Carpenter: Adventures in a Perambulator; Sessions: The Black Maskers; Ives: Symphony No. 3. Howard Hanson, Eastman-Rochester Orchestra. HDTT HDCD216.
You may recall that HDTT (High Definition Tape Transfers) is the company that transfers older stereo recordings from the Fifties and early Sixties, recordings in the public domain, to compact disc and digital download. They do this with meticulous care, offer their handiwork in a variety of formats to meet most budgets in a form that most often sounds better than their commercially available tape and LP counterparts.
You may also know, especially if you are of an audiophile bent, that Mercury made some of the finest classical recordings of all time during the Fifties and Sixties, using simple microphone techniques and three-track tape, releasing their LP's and tapes under the Mercury Living Presence label. Today, collectors much prize these products. In fact, the Mercury recordings were so good that during the Eighties and Nineties Philips Classics painstakingly transferred them to CD and SACD from the original master tapes, including separate discs of the Carpenter, Sessions, and Ives performances gathered together here by HDTT. Which brings up the question: If these performances are already available on CD in such good shape, what's the point of this HDTT remaster, unless the sound is even better than Mercury provides or unless a person is looking for this particular combination of music? The answer is a little of both.
HDTT culled the three selections on this disc from several Mercury albums, the first item being Adventures in a Perambulator, a delightful suite by American composer John Alden Carpenter (1876-1951). Carpenter wrote the work in 1914 for the Chicago Symphony, using his own child, Ginny, as the inspiration for a day in the life of a baby. It's divided into six movements depicting various encounters the baby has as her nursemaid pushes her perambulator (baby carriage) around the city. The music is highly descriptive, charming, fun, and accessible, especially the way noted teacher, composer, and conductor Howard Hanson plays it with his accomplished Eastman-Rochester Orchestra. The performance is filled with vivacity and humor, my own favorite, the child's meeting with the hurdy-gurdy man, wonderfully colorful.
American teacher, critic, and composer Roger Sessions (1896-1985) wrote The Black Maskers, a suite in four movements for large symphony orchestra, in 1923, revising it in 1928. Sessions based his little tone poems on a Russian play by symbolist Leonid Andreyev, a play about the human spirit under attack from sinister and mysterious forces. It's a dark, moody, sometimes eccentric piece of music with a ton of melodramatic flourishes, the complete opposite in tone from the lighthearted Carpenter work yet almost as entertaining in its way. Maybe that, too, is thanks to Hanson, who does his best persuading us to take it all seriously and keep a straight face in the process.
The final piece on the disc is the Third Symphony, "The Camp Meeting," of American composer Charles Ives (1874-1954). People largely ignored Ives during his lifetime but toward the end started paying attention. For instance, Ives never had his Third Symphony, which he wrote in 1904 and revised many times over, performed until 1946; yet it won the Pulitzer Prize for Music in 1947. Critics praised Ives late in his life for combining old and new musical elements in what appear sometimes arbitrary ways. The Third Symphony, one his more-conservative works, contains throwbacks to folk songs and church hymns--the music attempting to evoke the spirit of a revival meeting--as well as the dissonances for which he would become famous. Ives had fun playing with traditional melodic music and often bizarre juxtapositions of radically modern, discursive music, with Hanson again having a field day with the work's many contradictions. (At times, listening to Ives's crazy-quilt concoctions is like playing a game of "Name That Tune.")
HDTT used Mercury 2-track tapes for the Carpenter and Sessions transfers and a 4-track tape for the Ives. Recorded at the Eastman Theater in Rochester, New York, in 1956 and 1957, the sound on all three pieces is vivid and alive, with a very wide stereo spread, brilliant transients, and deep bass. However, the 2-track sources sound superior for their greater clarity, air, and dynamics; they can appear a trifle bright in spots, but they make up for it in the extreme clarity of their presentations.
There's an obvious similarity of sound in the three selections, given that Mercury recorded them in the same place with the same orchestra at around the same time, so any differences we hear we can probably attribute to the transfer sources. In comparison to Mercury's own remastered CD's, the HDTT disc is distinctly better in the Carpenter and Sessions material, not as obvious in the Ives. Still, in my own comparisons, the HDTT selections were better defined, more or less, in all three works, and with greater left/right stereo separation to boot.
Believe me, this is absolutely remarkable sound for recordings made over half a century ago, sound that surpasses almost anything recorded today.
For further information on the various formats, configurations, and prices of HDTT products, you can visit 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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