Also, Khachaturian: Piano Concerto. Leonard Pennario, piano; Rene Leibowitz, London Symphony Orchestra; Felix Slatkin, Concert Airs Symphony Orchestra. HDTT HQCD224.
Reviewing classical music has any number of rewards, like the joy of discovering a new treasure but also like the joy re-discovering an old gem. In the case of this HDTT remastering of the mid-Sixties Leonard Pennario recordings of Liszt and Khachaturian piano concertos, it was not only listening for the first time to performances I had long hoped to hear but re-affirming how several old favorites sounded after not visiting them in some years. But let's get to the Pennario recordings.
The album opens with the Piano Concerto No. 1 in E-flat Major by Hungarian pianist and composer Franz Liszt (1811-1886). Liszt worked on it for a quarter of a century, starting it around 1830, committing it to paper in 1849, and premiering it in 1855, so he had plenty of time to perfect it. The interesting thing about the First Concerto is that although it's usually heard in three or four distinct movements--a traditional opening Allegro, a slow Adagio and a vivacious Scherzo, then an Allegro finale--the movements are really like one continuous piece, with variations on common themes throughout.
It starts out big and grand, in the manner of Beethoven, Schumann, Grieg, and Tchaikovsky, and pianist Leonard Pennario, conductor Rene Leibowitz, and the London Symphony Orchestra play it brilliantly, yet without any unnecessarily showy effects. Nonetheless, this music is the stuff of virtuosic splendor, and Pennario is fully up to speed. Moreover, the soloist acquits himself suitably in the more lyrical passages as well. Surely, one must count it among the finest performances of this work on disc.
In the meantime, Liszt drafted his Piano Concerto No. 2 in A Minor in 1839, a full sixteen years before premiering the Concerto No. 1, which is why you'll sometimes find No. 2 listed first on a recording (though not here). The Second Piano Concerto is more like a typical Liszt tone poem than No. 1, and as such it is different from what most other composers were offering. As Liszt said, "New wine demands new bottles." The Second Concerto is less overtly virtuosic, and in accordance with that idea, Pennario is less showy in it. In fact, he is downright delicate and poetic, the relaxed Adagio as lovely as almost anything you'll find on record.
The question, though, is whether Pennario matches old favorites, like the classic recordings from Sviatoslav Richter, with Kiril Kondrashin leading the LSO in performances made for Mercury Records just a few years earlier in 1961. Well, the short answer is no. Nothing has matched Richter's performances of the works, and one can hardly fault the Philips reissue of them. Yet, who can live with only one recording of a favorite piece of music? Pennario makes a wonderful alternative; thus, because no one else has done so, it's fortunate that HDTT chose to remaster it on compact disc.
The companion work on the disc is the Piano Concerto in D-flat Major, Op. 38, by Armenian composer Aram Khachaturian (1903-1978), a piece he premiered in 1937. The composer pulls out all the stops here and goes for the throat, Pennario matching him punch for punch. While I find the music rather brash, boisterous, overlong, and often bizarre, I nonetheless found Pennario's realization of it about as good as anyone's.
The sound in the Liszt, recorded by RCA at Kingsway Hall, London, in 1965, gets an LP-to-disc transfer by HDTT with their usual care. The result is quite good, sometimes astonishingly good, especially in terms of the high end, which comes across cleanly and well extended. There are a few moments when engineer Kenneth Wilkinson probably went with a bit too forward a sound in the upper strings, but it's hardly distracting. Most of the time, the recording is smooth and lifelike, if a touch lacking in depth and air and with the piano a tad too close. Nevertheless, the piano tone itself is quite realistic, with one of those reach-out-and-touch-it qualities about it. Excellent transient attack and a wide dynamic range complete the sonic picture admirably.
Capital recorded the Khachaturian piece in 1959, and here the sound, taken from a two-track tape, has a closer feeling than in the Liszt, with slightly fiercer strings, which, perhaps not surprisingly, actually works pretty well given the bombastic nature of the music. HDTT undoubtedly applied some noise processing to both the Liszt and Khachaturian works, reducing tape hiss almost to nothing without affecting the top end of the music in the least.
For comparison purposes, HDTT sent me two copies of the recording, one burned to an HQCD and the other burned to a gold CD. To my ears and on my equipment, the HQCD sounded a little warmer, fuller, and more stable, the gold CD a touch leaner and more brittle. Although these are hardly night-and-day differences, for my money I'd go for the HQ. What's more, for those folks who enjoy rolling their own, HDTT not only make the complete packages available on HQ or gold, they even make blank HQCD's available for sale at their Web site for people who want to download the recordings and burn them themselves; or just want to burn whatever they have on hand in the best possible format.
For details about HDTT products, you can visit their Web site at http://www.highdeftapetransfers.com/storefront.php.
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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