Classical Music News of the Week, October 20, 2013

92nd Street Y November Performances

Saturday, November 2, 8 PM
Jonathan Biss & Miriam Fried
Kaufmann Concert Hall, New York City
Pianist Jonathan Biss and his mother, violinist Miriam Fried, join for a program comprised of violin and piano sonatas of Janáck, Schumann, and Beethoven.

Monday, November 4, 7:30 PM
CONTACT! An Evening with Esa-Pekka Salonen and musicians from the New York Philharmonic.
92Y partners with the New York Philharmonic for CONTACT!, the New York Philharmonic’s new-music series -- three concerts at SubCulture, 92Y's new downtown venue.

November 7, 9, 10, 14, 16, 17
Hagen Quartet
Complete Beethoven Cycle
The Hagen’s rare New York City appearance with a six-concert series at 92Y marks its first occurrence performing the complete cycle of Beethoven’s quartets in North America.

Tickets are available at or 212-415-5500. For more information, visit

--Ashlyn Damm, Kirshbaum Demler & Associates

Steven Fox Leads Program of Rarely-Heard Russian Composers November 15-19, 2013
Atherton, San Francisco, and Berkeley, CA

Steven Fox, hailed as "one of New York City's most promising young conductors," (WQXR) joins Philharmonia Baroque for a program including rarely-heard works by the first generation of Russian composers. Four concerts take place at San Francisco's SFJAZZ Center (November 15), First Congregational Church, Berkeley (November 16 & 17), and the Center for Performing Arts, Atherton (November 19). Tickets are priced from $25 to $93.

Although Mikhail Glinka has often been called the father of Russian music, he was hardly the first Russian to compose in classical forms. This program includes seminal works from the pre-Glinka generation, including Maksym Berezovsky's Symphony in C major, believed to be among the first Russian symphonies; Yevstigney Fomin's Dance of the Blessed Spirits from Orpheus, one of the first operas written in Russian; and suites from Dmitry Bortniansky's operas Alcide and Le fils rival.

Tanya Tomkins --whose recording of the Bach Cello Suites was hailed as "genius" by Gramophone magazine--joins Philharmonia as soloist in Johann Facius's Concerto for Violoncello in D minor. And Glinka, with whom most histories of Russian music begin, is featured with three arias sung by the English soprano Anna Dennis, who makes her Bay Area debut.

Recognized for his leadership in returning the first generation of Russian classical composers to prominence, Steven Fox is artistic director of the New York Clarion Society and the founder of Musica Antiqua in Saint Petersburg, Russia.

Friday, November 15 at 8:00 PM
SFJAZZ Center, San Francisco, CA

Saturday, November 16 at 8:00 PM
First Congregational Church, Berkeley, CA

Sunday, November 17 at 7:30 PM
First Congregational Church, Berkeley, CA

Tuesday, November 19 at 8:00 PM
The Center for Performing Arts, Atherton, CA

Tickets are priced $25 to $93, available through City Box Office: or call (415) 392-4400.

--Ben Casement-Stoll, Philharmonia Baroque

AOP Chosen to Participate in Professional Development Program Led by Brooklyn Academy of Music (BAM) and the Devos Institute of Arts Management at the Kennedy Center
American Opera Projects presents the world-premiere opera "As One" at the BAM Fisher in 2015.

The Brooklyn Academy Of Music (BAM) has announced American Opera Projects (AOP) among the participants in the BAM Professional Development Program (BAM PDP) led by BAM and the DeVos Institute of Arts Management at the Kennedy Center. The companies for this session are of mixed disciplines ranging from opera to theater to dance. AOP's participation in the program will culminate in 2015 with the World Premiere of As One, an original music theater work to be created by composer Laura Kaminsky, librettist Mark Campbell, and filmmaker Kimberly Reed.

