Also, Piano Sextet. I Solisti Filarmonici Italiani. CPO 777 524-2.
Felix Mendelssohn (1809-1847) wrote his Octet and Sextet while still in his mid teens, a remarkable feat for any composer at any age. But Mendelssohn was no ordinary composer, being a pianist, organist, conductor, and child prodigy besides a writer of music well loved to this day. To do justice to the composer's two early works on this disc, I Solisti Filarmonici Italiani play Mendelssohn's Octet and Sextet in what they describe as a composite of modern and period styles, using gut strings, mid-nineteenth century bows, and a 1928 Steinway grand piano. Whatever, the results are delightful.
Mendelssohn wrote the Octet for Strings in E flat major, Op. 20 in 1825, and critics generally consider it the man's first genuine masterpiece. The surprising thing to me a few minutes into the piece was not the period instruments or the hybrid style but how closely the first movement resembles the performance by members of the Academy of St. Martin-in-the-Fields in their celebrated 1968 Decca-Argo recording. Solisti Filarmonici Italiani match the older group almost note for note, with close to the same infectious charm. This means they take the opening Allegro at a fleet yet graceful pace, building a pleasant, festive foundation for the rest of the work.
It is in the slow Andante that Mendelssohn's idea of the piece being played like an orchestral symphony comes to the fore. Solisti Filarmonici Italiani play the softest and loudest passages with greater contrast than one would normally find from a chamber group, making the music more dramatic than usual. Then the third-movement Allegro leggierissimo fairly zips along, leading to the concluding Presto, which follows suit at almost the same tempo. While there is no doubt the music is among Mendelssohn's greatest, it still shows a youthful exuberance that I Solisti Filarmonici Italiani seem eager to exploit.
The Sextet for Piano and Strings in D major, Op. 110 (1824) preceded the Octet by a year but didn't see publication until after the composer's death. It is slightly darker and more sedate than the Octet, and as the name suggests, it puts the piano front and center, the instrument dominating the others at all points. Solisti Filarmonici Italiani play it with the same vivacity with which they approach the Octet, the Adagio flowing along lovingly, the Minuetto exuding a Schubertian flair, and the final Allegro vivace full of spunk and high good cheer.
The recording, made in May, 2009, may be close up, but it's also reasonably warm and comfortable, at the same time admitting a good deal of detail and air. The sound is quite realistic, if a tad rough from the proximity of the period instruments. The enthusiasm one hears in the audio scheme benefits the joy of the music enormously.
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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