The Balkan Project (CD review)

Cavatina Duo: Eugenia Moliner, flute; Denis Azabagic, guitar. Cedille CDR 90000 117.

The Balkan Project celebrates the varied music of the Balkans: Greece, Macedonia, Albania, Bulgaria, Serbia, Montenegro, Bosnia, Herzegovina, Croatia, and parts of Turkey and Romania. There's a little here of the folk music of all these countries, done up in modern arrangements for guitar and flute. And varied the music surely is, given that the area has seen the influences of numerous other peoples for about as long as history has recorded such things.

The Cavatina Duo (flutist Eugenia Moliner and guitarist Denis Azabagic) are wonderfully expressive in the music, creating little mood pieces in each of the short works on the program. The pair are flawless virtuosos, fully in command of the music and able to communicate it as fluidly, I would imagine, as any other performers could do for any possible audience. If the duo sound possibly more suave, more polished, more sophisticated than the traditional or folk or gypsy music suggests, you can't blame the performers for simply being so good.

Among the sixteen works on the album, things begin with "Raven Dance" from Serbia, a party or wedding dance with a zesty appeal. After that tangy opening number, we get "Kad ja podjoh na Bembasu," an old Bosnian song of longing and passion. Then, there's "Eleno, Kerko Eleno," a Macedonian love song, followed by "Kalajdzisko Oro," or "The Tin Smith's Dance," with its splendid interplay of harmonies skipping on a breeze.

"Psevdah No 2" was inspired by a Bosnian song called "Clear Water." Evoking more of a clear sadness, it is one of the highlights of the disc, if a little gloomy. I think you're getting the idea. All of the music seems calculated to elicit some melancholic spirit, perhaps a reflection of the turbulence in the Balkan area over the years.

A few other pieces I enjoyed: "Sivi grivi," a Bulgarian dance with exotic-sounding rhythms; "Kopanitsa da Kalantchatska," also from Bulgaria and also providing swirling dance rhythms; and "The Shepherd's Dream" from Croatia, probably the most markedly beautiful tune in the collection.

As for Cedille's sound, it goes without saying that this small company continues to provide fine sonics. This time, engineer Bill Maylone mikes the two performers either very closely together, producing almost a monaural effect, with the stereo from the two channels creating a sweet ambient bloom around the instruments; or a little farther apart, widening the stereo field. In any case, the overall acoustic is soft, warm, and ultrasmooth, quite pleasant, actually, for easy listening, although somewhat devoid of sparkle. Occasionally, the recording shows off with a strong transient impact or a wide dynamic response, but mostly it is content to reflect a natural, realistic aural image.

One final note: The folks at Cedille are not big on self-promotion. There is practically nothing in the disc's artwork, front or back cover, to indicate to a potential buyer just what the album is all about. The Balkan Project could just as well be the name of a punk-rock band for all I would have known. I only mention this because it's the kind of album people might easily pass over if they didn't know exactly what they were looking for.

JJP

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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