The BAM PDP is a 9-month program that utilizes the strengths of both institutions to provide professional development training and deeply discounted theater and rehearsal studio rental to an annual selection of qualifying Brooklyn non-profit arts organizations. Through the program, supported by Brooklyn Community Foundation and The New York Community Trust, BAM and the DeVos Institute strive to help arts organizations expand their skill base, increase their institutional capacity, and build necessary foundations for their long-term success. The second cycle of the program began this fall and culminates with each Brooklyn-based company presenting a self-funded production in the BAM Fisher Fishman Space within the year following the training portion.

As One, AOP's world premiere production for the BAM PDP, chronicles a transgender person as she emerges into harmony with herself and the world around her are portrayed with compassion, candor, and humor.  The work is being written expressly for acclaimed singers mezzo-soprano Sasha Cooke and baritone Kelly Markgraf, who will share the role of the protagonist. They will be joined by the renowned Miró Quartet. An interactive film will be created by Kimberly Reed that serves as the production's background. As One will be AOP's second world premiere at the BAM Fisher following Out Cold/Zippo Songs (Phil Kline, composer) which was presented as part of BAM's 30th Next Wave Festival in October 2012.

--Matt Gray, American Opera Projects

Pianist and Composer Conrad Tao Commissioned by Dallas Symphony Orchestra to Composer Piece for John F. Kennedy Memorial Concert
On November 21-24, 2013, 19-year-old pianist/composer Conrad Tao will premiere his new composition The World Is Very Different Now, performed by the Dallas Symphony Orchestra conducted by Jaap van Zweden. The piece is part of a concert commemorating the 50th anniversary of the assassination of President John F. Kennedy on November 22nd, 1963, and The World Is Very Different Now was commissioned especially for the event by the DSO with support by the National Endowment for the Arts and TACA.

This past June, Conrad released his debut album Voyages on Warner Classics (formerly EMI Classics), and oversaw the successful launch of his own UNPLAY Festival, a three-day event which he conceived and curated.

The title of Tao’s The World Is Very Different Now is taken from a speech given by President Kennedy. The composer explains: “The World Is Very Different Now is ultimately about memory. I wanted to explore the way this assassination was an event associated with a myriad of specific and individual memories; it is one of those epoch-making events where everyone remembers ‘where they were.’ Those hyper-real, unique memories intersect with historical narrative, the writing of which is in many ways a process of memory-formation as well. I wanted to write a piece that explored the reverberations of these many memories and experiences. I was curious to see if those remains could articulate something interesting, and at least a little unfamiliar, about both the assassination and the quote from JFK's inaugural address that gives the work its title.”

The concert is sponsored by Bickel & Brewer Foundation and also features Darius Milhaud’s short work Murder of a Great Chief of State, Beethoven’s Symphony No. 3, Eroica, and violinist Joshua Bell performing the Violin Concerto by Sibelius.

For more information about Conrad Tao:

--Andrew Ousley, Warner Music Group

Ensemble: Périphérie: Distinctive Chamber Ensemble Presents Vivid Program of Music of the 21st Century
Saturday, October 26, 2:00 p.m., at Weill Recital Hall, Carnegie Hall, New York City.

Distinguished Concerts International New York (DCINY) presents the New York City debut of Ensemble: Périphérie, a bold new ensemble created to invite audiences to recognize and be stimulated by the music of our time. Ensemble: Périphérie’s program will feature music by founding composers Joseph Dangerfield and Luke Dahn, as well as Louis Karchin, Irina Dubkova, and David Gompper - all written between 2001 and 2013. The concert takes place on Saturday, October 26 at 2:00 p.m. at Weill Recital Hall.

Ensemble: Périphérie is inspired by the great French composer Henri Dutilleux, who died this past May, who said: “For me the only new music would be music that a composer of genius successfully created on the periphery of all the movements of our time and in the face of all current slogans and manifestos.” Comprised of a group of like-minded artists from across the country, Ensemble: Périphérie intends to commission new works from both emerging and established composers. The core ensemble, appearing with DCINY, includes Charles Akert, cello; Ginny Armstrong, percussion; Martha Councell–Vargas, flute; Michelle Crouch, soprano; Ann DuHamel, piano; Stephen Fine, viola; Yasmin Flores, clarinet; violinist Tricia Park; with Joseph Dangerfield conducting selected works.

