Also, El Salon Mexico; Dance from "Music for the Theatre"; Danzon Cubano. Leonard Bernstein, New York Philharmonic. HDTT HDCD361.
Leonard Bernstein was a huge fan of American composer Aaron Copland's (1900-1990) music and played more of the man's material in his programs than he did any other living composer. Needless to say, Bernstein's interpretations of Copland's scores are among the most authoritative of any, and for my money there are only two other conductors who stand alongside Bernstein when it comes to performing Copland: Michael Tilson Thomas and Copland himself, whose own recordings (Sony) are still probably my favorite. Nevertheless, the HDTT (High Definition Tape Transfers) remastering we have here of Bernstein and the New York Philharmonic from 1962 is among the conductor's very best Copland work.
The first item on the program is probably Copland's most endearing and enduring work, the ballet Appalachian Spring. He premiered it for a small chamber orchestra in 1944 and won a Pulitzer Prize for it the next year. Then, in 1945 he arranged the ballet score into the familiar orchestral suite we get here. The storyline for the ballet involves a group of nineteenth-century American pioneers celebrating the building of a new farmhouse in Pennsylvania. Some of the main characters include a bride, a groom, a revivalist and his followers, and a pioneer woman.
Bernstein makes the music come alive like almost no other conductor, capturing all of its beauty and passions. Maybe this is because the score itself, with its famous variations on the Shaker tune "Simple Gifts," has become such an important piece of Americana, and Bernstein himself is an American institution: They go naturally together. Perhaps Copland's conducting brought a touch more subtlety to the score in his London Symphony recording, but there's no denying the infectious qualities of Bernstein's enthusiasm. There's atmosphere here aplenty, a pulsating excitement, and a quiet dignity, all performed by an orchestra who seemed to have been born to the music. Lovely.
The next selection on the album is El Salon Mexico, which Copland completed in 1936. It's a tone poem in which the composer uses a number of Mexican tunes to simulate the atmosphere of a dance hall in Mexico City. Again Bernstein nails the excitement and color of the music, the nightclub and its denizens. Bernstein finds the raucous good fun in it, imbuing the music with a forward driving rhythm that highlights the vigor of the piece, yet with a hushed presence, too, that helps quantify its sweeter, darker corners. This is fun music, with Bernstein bringing out all its joys (and maybe a few of its sorrows; the conductor could sometimes wear his heart on his sleeve, although he never became maudlin).
Lastly, we get two brief numbers, Dance, from Copland's five-movement Music for the Theatre (1925) and Danzon Cubano (1942). These final selections fit in nicely with the other dance music on the program, and Bernstein has such a fine feeling for the idiom that you can't imagine anyone playing the music better.
Drawbacks? Not really. We get great music; we get classic performances; we get the best remastered sound these recordings have ever enjoyed; and we get a variety of formats and reasonable prices from the folks at HDTT. My only concern with the product is minor, and it's about the packaging. There are no track listings, no track times, not even an accurate account of the order of things on the album. For example, HDTT tried to duplicate Columbia's original LP cover art, but the cover art does not list the contents of the album in the correct sequence on the disc. The front and back covers list El Salon Mexico first when, in fact, Appalachian Spring comes first. For the record, so to speak, the HDTT disc contains 1. Appalachian Spring (24:55); 2. El Salon Mexico (11:03); 3. Dance from Music for the Theatre (3:19); and 4. Danzon Cubano (6.59).
Columbia Records made the album and released it on LP and tape in 1962; HDTT remastered it in 2014, and it sounds better than I've ever heard it. I confess I did not have the original recording on hand to make comparisons, but the people at Sony have put bits and pieces of Bernstein's Copland into various collections, some of which I did have available. To my ears, the HDTT remastering is clearer, cleaner, more transparent, more dynamic, more everything. In places it sounds a trifle bright or forward, true, but the highs appear nicely extended, with commendable sparkle, and the bass whacks have splendid impact. There is also more air around the instruments, more orchestral depth, and more hall resonance than I expected, with most often a full, round, smooth, lucid, and lifelike effect. The fact is, throughout the LP era I pretty much avoided Columbia products because so many of them sounded bad to me. This HDTT remastering shows how good the recordings can sound when somebody bothers to transfer them properly to disc.
For further information on the various formats, configurations, and prices of HDTT products, you can visit their Web site at http://www.highdeftapetransfers.com.
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 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.
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
Readers with polite, courteous, helpful letters may send them to email@example.com.
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to firstname.lastname@example.org.