lupu, piano; Andre Previn, London Symphony Orchestra.  LIM XR24 012.

Robert Schumann's and Edvard Grieg's Piano Concertos in A minor form a part of that rarified group of Romantic piano compositions inhabited by the likes of Beethoven, Liszt, Tchaikovsky, and Rachmaninov.  As a kid, I always got these works mixed up, each of them splendidly grandiloquent as they are.

"Big," I think, is the operative word in describing them, and that is exactly the kind of performance we get in each work from pianist Radu Lupu, with Andre Previn and the London Symphony Orchestra in support.  Yet these are not blustery, bombastic interpretations.  They are full of life and vitality and incisive freshness, too.  Lupu is not afraid of attacking the big crescendos with vigor, while applying the most gentle and sensitive touches to the poetic middle sections.

If both the Grieg and the Schumann tend to wind down a bit after their memorable opening movements or lack something in strong orchestral writing, you can't blame that on Lupu, Previn, the LSO, or the LIM/Decca recording.  It's the way they were written, not quite holding together to the very end the way Beethoven's "Emperor" does.  But the Lupu team give it their best shot and produce felicitous results (although not, I don't think, quite as fetching overall as Stephen Kovacevich, with Colin Davis and the BBC Symphony Orchestra on Philips, who tends to be a bit more lyrical and refined while sounding just as big and dramatic).

Anyway, to match the "bigness" of the music and the resplendent reading of Lupu and company, in 1973 Decca gave them a big recording, very wide and very dynamic, with the piano front and center.  It's been a showpiece ever since, and now the folks at LIM (Lasting Impression Music, a part of Winston Ma's First Impression Music, FIM, group) have remastered it in the demanding XRCD/24 process that comes about as close as one can get to replicating the master tape.  True to form, the sound is now bigger than ever, slightly fuller, and even more dynamic.

Oddly, though, I didn't find the orchestral parts in either the original Decca recording or LIM's remastering quite as clear or transparent as the very best releases from these companies, especially LIM remasterings like the Albeniz Suite Espanola, Herold-Lanchbery La Fille Mal Gardee, or Mozart Divertimenti, which are pretty much state-of-the-art.  And there are several brief instances on the Schumann/Grieg disc of low-end rumble, traceable, no doubt, to the master tape.  No, what the Grieg and Schumann pieces do provide the listener, and why LIM chose to remaster them, I'm sure, is the kind of brawn that makes showing off one's stereo system so much fun.

Again, however, don't expect night-and-day differences between this LIM remastering and Decca's own CD.  For XRCD/24 masterings you pay a premium price for subtle distinctions, the kind that may not even show up on mid-fi audio setups.  These are recordings for connoisseurs, and certainly for fans of the material.


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

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 John 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 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 W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical 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 I 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 an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker 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 technology that enables us to enjoy it in so many wonderful ways.
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

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa