Eternal Echoes: Songs & Dances for the Soul (CD review)

Itzhak Perlman, violin; Cantor Yitzchak Meir Helfgot. Sony Classical 88725 42006 2.

For the past four decades and more, Itzhak Perlman has been among the world’s premiere violinists; for many fans, the world’s greatest violinist. Not only has he recorded practically every violin concerto ever written, he has teamed up over the years with other prominent artists in recordings with Placido Domingo, Luciano Pavarotti, Vladimir Ashkenazy, and Andre Previn, to name a few. This time, he shares the spotlight with Yitzchak Meir Helfgot, Chief Cantor of Manhattan’s Park East Synagogue, and two small, supporting ensembles in an album of Jewish liturgical music that, as with everything he’s done before, makes for glorious listening.

So, what is an album of Jewish liturgical music all about? Let me quote from the album’s coproducer and music supervisor, Hankus Netsky: “It’s part concert music, part improvisation--very ethnic and the culmination of thousands of years of culture. It’s roots music--big-time roots music. It’s Romanian, Ukrainian, Russian and gypsy-influenced folk music with a very strong Jewish accent--as if it’s a Jewish prayer. At the same time, khazones (classic Jewish cantorial music, the traditional music sung by the cantor in Jewish religious services) can be considered Jewish classical music, not European concert classical music by Jewish composers but an art form in the way of tradition that raga is an Indian music. They took their religious liturgy and essentially made love songs to God.” The program insert goes on to say, “Elements of Yiddish folk song and theater music, Hassidic song and prayer, and klezmer music (traditional Jewish folk tunes and bands that play them) all surface within the liturgical canon of Khazones--songs and dances for the soul.”

Both artists, Perlman and Helfgot, show their virtuosic talents to good advantage. Perlman has lost none of the spark, spontaneity, precision, and feeling he has always shown in his music making. And Cantor Helfgot’s voice is simply amazing. It combines all the qualities of Perlman’s violin with the addition of sheer power, rich inflection, remarkable flexibility, and clean tone. The purity of both instruments--Perlman’s violin and Helfgot’s voice--provides a uniquely triumphant duo and one of the most pleasurable, listenable albums of the year.

Sony recorded Eternal Voices at Avatar Studios, New York City, in 2011, and it comes with the usual advantages and disadvantages of a typical studio recording. On the plus side, the sound is beautifully clear, rendering the cantor’s voice extremely lifelike and Perlman’s violin crisp and realistic. The engineers recorded both them and the accompaniment rather closely, however, which is why we get such startling clarity but also why the sound doesn’t capture much ambient information. So, as clear as it is, the acoustic isn’t entirely natural, nor do the orchestral ensembles appear too well integrated acoustically, the disc making them seem a bit two-dimensional. In other words, the recording quality is wonderfully lucid at the expense of producing more of a 2-D experience rather than a multidimensional one.

Let me close with only two criticisms, quite minor. First, at a little under an hour of playing time, the disc left me wanting to hear much more. Second, the album cover looks unsightly to me: two faces against a black background with a busy jumble of words across the top and bottom. But who cares about such trivialities when the music is so splendid.


1 comment:

  1. I wasn't quite sure -- too precious maybe -- but your usual fine review pushed me decidedly over the fence: can't wait to get it!


Meet the Staff

Meet the Staff
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 Jon 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 simpleminded, 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 Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. 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 cell phone. 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.

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.

Mission Statement

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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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa