Also, Russian Easter Overture, Dubinushka, and overtures to May Night, The Tsar's Bride, Russian Themes, The Maid of Pskov. Gerard Schwarz, Seattle Symphony Orchestra. Naxos 8.572788.
Quick: Name the first piece of music that comes to mind when you think of Russian composer Nikolai Rimsky-Korsakov (1844-1908). Yeah, me too. Scheherazade. But how about your second thought? Maybe the Capriccio espagnol? Well, since Maestro Gerard Schwarz and his Seattle Symphony already gave us Scheherazade, this present album is a follow-up to it. So, if you have the earlier disc and liked it, you'll no doubt like this one, too.
Capriccio espagnol is the Russian composer's tribute to Spain, and isn't it interesting that several of the most-popular pieces of Spanish music came to us via non-Spanish composers like Rimsky-Korsakov, Bizet, and Chabrier? Perhaps it says something about the nature of Spain, its people, and its music that so many composers from other lands have wanted to try their hand at capturing the Spanish spirit. In any case, Rimsky-Korsakov did so with great success, and his five-movement Capriccio espagnol has been a staple of the basic classical repertoire since he wrote it in 1887.
Schwarz's realization of the score is quite vigorous and colorful, as it should be. He handles the sinuous slower sections well, too, like the Variazioni, which demonstrate plenty of heart and feeling. As for Spanish flavor, Schwarz lets the composer take care of that. I particularly enjoyed the harp passage in Scena e canto gitano ("Scene and Gypsy song") and, of course, the violin work throughout, which I assume to be that of concertmaster Maria Larionoff.
The rest of the program comprises a series of additional short pieces by Rimsky-Korsakov, mostly overtures but also including Dubinushka ("Little oak stick"), a catchy little song he orchestrated in 1905 and reflective of student unrest at the time. Schwarz handles each of the chores with a consummate skill derived from a lifetime of pouring his soul into music. Certainly, one cannot fault his enthusiasm, his continued forward pulse, and the precise execution of the Seattle Symphony.
The Tsar's Bride probably displays the greatest degree of Russian flair, with The Maid of Pskov not far behind. The program ends with the Russian Easter Overture, 1886, maybe as famous as the Capriccio. The composer used liturgical themes throughout Russian Easter, which annoyed Tsar Alexander III so much he never wanted to hear it again. More's the pity for him. The piece builds to a wonderfully joyous conclusion in which Schwarz seems to take great relish.
The sound, recorded in Benaroya Hall, Seattle, Washington, in 2010 and 2011, appears slightly constricted, perhaps dynamically limited a tad. While it's not extreme, things don't always seem to open up as they should, with a small amount of veiling over the midrange as well and not the very best extension of bass or treble. In order to get the most out of the sound, you have to turn it up somewhat loudly, and then it gets a touch rough. Still, played at a moderate level, the sound is smooth enough and easily listenable.
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
Readers with polite, courteous, helpful letters may send them to email@example.com.
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to firstname.lastname@example.org.