Also, selections from Kinderszenen, Drei Romanzen, Fantasiestucke, and Gesange der Fruhe. Thomas Lorango, piano; Anthony Newman, the New Brandenburg Collegium. Newport Classic NCD 60034.
There is certainly no wont of good Schumann Piano Concerto discs on the market from artists like Stephen Kovacevich (Philips or Newton Classics), Van Cliburn (RCA), Radu Lupu (Decca or LIM), Vladimir Ashkenazy (Decca), Martha Argerich (EMI), Murray Perahia (Sony), Leiv Ove Andsnes (EMI), and more. Yet there is always room for one more, and this 1991 recording from pianist Thomas Lorango, conductor Anthony Newman, and the New Brandenburg Collegium, a recording I had never heard before, is certainly another one to consider, especially when it's as well played as here and has the unique advantage of using period instruments in its presentation.
Robert Schumann (1810-1856) wrote his Concerto for Piano and Orchestra in A minor, Op. 54, over a period of about five years before premiering it in 1845. He called it something of a concerto, a symphony, and sonata as he was writing it. Whatever, it works, and audiences have loved it for over 160 years.
Pianist Thomas Lorango tells us in a booklet note that the piano used in the recording is an original instrument built by the Viennese Johann Baptiste Streicher, its origins going back to c. 1792 (the piano on loan for the recording from the E. Michael Frederick Collection). Lorango further states that "rather than the bright, percussive sound of a modern instrument, the Streicher has a more singing, sustained sound, deep with resonance." It is, indeed, a gorgeous sounding instrument, no doubt helped along by Mr. Lorango's lyrical, "singing" style.
The opening Allegro is as liltingly beautiful as I've heard it, eschewing much of the brawny, bombastic tone one sometimes finds in performances of the work. Instead, the first movement flows gently and naturally, as Schumann intended, into the second-movement Intermezzo: Andante grazioso, which, like the preceding section, displays the beauty of the music rather than the showmanship of the performer. In the final movement, an Allegro vivace, Lorango does exhibit his virtuosity, yet he never does so in any frenetic or exhausting way. This is one of the loveliest Schumann Concerto performances I've heard, with or without period instruments.
The rest of the disc contains a number of solo Schumann selections from Lorango, starting with five items from the Kinderszenen (Scenes from Childhood), Op. 15, an adult's recollection of youth. The numbers are sweet and direct, with Lorango supplying loving care. Almost every listener will recognize the opening "Of Foreign Lands and People" and, of course, the famous "Traumerei" segments, whether the listener is a Schumann fan or not. Lorango plays these pieces, including the Romance in F-sharp Major No. 2, the Fantasiestucke No. 3, and the Gesange der Fruhe (Song of the Morning) No. 1, in a straightforward manner, with no attempt at overt sentimentality, making them all the more affecting by allowing the music to speak for itself.
Recorded digitally and released in 1993, the sound is top drawer in every respect, if not quite in the audiophile or demonstration category. The audio engineers capture the sound of the period instruments nicely at a moderate distance, providing a clear and lifelike presence without any disfiguring harshness or brightness. Like the rest of the orchestra, the piano sounds rich, mellow, and smooth. This is subtle, nuanced sound, perfectly balanced, with a touch of warm acoustic ambience to give it a truthful impression. It is not the kind of sonic spectacular that will knock your house down; it will just knock you out. Very pleasant stuff.
Meet the Staff
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 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 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.
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.
Karl W. Nehring, Contributing Reviewer
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 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 cell phone. 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.
The reader will find Classical Candor's Mission Statement, Staff Profiles, and contact information (email@example.com) toward the bottom of each page.
William (Bill) Heck, Contributing Writer
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. 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 DAC/preamp/crossover, Tandberg 2016A and 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.
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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