Also, Flute Concerto in C. Patrick Gallois, conductor and flute; Sinfonia Finlandia Jyvaskyla. Naxos 8.572550.
OK, so Ignaz Joseph Pleyel is not exactly a household name. However, if you are an enthusiastic classical-music fan, you may have heard of him. He was a prominent figure in his time (1757-1831), a French composer and piano builder born in Austria, a pupil of Joseph Haydn, and the prolific writer of some fifty classical symphonies and a ton of other stuff before retiring from music into the business world. How prominent was he? People of his day thought of him as more important than Mozart and a successor to Haydn. Today, if it weren't for a few record labels like Naxos, Chandos, CPO, and Denon, we probably wouldn't know who he was. Such are the vicissitudes of life.
Next, you may not be quite aware of who Patrick Gallois is, either, so let me remind you. He's the conductor on the disc and the flute player on the final piece. He was the principal flutist for the Orchestre National de France from 1977-1984; he's been a celebrated soloist for years; he's been the Music Director of the Sinfonia Finlandia Jyvaskyla since 2003; he's been under contract to both DG and Naxos as a soloist and a conductor for quite some time; and he's got a discography that numbers over seventy-five recordings. Yes, of course, you know him.
Now that we're a little clearer about the participants, let's take a look at the music. The album begins with two of Pleyel's multitudinous works, the Symphony in B flat major (Benton 125) and the Symphony in G major (Benton 130), which Pleyel wrote somewhere in 1780's. In the same way that Carl Friedrich Abel's symphonies resemble early Mozart, so do Pleyel's symphonies sound like early Haydn. They are elegant, charming, bouncy, cheerful, and endlessly entertaining. The music is light and airy, with delightfully lilting melodies.
Using an orchestra of modest proportions (a booklet photo shows about thirty-five or so players and a note says there are thirty-eight involved), Gallois is able to produce buoyant rhythms and clear, clean textures appropriate to the tunes. The slow movements are particularly lithe, radiating a special glow that is hard to resist.
As appealing as the symphonies are, the Flute Concerto in C major (Benton 106) is the highlight of the program. Even though this concerto comes from late in Pleyel's musical career, one can understand after listening to it why the man was so enormously popular in his era. Hedging his bets, Pleyel issued it in simultaneous versions for flute, violin, and cello. He had it all cornered. Anyway, Gallois has it all cornered as well, conducting with a liquid, flowing hand and playing with grace and sensitivity.
Smooth and lifelike, the sound is among Naxos's best. They recorded the album at Suolahti Hall, Jyvaskyla, Finland, in January of 2010, obtaining excellent stereo separation and imaging left-to-right and front-to-back. We also hear a pleasant ambient bloom, but not so much resonance that it veils important detail. The ensemble, relatively small, not much more than a chamber orchestra, reflects those of the Classical Period, and the Naxos sound provides ample transparency for them. Dynamics are not especially strong, yet they do not need to be. This is fairly easygoing music, and as such it doesn't require much crash, boom, bang. The engineers miked it to reveal a suitable distance, too, giving the listener the feeling of being in an actual concert hall, the whole presentation doing just about everything right.
On a side note, Naxos have filled out the disc with a generous seventy-nine minutes of music. So, yes, you get your money's worth here, a proposition all the more attractive when you consider the relatively low cost of the disc.
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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