Also, Lyadov: The Enchanted Lake. Antonio Pappano, Orchestra dell'Accademia Nazionale di Santa Cecilia, Roma. EMI 50999 9 49462 2 2.
The disc begins with The Enchanted Lake by Russian composer Anatoly Lyadov (1855-1914), a friend of Rimsky-Korsakov. The Enchanted Lake is a magical work, quite brief but, as the title suggests, quietly enchanting, like a sort of shimmering mist. It provides an appropriately Debussy-like prelude to the big symphony by Rachmaninov (here spelled as the Americanized "Rachmaninoff").
Sergei Rachmaninov (1873-1943) premiered his Symphony No. 2 in E minor, Op. 27, in 1908. For many years thereafter conductors would play edited versions of the score, with cuts that Rachmaninov believed marred the music. Andre Previn and the LSO championed the complete account in their 1973 EMI recording, and it is still his performance one must look to for comparison. In the present recording, Maestro Antonio Pappano follows the longer edition as well, and he infuses it with a felicitous romanticism.
The Symphony begins with a long, slow introduction that, taking its own good time, eventually leads to the release of some pent-up tensions. At this point the main themes kick in, and Pappano makes the most of them, yet without too much sound and fury. He seems to restrain the music's passion throughout most of the work in favor of more subtle nuances.
Rachmaninov fills the Scherzo with contrasts, and he provides it with one of the piece's most-familiar themes. Pappano handles it relatively gently, never overemphasizing the obvious jumps in mood that occur throughout the movement. As a result, I didn't feel the warmth or abandon with this conductor as I have with conductors like Previn, Pletnev, or Ormandy.
Pappano's style seems best suited to the Adagio, the symphony's second-longest section and the one often trimmed, which comes off quite sympathetically. Although this is the most lushly sentimental of the work's music, the conductor never makes it appear too mushy. It's quite lovely and should delight anyone who hears it.
Whatever reservations Pappano may have had earlier, he loosens up in the Finale. Nevertheless, I still found a small degree of electricity missing that might have otherwise made my hair stand on end. In its place is a heightened sense of melody and tunefulness that goes a long way toward making one forget the movement's more-boisterous nature. This is, in short, a fluid, refined, cultured interpretation, somewhat genteel and over polished, perhaps, but always charming.
EMI recorded the performances live in Rome in 2009. You can tell the sound is in concert from the opening moments of The Enchanted Lake, with an airier acoustic than usual and faint audience noises audible. This is despite the fairly close miking. Once we get used to the "live" feeling, the sound is fine. It's rather short on depth, though, and even though it is mainly a bit soft, the strings can occasionally be a tad aggressive. Mostly, the sound just seems too polite; there is not enough dynamic thrust, not enough impact to make it come completely to life (except for a few bass whacks) and not enough transparency to impress the ear. It is, however, smooth and comfortable, so no listener is likely to go away entirely disappointed, and, indeed, some parts sound most realistic. Be that as it may, an eruption of applause at the end ensures that our enjoyment is short-lived.
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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