Popov: Symphony No. 1 (CD review)

Also, Shostakovich: Theme and Variations. Leon Botstein, London Symphony Orchestra. Telarc CD-80642.

Here’s another name, Gavril Popov, that might not be too familiar to all music lovers. He was a Soviet composer (1904-1972) who never really got much of a chance to show his stuff in the repressive regime of the 1930’s, 40’s, and 50’s when he was in his prime. The conductor on this Telarc release, Leon Botstein, in a booklet note says that Popov’s Symphony No. 1 “fits into the category of great music in the orchestral repertory that requires advocacy.” In other words, since nobody knows about it, somebody’s got to speak up for it. Thus, the Telarc recording.

The First Symphony had exactly one performance, in Leningrad in 1935, and the Soviet musical censors immediately banned it as being too “formalist,” meaning it didn’t conform to the government’s ultraconservative musical tastes. Apparently, no one ever performed it again in Popov’s lifetime, and folks only rediscovered it and played it again a few years ago. It has still not caught on, much to the annoyance of Maestro Botstein.

One can understand, however, why not everyone in the world knows the piece. It’s gloomy as hell. The Symphony is in three movements, which the composer described as representing “1) struggle and failure, 2) humanity, and 3) the energy, will and joy of the victor’s work.” Interestingly, the three movements get progressively shorter as they go along: The massive, hectic first movement, an Allegro, is over twenty-three minutes long; the slow second movement, a Largo, is sixteen minutes; and the quick third movement, a Scherzo, is nine minutes. I assume the composer intended for the music to diminish in length by 3-2-1 to reinforce his musical themes, but I’m not entirely sure why.

In any case, the whole work is full of conflicts and contrasts, which seem to delight Maestro Botstein. The first movement alone has enough ideas in it to fill three symphonies, including a slow middle section that comes out of nowhere and leads to the “failure” indicated by the composer. This first movement begins with a big bang, goes on through all sorts of gymnastic convulsions, and ends with a repeated whimper, fading into nothingness. The second movement is so melancholy it would leave Jack Nicholson’s Joker with a frown. And the third movement seems actually to be bouncy and, in its odd way, cheerful. I guess that’s what Popov meant by “joy.”

Accompanying the Popov First Symphony is as opposite a piece of music as one could imagine, Dimitri Shostakovich's Theme and Variations, Op. 3 (1922), a student work that no one ever performed during Shostakovich’s lifetime. It is very much in the lightweight vein compared to the tumultuous Popov piece, the Shostakovich smooth, straightforward, and romantic, almost chamber-like in tone.

The Telarc sound is every bit as good as their finest recordings: very natural, very dynamic, very wide ranging, the percussion especially impressive, and the big bass drum making its presence felt all through the First Symphony. Everything comes together to make a fascinating if not wholly satisfying album: the first-rate sound, the obscure First Symphony, and the virtually unknown Variations. Well, it’s different.

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 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 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 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.

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