Also, Korngold: Violin Concerto; Waxman: Carmen Fantasy; Williams: Theme from Schindler's List. Alexander Gilman, violin; Perry So, The Cape Town Philharmonic Orchestra. OehmsClassics OC 799.
So, what are the connections among Barber, Korngold, Waxman, and Williams? There are always connections, right? Well, in this case, they are all twentieth-century composers, of course. And they are all essentially Romanticists after their time. But, more important, they all either wrote at one point or another directly for Hollywood or allowed Hollywood to use their music in films. On the present album, we get a chance to hear mostly music they wrote for the concert hall, with the John Williams piece most obviously written for a movie.
The primary performers on the disc are a young pair of musicians (both coincidentally born in 1982) with enormous talent and potential, who provide the music with a Romantic spirit and youthful vitality. German violinist Alexander Gilman has performed and won competitions throughout the world and is also currently an assistant at the University of Music in Zurich. Chinese conductor Perry So has also performed worldwide, won awards, and is currently the Associate Conductor of the Hong Kong Philharmonic. With the Cape Town Philharmonic Orchestra, the participants do the music proud.
The program begins with the Concerto for Violin and Orchestra, Op. 14, by the American composer Samuel Barber (1910-1981). Of the composers on the album, it is only Barber who did not write directly for the movies, yet filmmakers used his Adagio for Strings in motion pictures like Platoon, Lorenzo's Oil, The Elephant Man, and probably others. Anyway, Gilman's violin floats above the orchestra, the tone heartfelt and sweet. It's surprising that two performers as young as Gilman and So would produce such a relaxed and moving an interpretation; I mean, you might have expected them maybe to have hurried things along with quick tempos, quirky phrasing variations, and extreme dynamic contrasts. It's good to see they resisted the temptations and present the music in a most-touching manner, intimate and soaring.
Next, we find the Concerto for Violin and Orchestra in D Major, Op. 35, by the Austro-Hungarian composer Erich Wolfgang Korngold (1897-1957). Folks possibly know Korngold best for his swashbuckling music for Captain Blood, The Sea Hawk, The Adventures of Robin Hood, and the like, but he wrote a considerable number of non-movie pieces as well. As we might expect of a composer accomplished in film scores, Korngold's work is rhapsodic and filled with references to his own movie music. Its melodic richness could well underscore any Hollywood romance of the day. Again, Gilman and So treat the piece with reverence, soberness, and almost old-fashioned sentiment. It's exactly what the music needs, and the second-movement Andante is meltingly beautiful. Then, as Barber did in his concerto, Korngold ends his work in a rather rambunctious style, with Gilman and So letting their hair down, so to speak.
After that, we get The Carmen Fantasie for Violin and Orchestra by the German-American composer Franz Waxman (1906-1967). As you can guess, he based the piece on themes from Bizet's opera, so it gives the performers a chance at further exhibiting some bravura playing. Originally, Waxman had written the Fantasie for the movie Humoresque (1946) and later adapted it for the concert stage.
Finally, we hear the theme from the movie Schindler's List by American composer John Williams (b. 1932). The music is brief and appropriately serious. It also allows the orchestra a bigger role in the music making and provides opportunities for both Gilman and So to shine.
OehmsClassics recorded the program in 2010 in Cape Town, South Africa, to good, atmospheric effect. The sound is big and warm, the violin comparatively close, the orchestra placed effortlessly behind it in a wide array. There is a pleasing sense of ambient bloom on the instruments, which also tends very slightly to veil the presentation's overall transparency. Nevertheless, the rich, resonant sonics go a long way toward conveying the Romantic mood of the music, and it doesn't really affect the tone of the violin, which remains quite clear and natural throughout the proceedings. Add in a resplendent bass, solid impact, and a reasonably good depth of field, and you get a sonic presentation that's easy to like.
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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