Also, In Memorium; Festal Dance. Adrian Leaper, RTE National Symphony Orchestra. Naxos 8.572020.
British composer Havergal Brian (1876-1972) was something of a throwback. While he wrote most of his music during the twentieth century, he could just as easily have lived most of his life in the nineteenth. If you haven't heard any of his prodigious output, including thirty-two symphonies, it's probably because the twentieth century pretty much ignored him. Nonetheless, he persisted, writing his last eight or so symphonies when he was in his nineties. Over the past twenty-odd years, the Marco Polo and Naxos labels have tried to provide the listening public with as much of his work as possible, so today you'll actually find a good deal of it in the catalogue. Still, you'll have to look for it.
The present album begins with two early tone poems, the first called In Memorium (1910), subtitled "Vigueur dessus" (possibly meaning "utmost strength") and written in three movements. However, the composer left no clues as to what it was about, what the subtitle actually meant, or who the music might have been memorializing. It sounds like a funeral dirge, arranged as a kind of solemn march, but, then, much of Brian's music sounds solemn, so it's hard to tell. The second tone poem, composed two years earlier, is Festal Dance (1908). Its tone is the opposite of In Memorium, with a sort of Richard Strauss satiric appeal to it. It's more fun than the first number, both of them showing an admirable economy of style yet providing a good deal of ornate flourish, too, with Festal Dance perhaps beginning life as part of an unfinished symphony. Be that as it may, it's enough to give any orchestra and any stereo system a workout.
After these tone pictures we get two of Brian's later works, the Symphonies Nos. 17 and 32. They are very short, and Brian wrote them when he was in his late eighties and early nineties respectively. Symphony No. 17 (1960-61) is in a single, three-part movement lasting about thirteen minutes. It varies from huge orchestral crescendos to soft, light, reflective moods, with some of the same slow march rhythms heard in his music of fifty years before.
Symphony No. 32 (1968) was the last composition of any kind Brain wrote, so we can see where he ended up. Like most of his work, it's dark and edgy, more than a little noisy, eventually high spirited and jubilant, and maybe a tad introspective. Who knows what goes on in a person's mind.
Adrian Leaper and the RTE National Symphony Orchestra, Ireland's Public Service orchestra and one of its most-popular ensembles, play the music as though it were Bruckner or Brahms, music with which Brian shares some superficial resemblance. They place great emphasis on the more lyrical aspects of the works, where they can find it, as well as the purely bombastic, which is easier to come by. Brian was, after all, an unusual fellow, composing a ton of music over an enormously long lifetime, while hardly causing a ripple in the world's musical stream.
Originally recorded in 1992 and previously released on the Marco Polo label, the sound is fairly big, as expected, yet reasonably clean and dynamic. The midrange shows good depth and moderate transparency despite being a trifle thick and displaying a degree of reverberation. The latter provides a realistic concert-hall ambiance, though, so it's hard to complain.
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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