Henri Ledroit, Anne Azema, Ellen Hargis, Richard Morrison, William Hite, and Andrea von Ramm; Joel Cohen, The Boston Camerata. Warner Classics Erato 2564 69634-0.
Tales of the brave Cornish knight Tristan (alternatively, Drystan, Tristrem, Tristram, depending on the country of origin and/or the translation) and his ill-fated love for the Irish princess Iseult (Isolde, Yseult, Isode, Isoude, Esylit, or Isotta) have been around at least as long as the Arthurian legends, maybe before them, meaning that bards, prose writers, poets, and singers have told and retold the legends many times over for the past 1500 years or quite possibly longer. Although the original storytellers set their accounts in Cornwall, probably nobody wrote them down (nobody we know of) until hundreds of years later, mainly French and German writers before the English took them up again.
What we have under review here is a recent Warner Classics reissue of the award-winning 1987 Erato recording (it won the Grand Prix du Disque in 1989) of medieval poems, songs, and music associated with the Tristan and Iseult legends, compiled by Joel Cohen and played by The Boston Camerata. It certainly makes for different and fascinating listening.
According to Maestro Cohen in a booklet note, "The Camerata has chosen to return to the oldest surviving sources for this program. You will hear some central elements of the story almost exactly as they were narrated in the Middle Ages in Germany and France. In our presentation, certain passages of the narration are spoken; others are sung to melodies of the same period, as was often the case with narrative poetry during the Middle Ages. All the music is drawn from manuscript sources of the early and later medieval period; about half of these songs were already associated with the 'Tristan' legend at the time, and the others are closely related in mood and content."
The music begins with an anonymous prologue, partly instrumental, partly recited, which sets the temper of the tragic romance in a lyrically atmospheric manner. From there we get an eclectic assortment of instrumental, ensemble, and solo pieces, mostly plaintive, melancholy, some bright and sprightly, each connected by narration, twenty-four selections in all, ranging from under a minute to over six minutes apiece.
The overall tone of the music, not surprisingly, sounds Celtic and most of the narration Germanic, French, and Old English. Countertenor Henri Ledroit is a particularly becoming Tristan, Anne Azema a tender Iseult, Richard Morrison a convincingly lusty King Mark, and Andrea von Ramm a sensitive narrator.
While I don't think anyone would mistake this collection of medieval music for Richard Wagner's celebrated opera, it does have the merit of at least some degree of authenticity. And you can hardly beat those ancient settings of the texts. It's fun in a fresh and pleasant way.
Erato recorded the program in September of 1987 at the Church of the Covenant, Boston, Massachusetts. Even though the sound is fairly close up and somewhat one-dimensional, it has the advantage of exceptional naturalness and clarity. Voices, which on many recordings can appear bright and forward, here seem just right--smooth yet vivid, with ensemble vocals given a small degree of room resonance for an effectively realistic ambience. Transient attack is quick and sharp, rendering the whole affair easy on the ear.
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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