The program includes Calder Cadences (2012/13), inspired by works by sculptor Alexander Calder, by Luke Dahn (b. 1976). Dahn, whose music has been performed by groups such as the Moscow Conservatory Studio for New Music, matches the four movements to four of Calder’s major works.  Described by The New Yorker as a composer of “fearless eloquence,” Louis Karchin’s (b.1951) music has been recently heard at Tanglewood’s Contemporary Music Festival. His 2012 work, Four Songs on Poems of Seamus Heaney, the Nobel Prize-winning Irish poet, features soprano Michele Crouch.  Widely-performed Russian composer Irina Dubkova’s (b. 1957) I Hear the Sound that has Fallen Silent (2005), is part of a Triptych entitled In the Soft Moonlight. Butterfly Dance by David Gompper (b. 1954) is based on an American Hopi Indian tune. Gompper's compositions have been performed at major venues from New York to Vienna. The Wild, by Joseph Dangerfield (b. 1977), based on the Barnett Newman abstract expressionist painting of the same name, is being premiered by the ensemble on tour this year. Described by Fanfare as “highly compelling” and “exuberant,” Dangerfield’s music has been heard internationally. A Fulbright Scholar to the Russian Federation and the Netherlands, Dangerfield is a recipient of the Aaron Copland Award (2010), among other honors. For more information:

Tickets: or 212-247-7800 or in person at the Carnegie Hall Box Office

--Shira Gilbert PR

Crissy Broadcast in San Francisco: A Spatial Symphony for Hundreds of Musicians on Crissy Field
Lisa Bielawa, composer & Artistic Director
Free Performances: October 26 at 10am and 4pm & October 27 at 12 p.m., Crissy Field, San Francisco, CA

Newly added: Roundtable Discussions on October 26
1-2 p.m.: “Orchestras and Engagement”
2-3 p.m.: “The Making of Airfield Broadcasts”
Chapel at Fort Mason Center, off Bay Street at Franklin, San Francisco
Free and Open to the Public

Composer Lisa Bielawa’s Crissy Broadcast turns Crissy Field in San Francisco, part of the Golden Gate National Recreational Area, into a vast musical canvas in three free performances on Saturday, October 26 at 10-11 a.m. and 4-5 p.m., and Sunday, October 27 at 12-1 p.m. The hour-long massive, spatial symphony will involve more than 800 musicians, including orchestras, bands, choruses, and experimental new music groups, performing for thousands of music lovers (and unwitting park-goers). In addition, two Roundtable Discussions, free and open to the public, will be held on Saturday, October 26 at 1-2pm (Orchestras and Engagement) and 2-3pm (The Making of Airfield Broadcasts) at Fort Mason Center’s Chapel, located off of Bay Street at Franklin.

A diverse roster of professional, student, and amateur performing ensembles will bring Crissy Broadcast to life. The groups participating include the San Francisco Contemporary Music Players (Crissy Broadcast Lead Professional Ensemble), San Francisco Girls Chorus, San Francisco Symphony’s Community of Music Makers, Chamber Chorus of the University of California, Golden Gate Philharmonic, Great Wall Youth Orchestra of Laney College, San Francisco Conservatory of Music, Lowell High School Orchestra, Aptos Middle School Band, Presidio Middle School Panther Band, Sacred Heart Cathedral Orchestra, Berkeley High Band and Orchestra, and the Ruth Asawa/San Francisco School of the Arts.

Crissy Broadcast is part of San Francisco native Lisa Bielawa’s Airfield Broadcasts project. In May, she created Tempelhof Broadcast in Berlin on the historic airfield-turned-public-park Tempelhof Field in partnership with the Berlin Parks Department (Grün Berlin GmbH) and under the patronage of the U.S. Embassy. Approximately 5,000 people attended the three performances of Tempelhof Broadcast. Die Welt am Sonntag reported: "The result . . . was impressive. A loosely knit texture of sound, oscillating between classic and modern music, noise and avant-garde. The audience which happened to be caught in the performance by accident was compelled; throughout the whole piece groups of listeners strolled back and forth between the individual ensembles. They paused, kept a respectful distance, or came closer, drawn by their curiosity . . . Finally, all kinds of people mingled together, with dogs or ice-cream cones, with rollerblades and skateboards, moving among the musicians."

