Seiji Ozawa, San Francisco Symphony Orchestra. PentaTone PTC 5186 168.
As you know, PentaTone is the company that is still issuing multichannel SACD's when most of the music industry has given up the idea. PentaTone either records things new or goes back to the old Quadraphonic format of the Seventies and revives recordings originally done in four channels but often never released that way. Such is the case with this Quad recording of Dvorak's Symphony No. 9 from maestro Seiji Ozawa and the San Francisco Symphony, now on multichannel SACD.
Czech composer Antonin Dvorak (1841-1904) penned his New World Symphony in 1893, shortly after he and his family came to New York for a visit of several years. When American critics first heard the work, they praised it for its elements of African American and Native American cultures, to them things that made the music "American" in nature. As it turns out, though, Dvorak said he wrote mainly music of the "common man" and used primarily Slavic folk tunes vaguely familiar to his homeland. No matter, people will forever think of the Ninth as Dvorak's "American" piece.
I was never a big fan of Ozawa during his tenure (1970-77) with the San Francisco Symphony, and this recording of the Dvorak Ninth tends to confirm my opinion. He seemed to do much better when he moved along to the Boston Symphony. In any event, the opening movement, while full of energy, appears lacking in fundamental joy. It's also oddly static, never moving much beyond the same routine cadences. Ozawa never develops any rhythmic pulse, so this section comes off mostly loud and noisy rather than jubilant or exhilarating.
The conductor puts a little more feeling into the Largo, with its lovely cor anglais part. However, it still doesn't convey quite the haunting, melancholy longing heard in other interpretations. The orchestra appears at their best here, though, supplying plenty of warmhearted, sympathetic support.
Ozawa doesn't do a lot to put much sparkle into the Scherzo, either, which also comes off in rather humdrum, run-of-the-mill fashion. Nevertheless, he manages the finale better, starting off strong, with real emphasis. Maybe he was saving all his best shots for this last big moment. Anyway, while the finale still isn't all that inspiring, failing to catch the spirit that Kertesz, Dorati, Reiner, Macal, Kubelik, Pesek, and others do, at least it doesn't lull one to sleep.
The album closes with Dvorak's Carnival Overture. The composer meant the title to suggest "youth, lust and exuberant life," and Ozawa does come close to portraying those qualities.
The recording, which Decca made at Cupertino Hall in 1975, is miked closer than Decca, Philips, or RCA ever miked the San Francisco orchestra, offering a good deal of detail but at the expense of losing some depth, air, and ambience. Be that as it may, the stereo layer that I listened to is quite dynamic and well defined, with the sound opening up quite effectively. If you have multichannel SACD capabilities with your audio system, I would imagine the surround sound should be impressive.
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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