Sep 1, 2015

Wagner: Orchestral Music (CD review)

Leopold Stokowski, Symphony of the Air and Chorus. HDTT HDCD127.

Stokowski was Stokowski. There's nothing we can do about that. The man certainly had his fair share of detractors, who claimed he pulled and tugged, twisted, distorted, and exaggerated the music he conducted so far out of shape it was hardly recognizable anymore. Fortunately, he had a lot more fans than critics, and he became one of the most well-loved conductors of the twentieth century. And he probably did more to popularize classical music than any single conductor of the century, too.

On this HDTT (High Definition Tape Transfers) remastering of some of Stokowski's Wagner orchestral music with the Symphony of the Air and Chorus, we hear mostly the best of what the man could do when he tried.

First, a word about the orchestra. The Symphony of the Air was a follow-up to the NBC Symphony Orchestra, a house orchestra for the NBC radio network led primarily by Arturo Toscanini. When it disbanded in 1954, a new orchestra, the Symphony of the Air, no longer affiliated with the network, formed using many of the NBC Symphony's players and led primarily by Leopold Stokowski. The Symphony of the Air performed from 1954 to 1963, and on this 1961 recording we hear both Stokowski and the orchestra (plus chorus) at their best.

Opening the program is the longest track, the Overture and Venusberg music from the opera Tannhauser. The overture is, in fact, the perfect introduction to the Stokowski style. It is opulent as only the old Maestro could make it. OK, it might not be everything the Wagner fan could want; it's probably not introspective enough or dramatic enough; but it's so smooth, so free and flowing, it makes a lot of other Wagner performances sound crude by it side. This is Wagner for the true Romantic, never quite sentimentalized but positively glowing in its overall rich, luscious, sensuous effect. When the chorus enters briefly at the end, it sounds vividly clean yet still lustrous and otherworldly; maybe not quite as soulfully uplifting as it could be but wonderfully exciting.

Leopold Stokowski
Next, we hear the Prelude to Act III of Tristan und Isolde. If anything, under Stokowski's direction the prelude appears grander and more imposing than the opening track, even though it might be just as familiar music. Stokowski shapes and molds the music into a huge tapestry of immense power. The effect appears sometimes startlingly imposing, the orchestra sounding like one immense organ playing.

Finally, Stokowski closes the show with The Entrance of the Gods into Valhalla from Das Rheingold. Stokowski's handling of this last number is as grand as they come. The conductor paints as intense and memorable a picture of the proceedings as I've heard from anybody.

If there is any minor misgiving I have about the album, it's that I seem to remember the LP edition I used to have including The Ride of the Valkyries. Here, we get only three selections, and they are relatively brief, with a total disc playing time of only forty-three minutes. This is, apparently, the entirety of the tape from which HDTT transferred the music.

Producer Richard Mohr and engineer Robert Layton recorded the music for RCA in 1961. HDTT remastered it in 2013, transferring it from an RCA 4-track tape. The resultant sound is big and full, with an excellent frequency balance. There's a pleasantly realistic upper bass warmth that helps the music come alive. The orchestral depth is quite good, and the stereo spread is fairly wide. The dynamic range accounts for another factor in the music's lifelike quality, along with good impact and a sparkling high end. What's more, the chorus sounds natural, not bright or shrill, the voices clear but sweetly rounded as in real life. This is, in brief, the perfect way to listen to Wagner: plush, lush, opulent, part and parcel of the silky-smooth sound Stokowski always tried to achieve.

If you have any of Stokowski's RCA Wagner recordings, you might want to hear the same music remastered on this HDTT disc; it might impress you as much as it did me. Even the imported German RCA CD I used for comparison purposes, transferred using 24-bit/96kHz technology, didn't have the clarity of the HDTT disc.

For further information on HDTT products, prices, discs, and downloads in a variety of formats, you can visit their Web site at http://www.highdeftapetransfers.com/.

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, Founder and Contributor

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 for 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 Nehring, Editor and Contributor

For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings 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 they 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 Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds 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 technologies that enable us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

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 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. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


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