Semiramide, La gazza ladra, William Tell, La Cenerentola. HDTT HQCD168.
Back in the early Seventies when I first started reviewing music for various print publications, I recall recommending several collections of Rossini overtures on LP, most of which I would still recommend today: Fritz Reiner and the Chicago Symphony on RCA, Piero Gamba and the London Symphony on London-Decca, Peter Maag and the Paris Conservatory Orchestra on London-Decca, and the then-newly recorded set with Neville Marriner and the Academy of St. Martin-in-the-Fields on Philips. Since that time, we have had newer albums that are quite fetching from the Orpheus Chamber Orchestra on DG, from Chailly and the National Philharmonic on Decca, and from Roger Norrington and his period-instruments group, the London Classical Players, on EMI, among others.
I mention this at the outset because these recordings are not only still with us but one can find several of them in audiophile editions. The Gamba disc, for example, is now available from JVC on an XRCD remastering, and the Marriner is available not only in a complete three-disc set from Philips but in a single-disc compilation from PentaTone Classics remastered on SACD. But until the current appearance of the Maag recording from HDTT (High Definition Tape Transfers), I do not believe it ever appeared on CD. If it did, it escaped me, to be sure.
Nevertheless, absence, they say, makes the heart grow fonder. And when this 1958 Maag recording finally arrived on disc in such good shape as we find it here, one can feel not just fondness but outright joy.
The contents of the original LP were always rather meager: a scant four overtures, about forty-two minutes total. But it was never the quantity that counted but the quality, and these interpretations were, and still are, among the best you will find. Things begin with Semiramide (1823), followed by Guillaume Tell (William Tell, 1829), La gazza ladra (The Thieving Magpie, 1817), and La Cenerentola (Cinderella, 1817). Now, you'd think Maag and his Paris Orchestra would approach the scores the way most conductors do: gung-ho and hell bent for leather. He doesn't. In fact, Maag displays a good deal of reserve, calculating his interpretations for the biggest payoff. For instance, in William Tell he keeps the opening sections in check, and then he builds the final segment into a most-exciting whirlwind, the conclusion carrying you away. Or in La Cenerentola after a few minutes of careful introduction, he takes you off to the races, almost leaving you breathless. And so it goes.
But let's talk about the sound. HDTT, as you may recall, is a small audiophile company specializing in transferring older recordings on commercially obtainable reel-to-reel tapes to high-quality CD-R's (and downloads). Their focus is to bring back forgotten classical titles in audiophile sound and to issue titles that no one has released in a long time. In the case of the Maag Rossini overture recording, they have a monopoly on the situation because you won't find Maag's overtures anywhere else. Nor would you want to, they are so good here.
This is the thing: When I first bought the Maag recording on LP, it was in the late Sixties, and Decca had already by then reissued it on their budget label, an American London Stereo Treasury as I remember. No matter, it sounded fine, with a big, pounding bass that would shake the rafters. Then I ordered the Decca LP from England and the difference in sound quality amazed me. Gone was the big bass, replaced by a cleaner midrange. All I could figure at the time was that apparently Decca had fiddled with the frequency response for the American market, upping the bass and softening the high end. However, while I greatly appreciated the Decca sound, frankly, I rather missed the bass. In any case, I sold both vinyl discs many years ago in anticipation of the recording finding its way to CD, which, of course, never happened. Until now. So when HDTT sent me their remastering of the overtures, I had not heard the performances in well over twenty years. Was I disappointed? Not on your life.
HDTT was kind enough to send me the recording in two formats to review: one burned to a gold disc, the other to an HQ disc. In both instances (from a London-Decca 4-track tape), the sound is very dynamic, with a huge range and enormous impact; it has a solid, but not overly prominent deep bass; and it has a clear midrange response and an extended treble. If one listens at abnormally loud levels, one may notice a slight tape hiss in the background, a condition inherent to almost all tapes of fifty-plus years ago. At normal listening levels, though, even in the quietest passages, the tape hiss is practically inaudible. To the most sensitive ears, one might also detect a wisp of high-end distortion or a smidgeon of pre-echo, also inherent, no doubt, to the original tape and almost undetectable. In any case, the HQCD sounded best to me: smoother, firmer, and more stable than the sound on gold. The differences are not huge, but they are enough for the audiophile to probably opt for the HQ audio.
What we get is some of the purest sound around, demonstration material if there ever was any. You want to show off your audio equipment? These Rossini overtures (take your pick, but I'd start with La gazza ladra) will knock your listener's socks off (if that's their idea of a good time). Wonderful music; wonderful renditions of the music; wonderful sound.
As usual with HDTT, the company makes the music available in a variety of formats for a variety of pocketbooks, from no-frills downloads to gold CD's to HQCD's. For details, visit http://www.highdeftapetransfers.com/storefront.php.
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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