The goal of Airfield Broadcasts is to interpret and celebrate public spaces, allowing listeners to draw their own meaning and experience from them. Bielawa hopes that the project will have a palpable and sustainable impact on the city. She says, “I would like to see Airfield Broadcasts bring about new partnerships, new vitality, and new relationships between arts and civic institutions, between different generations and economic strata, between arts or music lovers and totally non-arts-identified park-goers enjoying a surprise encounter with music as a ‘happening’ in the middle of their familiar and beloved city.”

Marc Kasky, Director for Civic Engagement for Crissy Broadcasts, explains further, “As these events unfold in parks that have complex histories, one purpose of the project is to interpret these sites – to help people get a sense of the unique attributes of their own urban environment, and the breadth and inclusivity of the culture of these places.”

--Christina Jensen PR

American Bach Soloists Complete Their 24th Consecutive Season
On September 21, ABS held its eleventh annual gala, “Silver Soirée” celebrating twenty-five years of American Bach Soloists’ continued presence in the field of early-music across Northern California. This year’s event was co-chaired by former board member Jan Goldberg and Kaneez Munjee, along with Development Consultant Camille Reed, Development & Donor Relations Associate Carmen Flórez-Mansi, and Executive Director Don Scott Carpenter.

For more information, click

New CD: ABS & Mary Wilson!
Mark your calendars now! December 3 is the official release date of ABS’s newest CD release: Handel: Laudate pueri Dominum featuring Mary Wilson. This recording, ABS’s first since 2009, celebrates the joyous meetings of American Bach Soloists, under the direction of Jeffrey Thomas, with one of their most cherished collaborators, the sensational American soprano Mary Wilson.

December with ABS
December will be a busy month for ABS! On December 11 & 12, ABS presents its annual performances of Handel’s Messiah at Grace Cathedral, San Francisco. On Saturday, December 14, the group returns to St Stephens for An ABS Christmas. Wrapping up the intense schedule of events, ABS will perform Messiah at the Mondavi Center in Davis on the afternoon of December 15. It will be an exciting, music filled time and we look forward to seeing you!

Introducing Carmen Flórez-Mansi

We are pleased to welcome Carmen Flórez-Mansi to the ABS family, as she will be working with development and donor relations. Carmen joined the team shortly before the Silver Soirée gala and contributed greatly to the success of the event. She is a native of New Mexico and holds degrees from Immaculata College in Philadelphia with additional study at the University of New Mexico. Carmen lives in Napa with her husband, Tom, and her two sons, Thomasluke and Estevan.

--American Bach Soloists

Cal Performances Presents An Afternoon of Romantic Masterpieces with Pianist Paul Lewis, Sunday, November 3, at 3 p.m. in Hertz Hall, Berkley, CA
With a program of Romantic masterpieces including Modest Mussorgsky’s imposing Pictures at an Exhibition and Ludwig van Beethoven’s Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 (“Moonlight”), Grammy Award-winning pianist Paul Lewis returns to Cal Performances on Sunday, November 3, at 3:00 p.m. in Hertz Hall. Lewis last performed at Cal Performances in 2010, devoting his program to the late piano music of Franz Schubert. With his return visit, Lewis moves more deeply into Romantic pianism. His program also includes Beethoven’s Piano Sonata No. 13 in E-flat major, Op. 27, No. 1; three late piano works by Franz Liszt; and Ferruccio Busoni’s transcriptions of two Chorale Preludes by Johann Sebastian Bach.

