Also, A Somerset Rhapsody; The Perfect Fool; Suite No. 2 for Military Band; St. Paul's Suite; Egdon Heath; Hymns from the Rig Veda; A Choral Fantasia. Sir Adrian Boult, London Philharmonic Orchestra; Norman Del Mar, Bournemouth Sinfonietta; Andre Previn, London Symphony Orchestra; Eric Banks, Central Band of the Royal Air Force; Sir Malcolm Sargent, Royal Philharmonic Orchestra; Sir Charles Groves, London Philharmonic Orchestra; Janet Baker, Ian Partridge, Imogen Holst, English Chamber Orchestra. EMI 50999 6 27898 2 (2-disc set).
For a lot of us, British composer Gustav Holst (1874-1934) may seem like a one-shot wonder. Beyond his orchestral suite The Planets (1914-16), our remembrance of his works may get a little fuzzy. The fact is, the man composed over 200 pieces of music. This current two-disc collection from EMI gives us a representative sample of the man's output, with, of course The Planets as the centerpiece.
Let's start with The Planets, done up in fine style by the man who premiered it so many years before, Sir Adrian Boult. Sir Adrian recorded the work a number of times, the one we get here being his final word on the subject, coming around his ninetieth year. Needless to say, he brings to the subject a lifetime of experience, and it shows in a relaxed, unhurried, yet thoroughly authoritative performance.
Holst's idea in The Planets was to characterize each of seven movements in the suite after planetary signs of the zodiac. I think people like program music because the tunes allow their imagination to soar, and The Planets does just that. Under Sir Adrian, "Mars, the Bringer of War" is urgent, a little menacing, and certainly energetic. "Venus, the Bringer of Peace" is, indeed, serene and lyrical. "Mercury, the Winged Messenger" is properly jaunty and playful, a perfect lead-in to "Jupiter, Bringer of Jollity," which Sir Adrian never rushes but treats like a big, burly, loving uncle. Think of Dickens's Ghost of Christmas Present here. Then comes the otherworldly "Saturn, Bringer of Old Age," always Holst's favorite part of the suite; followed by "Uranus, the Magician," my own favorite part and well characterized by the conductor; concluding with "Neptune, the Mystic" and its wordless chorus slowly fading away uniquely into silence.
The accompanying works largely demonstrate Holst's facility using English folk music in his works, starting with A Somerset Rhapsody and the Brook Green Suite, pieces based almost entirely on folk tunes and beautifully realized by maestro Norman Del Mar and the Bournemouth Sinfonietta. Next are The Perfect Fool, music from Holst's opera arranged into a suite, and Egdon Heath, a tribute to the darkly austere moods of Thomas Hardy, both done by Andre Previn and the London Symphony. Then there are the changes of pace: the Suite No. 2, again folk songs but done up for military band and realized here by Wing Commander Eric Banks and the Central Band of the Royal Air Force; followed by the St. Paul's Suite, which Holst wrote for the orchestra of the school where he was Director of Music, played by Sir Malcolm Sargent and the Royal Philharmonic. The program ends with two choral pieces: hymns from the Rig Veda (Group 2), performed by Sir Charles Groves, the London Symphony Chorus, and the London Philharmonic Orchestra; and A Choral Fantasia, performed by Janet Baker, Ian Partridge, the Purcell Singers, and the English Chamber Orchestra lead by the composer's daughter, composer and conductor Imogen Holst.
EMI recorded the main item, The Planets, with the London Philharmonic in 1978, not long after Sir Adrian's previous stereo recording of it with the New Philharmonia, also for EMI. The sound is typical of what we came to know from Boult's LPO recordings: It's warm, a little soft most of the time, slightly harsh in the loudest passages, with a modest degree of low-end overhang veiling the midrange. Deepest bass is fine and dynamics are wide, but the recording as a whole is not quite in the demonstration class, the overall effect one seemingly designed for pleasant, easy listening rather than anything truly exceptional. The other items, which range in recording dates from 1964 to 1984, vary somewhat in sonic quality but mostly sound good, with the Previn/LSO recordings standing out for their clarity and impact.
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.
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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