Music of Bach, Handel, Couperin, and Weiss. David Russell, guitar. Telarc TEL-33223-02.
Most people like the music of classical guitar, and there are few practitioners of the art better at it than Scottish classical guitarist David Russell. Maybe it's just longevity. He's been plucking the instrument since his childhood in the 1950's, winning major music awards and the hearts of millions of admirers all over the world. He has been recording since the 1970's, and he's been with Telarc since the mid 90's, this new album, The Grandeur of the Baroque, marking his seventeenth release for the company. Remarkable.
After his having covered the music of most eras, Russell returns to the music of the Baroque period, something he's done on several previous occasions for Telarc. This time, he covers five selections by Bach, six by Handel, four by Couperin, and six more from the less familiar S.L. Weiss, all of them in guitar transcriptions that work better than you might expect. Familiar music or unfamiliar, Russell handles all of it with consummate skill.
The program begins with the Toccata from Partita No. VI in E minor by Johann Sebastian Bach (1685-1750). It's a good curtain-raiser because while it is not extravagantly outgoing, it does afford Russell a chance to demonstrate his dazzling dexterity and prove his virtuosity without tearing the house down. The three Bach Sinfonias (Three-Part Inventions), Nos. 2,11, and 5, prove good counterpoints with their relatively serene, meditative moods.
Next comes the Suite No. 7 in G minor by George Frideric Handel (1685-1759). It puts us into a more directly Baroque world, with Russell taking his time with the music and letting it breathe naturally in a perfectly relaxed yet regal manner. The Sarabande is especially appealing, although for that matter Russell plays the entire suite so well, so brilliantly and elegantly, it's hard to pick a favorite selection. Nevertheless, La Pantomime also stands out.
After the Handel, Russell gives us the Twenty-Sixth Suite from Book IV of Pieces de Clavecin by Francois Couperin (1668-1733). These pieces seem more thoughtful, calculated, and contemplative than particularly innovative or memorable. Still, that assessment may simply reflect my own personal biases in favor of German, English, and Italian Baroque music over French.
The program closes with the Suite in D major by Silvius Leopold Weiss (1686-1750), an important composer of lute music in his time. In Russell's hands, the suite begins in a dignified and stately manner and then moves through a series of brief segments of varying temperaments. It's a pleasant and surprisingly catchy way to end the album. Indeed, some of the music sounds positively modern, and all of it sounds delightful.
Telarc recorded the album at Clonick Hall, Oberlin Conservatory of Music, Oberlin, Ohio, and released it in 2012. The sound they obtained matches Russell's performances in clarity, richness, and resonance. While it's only one instrument, it sounds like a whole ensemble on occasion, the acoustic setting and slightly close miking producing splendid results.
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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