Classical Candor: Essential Ballet (CD review)

Essential Ballet (CD review)

Lanchbery, Previn, Mackerras, Rattle, etc. EMI 50999 6 48650 2 7 (2-disc set).

What do you get when you gather together some of the best selections from some of the best ballets performed by some of the best orchestras and conductors in the world and recorded in some of the best possible sound? Well, it's not hard to figure out. Now, while I wouldn't usually endorse such assemblages of bits and pieces, I'd say if you really had to have a collection of ballet highlights, there's none better than this 2010, two-disc release of reissues from EMI, drawn from their stereo catalogue of the past fifty or more years.

The set begins with John Lanchbery conducting the Philharmonia Orchestra in nine selections from Peter Tchaikovsky's big-three ballets: Swan Lake, Sleeping Beauty, and The Nutcracker. Although Lanchbery tends to be a little more gung-ho in these pieces than I like, he certainly brings out the color and drama--especially the drama--in the music.

Probably the best recorded sound is in Ludwig Minkus's Don Quixote, with Robert Irving leading the Royal Philharmonic, although the "Clog Dance" from Ferdinand Herold's La Fille mal gardee with Barry Wordsworth and the Royal Liverpool Philharmonic takes a close second.

Of the remaining tracks on disc one, I enjoyed Andre Previn and the London Symphony Orchestra doing two segments from Sergei Prokofiev's Romeo and Juliet. He brings power and grace to the work. We also get Previn and the LSO performing five selections from Prokofiev's Cinderella that are almost equally good; and Yuri Temirkanov and the Royal Philharmonic doing the lovely Adagio from Aram Khachaturian's Spartacus.

Disc two starts with two selections from Adolphe Adam's Giselle, again in excellent sound from conductor Robert Irving, this time with the Philharmonia (and from 1962, it's among the oldest yet most vivid and dynamic of the recordings here). Then, there are four selections from Riccardo Drigo's La Corsaire, arranged by John Lanchbery and played by Terence Kern and the London Festival Ballet Orchestra. Kern and company play them nicely, but they don't sound quite as stunningly recorded or performed as some of the other pieces in the set. Following these tracks are several selections from Leo Delibes's Coppelia and Syliva ballets, with Sir Charles Mackerras and the New Philharmonia; they are charming, if taken a bit too briskly for my personal taste.

The remaining tracks are exclusively one-off selections from a number of additional ballets. There are too many to mention them all, but among those I enjoyed the most were Manuel Rosenthal and the Orchestre Philharmonique de Monte-Carlo doing the Overture from Rosenthal's own arrangement of Jacques Offenbach's music in Gaite Parisienne; Georges Pretre conducting the Philharmonia in the Rondeau from Francis Poulenc's Les Biches; John Lanchbery and the Orchestra of the Royal Opera House doing the "Mrs. Tiggy-Winkle's Laundry" segment from Lanchbery's own Tales of Beatrix Potter; and Sir Charles Mackerras and the London Philharmonic in the Opening Dance from Mackerras's arrangement of Sir Arthur Sullivan's music in Pineapple Poll.

So, if I were selecting items from EMI's back catalogue, would I have chosen the same things the company include here? Probably not. I would have gone with more of Previn's LSO recordings, particularly in the Tchaikovsky; I would have taken Jean-Baptiste Mari over Mackerras in the two Delibes ballets; I would selected Aram Khachaturian's own performance of his Spartacus music; and so forth. But I quibble.

There is much more, of course, that I haven't mentioned, but none of it is anything short of very good, and you'll find none of it recorded in anything less than very good sonics. If you're a fan of EMI's sound, especially their studio productions, you'll enjoy what you hear on these discs, with much of the music recorded in the Sixties and Seventies sounding as good as or better than the later material. It's a worthwhile set all the way around.

Then, as a companion to Essential Ballet, EMI simultaneously issued a two-disc set of Ballet Adagios (EMI 50999 6 48630 2 3), in this case about twenty Adagios from the world's most-beloved ballets, performed by some of the world's great orchestras and conductors. Among the selections you'll find here are items from Tchaikovsky's Sleeping Beauty and Swan Lake, with John Lanchbery and the Philharmonia Orchestra; the Adagio from Khachaturian's Spartacus, with the composer leading the London Symphony; several selections from Adam's Giselle, with Terence Kern and the London Festival Ballet Orchestra; the ballet music from Gounod's Faust, with Herbert von Karajan and the Philharmonia; "The Dream" from Mendelssohn's Midsummer Night's Dream, with Andre Previn and the LSO; the Finale: Adagio from Bernstein's West Side Story, with Edo de Waart and the Minnesota Orchestra; etc. It's all very fine and captivating music.

JJP

John J. Puccio, Founder and Contributor

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 Jon 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 for 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 Nehring, Editor and Contributor

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings 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 they 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 Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. 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 tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II 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.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.

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.

Mission Statement

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

Essential Ballet (CD review)

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"Their Master's Voice" by Michael Sowa