Also, Divertimento in D; others. Anton Steck, Concerto Koln. Archiv 00289 477 5800.
Over the past quarter century or more, I have come to respect and in some cases love the performances of period-instruments bands. But it does seem to me that they can sometimes put such a stress on what they consider authenticity, they lose sight of the fundamental warmth of a piece. Thus it is with some of the work I've heard from Concerto Koln.
The members of the ensemble play with vigor and enthusiasm, and they appear to play flawlessly. Yet too often on this album of short, diverse Mozart works, they seem to be racing Europa Galante to the finish line. The playing is stimulating, sometimes heart pounding with excitement, while at the same time draining the music of much of its charm. OK, perhaps one has to give up sometime to gain something else, and certainly at the pace Concerto Koln perform these works they set themselves apart from most others. But it doesn't mean everyone has to like it.
Things begin with the overture to Mozart's opera Die Zauberflote, and it's here, right at the start, that we notice the direction the musicians are taking. They are clearly going for an adrenaline rush and, I believe, they are missing Mozart's innate charisma. For instance, The Magic Flute is just that, a magical journey filled with an assortment of fascinating enchantments, yet Concerto Koln play it at something more like a concerto rock: Big, long pauses, enormous dynamic contrasts, and breathtaking tempos. The proceedings slow down a bit with excerpts from Le Petits Riens and the Adagio from the Serenade in B flat major, but then it's off to the races again in the Divertimento in D major. The overture to Der Schauspieldirektor has the effect of a blockbuster, and Eine kleine Nachtmusik seems purposely aimed at being anything but than traditional.
I suppose one can say these performances make people listen to the music with new ears (note the album cover), but, then, that isn't always what people want in their Mozart.
While it is easy for me to nitpick the interpretations, I can hardly fault the sound. It is natural, well balanced, and generally clean and clear, with a nice sense of breadth and depth for a group of musicians less than twenty strong. It is only when comparing the Divertimento in D to Marriner's old account remastered on an FIM XRCD that one notices that maybe the new digital recording could be a tad more open and transparent. The FIM will knock you over, and Marriner's reading is every bit as spirited and lively as Concerto Koln's, yet at the same time it is elegant and refined. So, yes, other folks have shown they can do it.
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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