Lewis is the winner of three Gramophone Awards and is internationally regarded as one of the leading pianists of his generation. In 2010 Lewis became the first pianist to perform the complete Beethoven piano concertos in one season. In 2011, he embarked on a two-year project to perform all of Schubert’s late piano pieces. His award-winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas and concertos, as well as the major works from Schubert’s last six years. Gramophone said of the recordings, “Time and time again you marvel at the confidence and sureness of Lewis’s playing, combined with the finesse and musicality he has always displayed. It’s the kind of playing, in fact, where comparisons cease to matter.”

Lewis’s recital career takes him all over the world to perform in venues such as the Berlin Philharmonie, Carnegie Hall, Sydney Opera House, the Musikverein and Konzerthaus in Vienna, Toppan and Oji halls in Tokyo, Chan Center Vancouver, and the Royal Festival and Wigmore halls in London, where he has performed more than 60 times alone. He has collaborated with many of the world’s leading conductors, including Sir Colin Davis, Bernard Haitink, Christoph von Dohnányi, and Sir Mark Elder, and performed with such orchestras as the London, Boston, and Chicago symphonies, the Royal Concertgebouw Orchestra, and the Oslo and Los Angeles philharmonics. Lewis has also toured with the Mahler and Australian chamber orchestras.

Lewis studied with Joan Havill at the Guildhall School of Music and Drama before going on to study privately with Alfred Brendel. Along with his wife, the Norwegian cellist Bjørg Lewis, he is artistic director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, England.

Ticket information:
Tickets for Paul Lewis on Sunday, November 3, at 3:00 p.m. in Hertz Hall start at $32.00 and are subject to change. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at; and at the door. Half-price tickets are available for UC Berkeley students. For more information about tickets and discounts, go to or call (510) 642-9988.

--Christina Kellogg, Cal Performances

One World Symphony Presents Sixth Annual Halloween Program: Temptation
Sung Jin Hong, Artistic Director and Conductor
Bettina May, Burlesque Artist
One World Symphony Vocal Artists

Camille Saint-Saëns: from Samson et Dalila
Paul Hindemith: from Marienleben (1948)
Giacomo Puccini: from Suor Angelica (1918)
Kaija Saariaho: Douleur (Torment) (2002)
Franz Schubert: Gretchen am Spinnrade

Two Performances:
Sunday, October 27, 2013
Monday, October 28, 2013
8:00 p.m.
Holy Apostles Church
296 Ninth Avenue at West 28th Street

$30 Students/Seniors with ID
$40 General

Costumes encouraged!

Throw away that raw vegan flaxseed cookie and indulge in something more... sensuous. Discordant musical passages explore the boundaries of tonality and represent the restless conscience while others caress the senses with their soft waves of melody. Camille Saint-Saëns's Samson et Dalila envelops us in decadent sound as the temptress Dalila lures Samson away from his people. In Puccini's Suor Angelica, the nun's dulcet melodies embody her enchantment with worldly pleasures. Be transported by contemporary composer Saariaho, who stretches the limits of tradition with her eerie music that draws you in like a moth to the flame. Go ahead, have your cake and eat it too.

--Adrienne Metzinger, One World Symphony

West Edge Opera Halloween Concert Update
West Edge Opera announces additional singers and program information for "Something Wicked," its inaugural concert, on Saturday, October 26 at 7:30 pm, of a series of holiday-themed presentations at the Piedmont Center for the Arts, 801 Magnolia Avenue in Piedmont.

Previously announced singers Eileen Meredith and Benjamin Bongers will be joined by mezzo-soprano Donna Olson and bass-baritone Wayne Wong for a program to include selections from The Tales of Hoffmann, Sweeney Todd, Faust, Il Trovatore, Un Ballo in Maschera, Ruddigore, and more – all choices that revolve around the supernatural, weird, devilish, or creepy elements of the plots. Pianist Kristin Pankonin accompanies the singers.

Tickets, at $25 for adults and $15 for kids under 18, available online at www.westedgeopera,org or by telephone at (510) 841-1903. Each ticket includes chocolate and a glass of wine or a soft drink. For more information, go to West Edge Opera’s website at

--Marian Kohlstedt, West Edge Opera

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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