Falla: El Sombrero de Tres Picos (SACD review)
Manuel de Falla (1876-1946) was one of Spain's most important composers of the twentieth century, and this disc brings together two of his most popular pieces of music, the ballets El Amor Brujo (Love, the Magician) and El Sombrero de Tres Picos (The Three-Cornered Hat); plus "Danza" from La Vida Breve.
Maestro Maximiano Valdes and his Spanish orchestra, the Asturias Symphony, present the music well enough, and the Naxos engineers do a reasonably good job capturing most of it realistically. The first piece on the disc, El Amor Brujo, is a rather grim work, about twenty-four minutes long depicting a jealous dead lover haunting his former girlfriend. Valdes performs it in an appropriately dark and foreboding manner. Conversely, El Sombrero de Tres Pico is a lighthearted tale of attempted seduction, the music lasting almost forty minutes. Together, we get quite an ample amount of music, when for a fill-up we have the "Danza."
I would not say, however, that Valdes is more colorful in his music making than Charles Dutoit or Ernest Ansermet were in this repertoire (both on Decca). Indeed, by comparison it is still Dutoit and Ansermet who offer up more vitality, especially evident in The Three-Cornered Hat. Yet listeners may find themselves divided on the merits of the sound of the discs, the newer Naxos issue being a bit more subdued, the Deccas brighter or more natural, depending, and definitely more sparkling. It's hardly a moot point, either, as one can find the original Deccas in various configurations on regular CD's and even remastered on audiophile (albeit costly) discs from LIM.
Anyway, the folks at Naxos offer the recordings on both a regular compact disc at mid price and a Super Audio Compact Disc at regular, full price. The SACD offers not only the standard stereo layer but a two-channel DSD layer and a 5.1 surround layer. The Naxos sound, particularly in SACD, is wide, deep, and extended, a tad fat in the upper bass, but fairly lifelike. While this may not be absolute audiophile sound even in its SACD format, it is more than adequate for the occasion.
William (Bill) Heck, Contributing Reviewer
Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.
The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.