Bruch: Scottish Fantasy (SACD review)

Also, Tchaikovsky: Violin Concerto in D. Ning Feng, violin; Yang Yang, Deutsches Symphonie-Orchester Berlin. Channel Classics CCS SA 34913.

It happened again. Even though I probably listen to more classical albums every week than most classical-music fans buy in a month, I can't keep up with all the new artists out there. Such is the case with violinist Ning Feng on this album of Bruch and Tchaikovsky violin concertos. As a matter of course, I did not recognize the young man's name. According to his biography, "Born in Chengdu, China, Ning Feng studied at the Sichuan Conservatory of Music and London's Royal Academy of Music where he was the first student ever to be awarded 100% for his final recital. The recipient of prizes at the Hanover International, Queen Elisabeth and Yehudi Menuhin International violin competitions, Ning Feng was First Prize winner of the 2005 Michael Hill International Violin Competition (New Zealand), and in 2006 won first prize in the International Paganini Competition, following in the footsteps of violinists such as Kavakos, Kremer and Accardo." What's more, this is his fifth recording. Nor was I familiar with the conductor Yang Yang who accompanies Feng with the German Symphony Orchestra Berlin. So much for what I don't know. Now I do.

Anyway, the program begins with the Scottish Fantasy for Violin and Orchestra, Op. 46 by German composer and conductor Max Bruch (1838-1920). Bruch completed it in 1880 and dedicated it to the violin virtuoso Pablo de Sarasate. As I'm sure you know, the Fantasy is Bruch's survey of Scottish folk tunes, in this case over thirty minutes of them, loosely tied together in four movements.

The Fantasy starts off rather solemnly with an introduction marked "Grave," which is slow and somber, indeed, before giving way to the more familiar and frolicsome melodies that follow. Possibly the first thing one must comment on about this new recording is the extremely relaxed approach Feng and Yang take to both concertos. Every movement is slower than I can remember anyone taking them. OK, I probably have heard slower, but memory is not my best friend. In any case, the interpretations take some of the luster and excitement out of the music. Fortunately, however, the musicians replace any missing pieces with a heartfelt sweetness that is hard to resist. Bruch's Adagio, for instance, floats gently overheard, doing much favor and grace to the Scottish love song that inspired it. The Scherzo, despite Feng's gentle handling of it, has a charming flow that melds imperceptibly with the folk tune of the Andante that follows it. Yes, there is a greater degree of sentimentality to these things than one usually hears, but it's a delightful sentimentality no less. The finale is the most overtly "Scottish" of the Fantasy's music, and both Feng and Yang have a good time with it, although again at a reduced pace.

Feng plays the violin with a smooth, elegant touch, while the German Symphony Orchestra Berlin demonstrate a precise control and a sympathetic enthusiasm. While the results are not quite in the same league as Perlman and the London Symphony or Heifetz and the Chicago Symphony, in Feng and Yang's slightly more scaled-back way they are attractive in their own right.

As famous as the Bruch work is, it doesn't compare with the popularity of the Violin Concerto in D, Op. 35 by Russian composer Peter Tchaikovsky (1840-1893). He wrote it in 1778, premiering it several years later because the person he originally wanted to perform its first public appearance, the virtuosic violinist Leopold Auer, deemed it unplayable. As he does with the Bruch, Feng approaches the Tchaikovsky piece in a lighter, more lyrical manner than most other major violinists. The work comes off sounding closer to a love sonnet than anything else, surely a valid reading of the score, if losing a little something in grandeur and vitality along the way. It is a remarkably soaring, beautifully poetic realization of music that other violinists have done to death in showier, gaudier performances, some of the visceral thrills replaced by a milder but hardly less likable temperament.

Channel Classics recorded the music at Teldex Studio Berlin in November 2012 using some pretty impressive equipment: B&K and Schoeps microphones, DSD Super Audio and Pyramix digital converters, Audio Lab and B&W speakers, van Medevoort and Classe amplifiers, a Rens Heijnis custom mixing board, and Van den Hul cables. Certainly, the sound is realistic in the extreme in the two-channel SACD mode to which I listened, with a prominent bass, a detailed midrange, and extended highs. But most impressive is its dimensionality--its breadth, depth, warmth, and air. The violin seems a tad close to me, but there's nothing wrong with emphasizing the soloist. There are no harsh edges here, either, no brightness or glassiness. It's all quite natural and appealing without ever sounding dull or soft.

JJP

To listen to 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 ofThe $ensible Soundmagazine 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