Also, Concerto grosso No. 2. Alun Francis, NDR Radiophilharmonie. CPO 777 210-2.
Ernst Krenek (1900-1991) was an Austrian-born American composer who may have been more famous for his short-lived marriage to the daughter of Gustav Mahler than for anything he ever wrote. He earned a living largely by teaching, lecturing, and completing the unfinished material of other composers, despite his producing over 240 of his own works in his lifetime. Throughout his career, he adopted a variety of compositional forms, from late-Romantic to atonality, from neoclassicism to experimental jazz, and from modal counterpoint to twelve-tone writing, serial techniques, and electronic music, making him truly a man for all seasons. However, I wonder if he had settled down to one particular style, if his music would have been more popular today? Who knows.
The new CPO album under review begins with a world-première recording of Krenek's Symphony No. 4, Op. 113, from 1949. It's a three-movement symphony that starts out with a tranquil Andante and goes in all directions from there. The booklet note tells us that Krenek composed the piece in "free atonality with some tone elements in design." The music appears fairly complex, with alternating themes and rhythms, yet it's reasonably accessible, too, at least under Maestro Alun Francis and the NDR Radiophilharmonie (North German Radio Broadcasting Philharmonic), who seem to know their way around the score.
Perhaps it's the constant variations of tone and mood that keep one involved. Things get a little hectic toward the end of the opening movement, leading to a quiet Adagio and then on to a moderately intense Allegro pesante (fast and lively, but with weight). This concluding segment clearly shows the influence of Stravinsky on Krenek's music making, and for a moment you'd think the composer had strayed off into The Rite of Spring. We hear primarily percussion and strings from that point on, fascinating to be sure, but not exactly earthshaking. Still, it surprises me that no one has recorded the work before now; it has enough going on in it to qualify for multiple interpretations.
The coupling is Krenek's Concerto Grosso No. 2, Op. 25, a five-movement piece completed in 1924. The term "concerto grosso" ("big concerto") refers to a musical form that originated in the Baroque period in which the full orchestra and a small group of soloists play contrasting sections. Needless to say, Krenek embroiders the format in his own unique way, combining elements of the Baroque, neoclassicism, and German expressionism, supplemented by healthy doses of Stravinsky again as well as Bach. There is an especially engaging Allegro at the center of it all containing slightly melancholic dance passages that Francis brings out with admirable color and panache. Although I can't say I was quite as taken by the dark fourth-movement Andante as I was with the minuets, things close out with a buoyant Allegro encompassing some abrupt changes in temper.
CPO recorded the album in 2006 at the Grosser Sendesaal des NDR Landesfunkhaus Niedersachen with pleasing results. A wide dynamic range comes into play, with strong impact from the timpani and bass. While the strings get a tad edgy on a few occasions, the sonics probably come pretty close to what the NDR Radiophilharmonie actually sounds like and what Krenek had in mind. There is also a welcome sense of orchestral depth and a natural acoustic bloom to provide a realistic setting for the music. In all, it's a performance and sound worth investigating.
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 of The $ensible Sound magazine 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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