Trios Hob. XI: 35, 87, 97, 101, and 124. The Esterhazy Machine. Smithsonian FoM 36-811.
First things first: What is a baryton, and what the heck is an Esterhazy Machine?
A baryton, according to my Random House Dictionary, is "an 18th-century stringed instrument with six bowed strings and several additional strings that vibrate sympathetically." The disc booklet amplifies on that, saying that "Leopold Mozart, Wolfgang's father, described it as 'one of the most charming of instruments. Like the gamba, it has six or seven strings. It has, however, a very wide neck, the back of which is hollow and open and into which nine or ten brass and steel strings are inserted, which may be plucked by the thumb while the principal part is played with the bow on the gut strings.'"
The baryton was a favorite instrument of Hungarian Prince Nicolaus Esterhazy, a patron of composer Joseph Haydn (1732-1809), and, as a result, among Haydn's prodigious output of 104 symphonies, 68 string quartets, numerous oratorios, masses, sonatas, concertos, operas, and songs, we find some 170 works for the baryton, 123 of them trios for baryton, viola, and cello like the ones recorded here. (The fact that the Smithsonian folks mark this release as "Volume 1" may indicate they intend to record even more such collections. They certainly have enough material.)
As for the Esterhazy Machine, it's the group name for three players of international renown in their own right: Kenneth Slowik, artistic director of the Smithsonian Chamber Society, soloist, conductor, and recording artist, on baryton; Steven Dann, principal violist of Amsterdam's Royal Concertgebouw and other orchestras, soloist, and recording artist, on viola; and Myron Lutzke, principal cellist of the Orchestra of St. Luke's, prominent Baroque and classical soloist, and recording artist, on violoncello. The group's name derives from a remark by Dutch cellist Anner Bylsma, who referred to the baryton as "that Esterhazy machine."
The five trios for baryton presented on this disc range from brief (about nine minutes) to less brief (about twenty-two minutes), generally in traditional three-movement arrangements, with one of them, the Trio in D major, Hob. XI: 97, in seven movements (written longer in honor of Prince Esterhazy's birthday). In common they exhibit a pleasant, relaxed tone, much of it sweet, pastoral, witty, and serene. The trios are exceptionally tranquil and totally delightful.
The three players, using period instruments (or in the case of the baryton, a facsimile), provide comfortable, gracious, refined interpretations of the music. As each man is a well-established artist individually, the question I had going in was how well they would perform as a group. Obviously, the answer is sensationally well. The three instruments emerge as one, with rich, luxuriant textures provided by the baryton, and the accompanists blending in seamlessly and effortlessly. The ensemble play as one, as though born to the music, which they never rush and never make less than enjoyable.
Recorded at Dekelboum Concert Hall of the Clarice Smith Performing Arts Center, University of Maryland at College Park, in 2004, this 2010 Smithsonian FoM (Friends of Music) release sounds splendid. Like their other recordings, this Smithsonian issue provides enough hall resonance to give one the feeling of being in the room with the players, yet there is never so much reverberation that it obscures inner detail or transparency. These are immaculate aural presentations that never spread the ensemble out too widely but give them just enough distance left to right and front to back to produce an almost uncanny realism. The warm acoustic suits the mellow style of the music, the disc's audiophile quality a pleasure to the ears.
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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