Also, Martinu: Memorial to Lidice; Klein: Partita for Strings. Christoph Eschenbach, the Philadelphia Orchestra. Ondine SACD ODE 1072-5.
I have been saying for years that live recordings give up too much in audio quality for any potential benefits in spontaneity, but occasionally one like this disc sort of contradicts expectations. It's an excellent live recording of three equally excellent performances and gets high marks on all counts.
Christoph Eschenbach is in top form, and his Philadelphia players have never sounded better in works that commemorate the sixtieth anniversary of the end of the Second World War. This is not to say that the music is entirely solemn, but it is appropriately elegiac and reminds us again of the horror those times.
Czechoslovakian composer Bohuslav Martinu's Memorial to Lidice remembers the town of Lidice, which the Nazis destroyed in retaliation for the assassination of a regional governor. It's a short work, about a dozen minutes long, but it is powerful, growing in tension and intensity as it proceeds. Another Czech composer, Gideon Klein, tragically died young in a Nazi concentration in 1944, composing his String Trio while in prison the year of his death. Eschenbach plays an arrangement for string orchestra made in 1990. These three movements, too, are heartfelt, made all the more so considering the circumstances under which Martinu wrote them.
The star attraction, however, is Hungarian composer Bela Bartok's celebrated Concerto for Orchestra, of which there must be dozens of recordings. Place this one among the best, the folk-inspired outer movements full of vitality and the central "Elegia" mournful and moving, with a note of life-inspiring freshness always present in all five sections.
Ondine made the recording live, as I say, in Verizon Hall, Philadelphia, during May of 2005 and reproduced in five-channel SACD, two-channel SACD stereo, and two-channel CD stereo. The listener may play the hybrid disc in any conventional CD player or in an SACD player. Because the miking is slightly closer than is often the case in a live recording, we get less audience noise. During the whole of the presentation, I did not hear any coughs, wheezes, or sneezes; indeed, I was only aware of the audience at all when they broke out into an unfortunate applause after the final number. In the meantime, we get a wide soundstage, reasonably clear sonics, a minimum of compartmentalization, and some excellent transient response. The SACD layer appeared to me a bit cleaner and less fuzzy than the regular CD layer and a touch more dynamic; plus, of course, if you have five channels you should notice the additional hall ambience.
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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