Also, The Creatures of Prometheus; Fidelio; King Stephen; Consecration of the House. Yondani Butt, London Symphony Orchestra. Nimbus Alliance NI 6144.
Is the world really waiting with bated breath for yet another recording of Beethoven's "Eroica" Symphony? Well, actually, no, particularly when there is already a plethora of good recordings available from conductors like Otto Klemperer (EMI), Sir John Barbirolli (Dutton Lab), Karl Bohm (DG), Leonard Bernstein (Sony), Philippe Herreweghe (PentaTone), David Zinman (Arte Nova), Paavo Jarvi (Sony), Klaus Tennstedt (EMI), even a cheerfully bizarre one from Hermann Scherchen (HDTT). However, when we hear a new issue performed and recorded as well as Yondani Butt's version with the London Symphony, it might be enough for Beethoven fans to give it a try.
Butt moves along the leadoff Allegro con brio at a commendably energetic pace, "with brio," with vigor and vivacity as Beethoven marked the tempo. Maybe Butt just understands the chemistry of the music; after all, how many other conductors have a Ph.D. in chemistry as Maestro Butt has. Just as he will do throughout the symphony, Butt emphasizes the contrasts: fast and slow, loud and soft. It makes for an exciting opening segment.
The second-movement funeral march can often be the downfall of a conductor, taking it too sluggishly and losing strength or too quickly and losing gravitas. Butt falls somewhere in the middle. While Klemperer and Barbirolli could get away with slow tempos here by injecting them with vitality and a steady forward pace, Butt's speed seems at first a tad too hesitant and spongy. However, when he reaches the climax of the movement about three-quarters through, it is another monumental contrast, and it goes a long way toward selling what could have been too soft an approach.
The Scherzo has plenty of zip and skips happily along with its syncopated rhythms. Then, the spirit of the Scherzo leads unaffectedly into the equally vibrant Finale, which Butt treats quite triumphantly, yet with high good cheer, if also with a slight degree of calculation. No matter, as he ensures the work ends on a high note, figuratively speaking.
At the time of the Third Symphony's première in 1805, some critics complained about its excessive length. Today, we take such lengths for granted as normal, the symphony having had such an influential impact on music thereafter. Indeed, the symphony's length is rather modest by current standards, so much so that Nimbus Alliance are able to fit four Beethoven overtures on the disc as companion pieces.
The Creatures of Prometheus, Fidelio, King Stephen, and Consecration of the House come off well, with the customary vigorous refinement we have come to expect from Maestro Butt. I especially liked the thrilling vivaciousness of Fidelio and the inevitable contrasts, again, in King Stephen.
What a pleasure, too, listening to a new recording that a company didn't do live. This one Nimbus Alliance recorded at Abbey Road Studio 1 and released in 2011. Along with Symphonies Nos. 6 and 7, issued separately, they figure to be the start of a complete and welcome new Beethoven cycle.
Anyway, the sound is quite good, if perhaps a little more veiled than the much-older Klemperer and Barbirolli recordings I mentioned earlier. Nevertheless, without the direct comparison, I doubt that anyone would have any objections, the concern is so slight. More to the point, the Nimbus Alliance disc provides a wide dynamic range and a strong impact, with excellent timpani rolls; a smooth and well-extended frequency response, if a touch soft; a modest degree of orchestral depth; and a pleasant amount of reverberant bloom for a realistic 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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