Also, Respighi: Rossiniana. Robert Mandell, Ars Nova (Stravinsky); Robert Zeller, Vienna State Opera Orchestra (Respighi). HDTT.
First, a word: If you are a music listener who appreciates the sound of a recording as well as the performance, or if you are an audiophile who appreciates the sound above all, you might want to audition this disc. Indeed, if you are an audiophile by virtue of the megabucks you've spent on your playback system, you'll need to get this disc, if you don't already own it. Not to have it in your collection is reason enough to turn in your audiophile badge and go back to music listening on earbuds. Sonically, this is one of the handful of best recordings I've ever heard on CD. More on the sound in a moment.
Let's talk music. Russian-born composer Igor Stravinsky (1882-1971) wrote the music for C.F. Ramuz's parable L'Histoire du Soldat (The Soldier's Tale) in 1918. The composer meant for the theatrical work "to be read, played or danced" by a small company of performers, but it actually works best as conductor Robert Mandell and the Ars Nova ensemble play it, instrumentally without dance or dialogue. The story it tells concerns a soldier trading his fiddle to the devil for a book that can predict the future and provide him his fortune. If you know the Faust legends, you can guess where that gets him.
Stravinsky scored the work for seven players, and here the Ars Nova septet features Stanley Drucker, clarinet; Cyrus Degal, bassoon; David Jandorf, trumpet; James Thompson, trombone; Morris Lanz, percussion; Herbert Sorkin, violin; and Reuben James, double bass. The music itself is more than a tad on the jazzy, raucous, Raggedy Annie side, typical of so many "modern" compositions of the early twentieth century. However, there is an infectious forward pulse to the music and some scintillating rhythms that the Ars Nova group are quick to exploit with their own slightly raucous, Raggedy Annie jazz style.
In addition to the Stravinsky piece, which lasts a little under half an hour, we get Rossiniana by Italian composer Ottorino Respighi (1879-1936). As the title suggests, Rossiniana is an orchestral adaptation of works by Gioacchino Rossini (1792-1868), Respighi basing his four-movement suite on a number of fairly obscure Rossini piano pieces. The lushly Romantic compilation for orchestra is in stark contrast to the jazzy, small-scale Stravinsky piece. Although Rossiniana is not great music, and despite its being occasionally dark and somber, it can also be quite radiant and easy to digest; and with Robert Zeller and the Vienna State Opera Orchestra, the performance sounds smoothly polished and richly rendered.
Now, about the sound, particularly in L'Histoire du Soldat. When you listen to music recorded as well as this is, you probably don't figure its engineers recorded it over half a century ago. But HDTT transferred the music to HQCD from a 2-track Westminster Sonotape originally made in 1956. Yes, 1956. It makes a person wonder if there have been any significant advances in sound reproduction in the last fifty years, digital 5.1 this or lossless 7.1 that notwithstanding. But back in 1956 the home-stereo industry was in its infancy, and audio engineers were doing their best to capture everything the new medium had to offer. As things went on, record companies would begin cutting corners, using far more microphones, limiting the dynamic range and frequency extremes, and editing the final sound of their recordings after the fact on mixing consoles. What a joy to go back to a sound that actually approximates a live occasion in every way.
What we get in the Stravinsky piece is excellent in every way, particularly in the localization of instruments. Is it fair, though, to compare a recording of only seven instruments to one of a complete orchestra? Maybe not, but that doesn't discount the fact that the recording provides a reach-out-and-touch-it realism that is hard to resist. Every instrument is well defined, the highs extended, the bass going through the floor, the midrange as revealing as possible, with no sign of edge, distortion, or strain anywhere. However, it's the transient response that handily wins the day, and if your speakers can reproduce the notes without too much overhang, you'll hear some of the most crisply articulated sound from any disc around. All the instruments have such a sense of lifelike accuracy about them, you'll be hard pressed to tell them from the real thing. The violin tone, the trumpet, and the percussion are especially thrilling.
The Respighi/Rossini music, recorded in 1964 and transferred to disc from a Westminster 4-track tape, is likewise good, the orchestral sound refined and expansive, among the best of its kind, if not quite so drop-dead gorgeous as the Stravinsky. Defects or drawbacks in either transfer? One might notice an occasional small pop here or there and a touch of momentary pre-echo, yet they are so minor as to be practically inconsequential. The Stravinsky and the Respighi tracks reflect audio quality of the highest order, a disc for all seasons...or all listeners as the case may be.
For further information on the various formats, configurations, and prices of 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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