Also, Saint-Saens: Violin Concerto No. 3; Ravel: Tzigane. Maxim Vengerov, violin; Antonio Pappano, Philharmonia Orchestra. Warner Classics.
Maybe at the time I wrote this review it was French composer Edouard Lalo's (1832–92) turn in the sun. I had no sooner reviewed a Naxos disc of the Symphonie espagnole, saying it didn't get recorded nearly as often as it should, than this 2003 release of the Symphonie arrived from EMI with Maxim Vengerov playing the violin, Antonio Pappano directing, and Philharmonia Orchestra in support. If I had some minor qualifications about the Naxos issue, I had no such reservations about the EMI and can continue to recommend it heartily, reissued under its new label, Warner Classics.
The Symphonie espagnole, which despite its title is actually a concerto for violin, is fine, of course, and Vengerov plays it with appropriate sparkle, polish, and élan. But it's really the accompanying piece, the Third Violin Concerto by French composer and pianist Camille Saint-Saens (1835–1921), that knocked me over, especially the work's slow middle movement, the Andantino. I've seldom heard it sound so ravishingly beautiful and expressive. It's probably the one piece by Saint-Saens that comes closest to the serene loveliness of his "Swan" from the Carnival of the Animals, and Vengerov makes the most of it.
Anyway, Vengerov produces a ravishing tone with his violin, and Pappano and the Philharmonia Orchestra provide sympathetic support in both works. Along with a brilliant performance of Maurice Ravel's Tzigane, Rhapsody de concert the program makes a most-attractive hour or so of music making.
Like the Naxos disc I had listened to previously, the EMI disc sounds wide ranging and natural, but with the added benefit of greater clarity. For this review, I compared the 2003 EMI to an older, 1976 EMI disc of the Symphonie with violinist Yan Pascal Tortelier, Maestro Louis Fremaux, and the City of Birmingham Symphony Orchestra, plus a newer, 2013 Warner Classics disc with violinist Alexandre Da Costa, Maestro Carlos Kalmar, and the Orquesta Sinfonica de Ratio Television Espanola. Here, it was the Vengerov disc that sounded slightly more open and more transparent to me. I still have no hesitation recommending the Naxos, the earlier EMI, the later Warner Classics disc, or even some real oldies including Heifetz and Stern, among others, but if one wants to sample all of the best, the Vengerov disc (as I say, now available from Warner Classics, who took over the EMI label) is well worth one's investment of time and money.
To listen to a brief excerpt from this album, click here:
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 over 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, as of right now it comprises an Onkyo C-7030 CD player, Legacy Audio High Current preamplifier, AVA FET Valve 550hc or Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer.
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.
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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