AKA, Music for a Royal Wedding. Ensemble 1700 Lund. CPO 777 589-2.
What is this music? According to the booklet note, "During former times a long ceremony of festive character in joyful anticipation of the imminent consummation of the marriage was held at royal weddings prior to the retirement of the royal bride and groom to the intimacy of their bedchambers. Such ceremonies called for a musical frame to go along with them." The Drottningholm Music (or Music for a Royal Wedding) by Swedish Baroque composer Johan Helmich Roman (1694-1758) fulfilled this calling, his writing the piece for the wedding of Princess Lovisa Ulrika and Duke Adolf Fredrik at Drottningholm Palace in 1744.
The music itself divides into twenty-five brief sections, generally alternating fast and slow movements: dances, minuets, marches, processionals, and the like, lasting in total a little over an hour. Although some of it seems quite solemn for so festive an occasion as a wedding, maybe even a little sad, most of it is joyous and happy enough. There are even a few movements that remind one of Roman's contemporary, George Frideric Handel, especially the series of Allegros starting at track twenty that predate Handel's Music for the Royal Fireworks by several years yet sound remarkably like it.
Is Roman's Music for a Royal Wedding a great musical composition? I doubt it, and after the first fifteen or twenty minutes, it does all tend to sound alike. Perhaps that's not a fair assessment, however, as the eighteenth-century listener would probably not have heard the music in a single, continuous performance but in different phases for various parts of the wedding ceremony. Perhaps that is how one might best listen to the music today, in fact. I am no purist, so I would not have a problem choosing seven or eight favorite selections from among the twenty-five and programming my CD player to create a personal suite from the album.
Now, who are the Ensemble 1700? They are a period-instruments orchestra, about twenty players strong, formed in 2005 by oboists Per Bengtsson and Lars Henriksson, lead by harpsichordist Goran Karlsson, and based in Lund, Sweden. They are a stylish group who play with a good deal of devotion to the music. If they don't always seem as flamboyant or outgoing as some other period-instruments bands, they more than make up for it with their ensemble precision and individual virtuosity. By the time they have finished, you will have to admit they've made a grand and eloquent noise.
As most of us have heard so often from the CPO label, the sonics are warm and resonant without being in the least bit soft or fuzzy, and they come through sounding detailed and clean without being hard or edgy. There is also a fine stereo spread involved and reasonably good midrange transparency, as we might expect from a small ensemble. There is not, however, a lot of air around separate instruments nor much sparkle at the high end. In addition, I would have appreciated hearing a greater dynamic range from the group. Nevertheless, these are minor quibbles in sound that is otherwise smooth and agreeable to the ear, despite the period instruments on display.
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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