Rachmaninov: Piano Concerto No. 2 (SACD review)

Also, Rhapsody on a Theme by Paganini. Werner Haas, piano; Eliahu Inbal, Frankfurt Radio Symphony Orchestra. PentaTone Classics 5186 114.

For some time now, the PentaTone label has been marketing multichannel SACD’s. About half of these releases are of newly recorded material and about half PentaTone took from the Philips archives, where Philips originally made them during the short-lived “quadraphonic” era of the early 1970’s. Such is the case with the Rachmaninov disc reviewed here, which Philips recorded in 1974.

It’s hard to divorce the sound of this recording from the music, so much are these Rachmaninov pieces wound up in emotional concerns. The sound is wide, warm, and slightly veiled, with a deep bass at one end but a lack of sparkle at the other. It means that pianist Werner Haas’s performance may sound more romanticized by the audio than by his actual playing. In any case, Haas and Inbal produce a sometimes highly charged, mostly broad, laid-back, and Romantic view of the Concerto; it’s all quite sensitive and charming and easy on the ear. Then, they take a slightly more analytical, if highly virtuosic, view of the Rhapsody, the exception being the popular Eighteenth Variation, which comes off with a sweet passion that is hard to resist. As an aside, Mr. Haas died in a car accident a couple of years after making this album; a tragic loss.

The disc is dual layered, providing a two-channel stereo presentation on one layer, playable on any regular CD player, and a two and four-channel presentation on the other, playable only on an SACD player. I listened to the two-channel SACD layer. Although SACD allows for up to five discrete channels and a subwoofer track, PentaTone engineers decided to preserve the original intent of the old recording in four separate channels only. I find that commendable.

I do object, however, to one of their publicity statements. I quote from the disc’s booklet: “The advantages of multichannel recording and reproduction are self-evident:  the sound is much more natural, the resolution is better and the spatial impression is much more convincing than stereo.” To which I can only say, “Perhaps.” The effect in multichannel can be more natural sounding if the engineers used the rear channels for minor ambience enhancement; but the resolution is dependent upon how well the engineers made the recording in the first place. Or maybe they just have a different definition of resolution than I do. I think of audio resolution as a degree of sharpness; maybe they don’t. This recording, as I said above, does not have the best “resolution” I’ve heard, as a comparison to some several rivals, like Ashkenazy/Previn (Decca) or Cliburn/Reiner (RCA), reveals.

However, the disc does display a splendid warmth and a resonant hall ambience, which go a long way toward helping one associate it with a feeling of being in the audience. As for the “spatial impression” being better than stereo, that, too, may be dependent upon how well the engineers made the recording and how well set up and balanced one’s 5.1 multichannel speakers are. In two-channel, the spatial impression is quite good, but I’m sure that in full multichannel, this particular recording would sound better than I heard it.

I also had a mild objection to the Rhapsody having only four tracks for its twenty-four Variations; it means if you want to go immediately to, say, Variation 18, you have to fast forward or reverse to find the spot. Not convenient. And while we’re at it, I’m not too keen on the standard SACD disc case, either. As you know, it is not like a conventional CD jewel box, and if it breaks, you probably have to send off for a replacement off the Internet. Over the years, for instance, I have received a number of these cases with broken hinges. The back-cover artwork does not fit into a conventional CD jewel case, so it was off to an Internet supplier to replace the broken SACD cases.

I know, complain, complain. Let it suffice to say that if you have an SACD player and a multichannel audio system, the Haas/Inbal disc may be worth your while investigating. For ordinary two-channel stereo playback, I prefer the Ashkenazy or Cliburn discs.


To listen to a brief excerpt from this album, click here:

No comments:

Post a Comment

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

Contact Information

Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa