Audio Physic: 25 Years, Vol. 1 (CD review)

Classical sampler, various artists. Turtle Records TR75536.

Generally speaking (a phrase the Commander of the Confederate Army used when addressed), I don’t care much for sampler albums. Record manufacturers usually use them to promote their product, and audiophiles often use them to show off their playback equipment. Not that there’s anything wrong with self-promotion or showing off. It’s just that companies don’t really intend sampler albums for sustained listening; the companies mean for them to interest people in full albums of something else and for them to provide a moment or two of audio excellence to impress listeners sonically. Fair enough.

This particular album comes to us courtesy of the German loudspeaker company Audio Physic and the Dutch recording company Turtle Records. Both companies produce high-end audiophile products and are obviously out to prove the point. The album celebrates the loudspeaker company’s twenty-fifth year of business, and it contains sixteen tracks taken from the Turtle Records catalogue of classical music, each track lasting from about two-to-eight minutes, covering the past two or three hundred years, and performed by different soloists, small groups, and orchestras. More important, the tracks actually do sound great, and the performances, no matter how brief, are uniformly outstanding. So, yes, they are fun to hear, at least once.

I won’t try to cover everything on the program, but I’ll highlight a few things I found interesting. The music begins with the Second Concerto for Trumpet, second movement, by Andre Jolivet, performed by Peter Masseurs, trumpet; Frank van der Laar, piano; and Rob Dirksen, contrabass. It demonstrates a fine sense of space and air around the performers, a wide frequency range, and excellent transient attack.

“Wohin” from Schubert’s Die schone Mullerin shows off Christoph Pregardien’s faultless voice and the dynamics of a modern Steinway-D grand piano. Next, Haydn’s Quintet in D major, second movement, with the Combattimento Consort Amsterdam provides a good example of how realistically an engineer can record a small group without stretching them across the room.

The Renaissance singing of Cappella Pratensis on Pierre de la Rue’s Gaude Virgo is lovely and proves you don’t need an over-resonant acoustic for every recording of ancient vocal music. After that we get a contributions by Anima Eterna, a period band, under Maestro Jos van Immerseel in a selection by Hugo Distler that not only sounds beautifully and enthusiastically played but, of course, beautifully and enthusiastically recorded in clear, clean sonics.

And so it goes. A lute duet is fun because it combines a lute with gut strings with one using modern nylon strings, and while it’s hard at first to tell one from the other, the recording sounds so lucid, one soon notices the differences.

A passage from Mahler’s First Symphony, performed from an original score by the Netherlands Symphony under Jan Willem de Vriend has an enormous dynamic range. More important, because the recording engineer had the sense to give it some distance, it comes across sounding most natural.

I always welcome a little Bach from La Petite Bande, and then, following that, we have a passage by Locatelli from the Latvian Philharmonic Chamber Orchestra that sounds about as transparent as anything I’ve heard and is one of the highlights of the highlights.

After a few more such numbers, the album concludes with the opening “Battle” segment of Wellington’s Victory by Beethoven played again by the Netherlands Symphony Orchestra. I guess Turtle Records were saving the biggest spectacle for last because it is, indeed, spectacular. Licensed from Challenge Classics, it offers a fine example of how this often rowdy piece can sound if properly recorded, offering not only strong impact but a good degree of lifelike stage presence.

Incidentally, the only thing that bothered me about the album concerned the packaging, which Turtle Records chose to do up with a black background, making some of the tiny blue text in the booklet and on the cover and back difficult to read (and in some cases darned near impossible). Really: Blue on black? Art directors, take note: Give those of us with diminishing vision a break, please.

To hear a brief excerpt from this album, click here:


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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