Werner Ehrhardt, L'arte del mondo. CPO 777 526-2.
You probably recognize the name of German composer Carl Stamitz (1745-1801). He was the son of another musician famous in his time, the Czech composer Johann Stamitz (1717-1757). Both men were virtuoso violinists, and together they wrote about 800 symphonies, concertos, and chamber works in the popular Mannheim style the father founded. But can you actually name anything the young Stamitz wrote? Can you hum a piece of his music? I thought not. Carl Stamitz died in relative obscurity, and currently one can find only a handful of albums dedicated to his works alone. Such is the fleeting nature of fame.
This 2010 CPO release presents four of Carl Stamitz's symphonies, with Werner Ehrhardt leading the chamber orchestra L'arte del mondo, an ensemble Ehrhardt formed in 2004 to pursue early music on modern instruments. Stamitiz's symphonies, representative of the early classical period, feature mostly three-movement structures, usually omitting the minuets common to earlier arrangements. Because the symphonies are quite melodious, refined, and easy on the ear, one can understand why they became so popular, yet after listening to them, one can also understand why people so quickly forgot them.
The album starts off with the Symphony in D minor, Op. 15,3 (Kai 24). The salient point here is in the lively contrasts between each successive movement, from barely audible sections to momentous crescendoes. The piece is also quite concise, a little more than eleven minutes in length. Then we get the Symphony in E flat major (Kai 38), marked by a robust and invigorating opening Allegro con spirito, a sweetly flowing Andante, and an energetic conclusion.
Next is the Symphony in E minor, Op. 15,2 (Kai 23), the only symphony on the disc in four movements. It begins with a gentle, lyrical introduction that gradually moves into a more-animated passage. The succeeding Andante is far from slow but it is warm and friendly, suggesting a manner reminiscent of Haydn. After that, we get a Minuetto that is for all practical purposes a scherzo, changing the pace considerably. The work ends with a brisk Allegro assai that wraps up the symphony in a highly dramatic manner.
The album finishes with the Symphony in F major (Kai 34), subtitled "La Chasse" because of its hunting motif. We even hear hunting horns in the opening and closing movements. In between, there is much activity, motion, and invention, ending the program in a most imaginative way. Still, while Stamitz's music is pleasurable in the moment, it is largely unremarkable and hardly memorable.
Ehrhardt and his players obviously relish the variety in this music and perform it with precision, polish, and class. However, they are not without a sense of fun and joy in their performances, too, particularly evident in "The Chase."
The miking is fairly close and probably captures an accurate representation of the orchestra's sound. Although the recording seems a tad forward, it projects a clear, clean sonic picture, with plenty of detail on almost every front. It also displays a wide dynamic range that may have the listener reaching for the volume control on more than a few occasions. Perhaps the audio engineers could have found a bit more weight at the lower and mid bass end; otherwise, things sound splendid, with a nice sense of air and ambience around the instruments.
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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