Antal Dorati, New Philharmonia Orchestra. HDTT HDCD114.
When I first started collecting classical music seriously in the mid Sixties, I had two favorite LP's of Anton Dvorak's Symphony No. 9 in E minor, From the New World: one with Istvan Kertesz and the London Symphony and another with Antal Dorati and the New Philharmonia, both on London (Decca) Records. The performances and the recordings couldn't have been more different, Kertesz smooth, mature, and polished, Dorati more robust and volatile, with sound qualities to match each interpretation.
Anyway, when the CD era arrived in the early Eighties, London-Decca started issuing the Kertesz recording again and again, but the Dorati recording seemed to disappear. Or, if London-Decca did issue it on CD, it escaped me at the time (although I believe they finally did release it on CD in the mid Nineties, and it may still be available, at least used). So it was with great pleasure that I welcomed the release of Dorati's NPO recording of the New World Symphony from HDTT, the company that transfers older classical performances from commercially available tapes to compact disc.
Antonin Dvorak (1841-1904) wrote his Symphony From the New World in 1893, a short while after the Czech composer and his family arrived in New York for a visit of several years. When he premiered the work, American audiences praised it for incorporating elements of African American and Native American cultures, characteristics making it to them purely "American" in nature. As it turns out, however, Dvorak said he tried mainly to write music of the "common man" and used primarily Slavic folk tunes vaguely familiar to his homeland. No matter, people will forever think of it as his "American" piece.
In Dorati's performance of the New World Symphony, he is not afraid of wearing his heart on his sleeve. In the first movement, he plays up the contrasts as much as anyone between the serene introduction and the wild bursts of enthusiasm that follow. Dorati seems intent on letting us know that Dvorak favored African American spirituals (a part of the Allegro section reminds some listeners of "Swing Low, Sweet Chariot"), whether the composer meant to or not. Dorati keeps the beautiful Largo, with its famous English horn theme, moving forward in a fluid motion, like a gently flowing stream. (Dvorak later said he intended the melody to suggest the awakening of animals on the prairie.) The Scherzo, with its sprightly dance-like beats, scoots along in appropriately zippy fashion, with some wonderfully infectious Bohemian accents, again with Dorati emphasizing the tempo contrasts above all. Still, I think it's the finale that comes off best under the conductor's direction. It has tremendous presence and carries out Dvorak's aim to be impassioned to the letter without ever getting carried away in bombast, ending in an outburst of exultation.
Now, about HDTT (High Definition Tape Transfers): You'll perhaps remember they are the folks who provide CD and download copies of older classical recordings. How can they do this, legally? Here is the way they explain it at their Web site: "All of the recordings we use for our transfers are in the public domain, which means that the public is free by law to openly use and distribute them, and have all been thoroughly researched by Government Liaison Services, Inc. (http://www.trademarkinfo.com/ ). There are two criteria that these recordings must meet in order for us to offer them as HDTT releases: (1) the compositions must have been published before 1924 (this is why most of our transfers are from the classical genre), and (2) the recordings must have been made prior to 1972. Before 1972 the original masters were eligible for protection, but the commercial releases were not. In addition, many copyrighted works published between 1923 and 1964 would have had to have their copyrights renewed at the end of their normal 28-year terms; however, if the copyright owners failed to renew these copyrights, the works by law automatically revert to the public domain. By some estimates, as many as 95% of all copyright owners for works during this period did not renew their copyrights for one reason or another, and so these recordings are now also in the public domain."
In the case of the New World Symphony, HDTT transferred the sound from a London Phase Four 4-track tape, recorded in 1966. Due to the nature of the Phase Four process, the sonics appear fairly compartmentalized, yet they are wonderfully open, moderately close, and well detailed. The dynamic range is wide and the overall response quite smooth. The higher registers can be a tad aggressive at times, but it is never harsh, and one may notice some slight background noise during quieter passages, a normal circumstance of older recordings. Also, because of the multi-miking used, there is more information to the left and right than in the center; still, it never creates a hole-in-the-middle effect.
Would this newly reissued Dorati recording now displace my favored Kertesz? No, even though Dorati's reading, in its greater abandon, does remind me of Kertesz's own, earlier recording of the Ninth with the Vienna Philharmonic. Nevertheless, while the sound of this remastered Dorati disc is not quite as transparent as some other HDTT transfers I've heard, it is remarkably good and easily competes with any new recording on the market. In fact, this Dorati recording makes both Kertesz recordings (VPO and LSO) sound a trifle muffled by comparison. More important, it's a delight to have this Dorati performance available again in so fine a form.
For further information on HDTT products, you can check out their Web site at 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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