Jan 29, 2020

Dalbavie: La source d'un regard (CD review)

Also, Oboe Concerto; Flute Concerto; Cello Concerto. DeMarre McGill, flute; Mary Lynch, oboe; Jay Campbell, cello; Ludovic Morlot, Seattle Symphony. Seattle Symphony Media SSM022.

By Karl W. Nehring

Once in a while you take a chance and luck out. That happened to me recently when I was browsing through the new releases rack at my favorite public library and came upon a CD by a composer whom I had never heard of by the name of "Dalbavie." When I looked at the cover and saw that the recorded musical program comprised a piece with a French title and three concerti, my initial impression that Dalbavie must have been some obscure French Baroque composer for whom Icould not muster the first faint feeling of enthusiasm.

I was just about ready to put the CD back in the rack and move on when I noticed the vertical letters at the edge of the cover that spelled out "Seattle Symphony." I could not really imagine the Seattle Symphony, which has recorded the works of contemporary composers such as John Luther Adams, releasing a recording of some obscure French Baroque composer, so I took a look at the liner notes to discover that Marc-André Dalbavie (b. 1961) is a contemporary French composer of some renown on the Continent. Now my feelings of enthusiasm were fanned – but also my apprehension. Would his music be listenable, or would it be lamentable? Only one way to find out…

From the opening notes of La source d'un regard, (which can be translated as "The Source of a Glance," "The Start of a Look," or "The Way to Begin Looking") I was fascinated. The piece begins with a four-note chime motif – think of church bells – with the final note not what your mind expects. The effect is a bit jarring, but also intriguing. What is Dalbavie up to? Where is this going? As things develop, the piece, which was written under a commission from the Philadelphia and Royal Concertgebouw in honor of French composer Olivier Messiaen's centenary on 2008, moves along a delightfully musical path. There are no jarring dissonances, nothing to assault the ear of even the most conservative of classical music connoisseurs, just plenty of intriguing melodic and rhythmic motion to delight the senses. At one point, for example, the opening chime motif returns – but without the final note. The jarring effect of tbe "wrong" fourth note has been replaced by the jarring effect of its absence. Interesting! This is truly a fascinatingly delightful work, one that will give both your imagination and audio system a good workout – some mighty bass notes as well as plenty of orchestral color. The recording team has done a remarkable job of capturing a live performance in splendid full-bodied sound.

Ludovic Morlot
I could heartily recommend this CD on the basis of La source d'un regard alone, but wait -- there's more! If you call now, you will receive three concerti as a bonus!

The Oboe Concerto, which was not recorded in a live public performance, features as soloist Mary Lynch, the Seattle Symphony's Principal Oboist. It is a lively, energetic piece in one movement. Again, there are no dissonances, but plenty of action as soloist and orchestra weave a colorful tapestry. I could not help but chuckle at one section where Ms. Lynch makes the oboe sound like a braying jackass – perhaps that does not sound enticing, but believe me, this is an enjoyable performance.

Next up is Dalbavie's Flute Concerto, with this performance (once again from a live concert) featuring another of the orchestra's own, Principal Flute DeMarre McGill, and once again we are treated to lively, colorful, and stimulating music that tickles the senses. I must confess that I generally avoid flute concerti (indeed, the worst live classical performance concert I ever attended featured flautist Eugenia Zuckerman, who managed to make Mozart unenjoyable. Mozart, for crying out loud!), but Dalbavie's is a good one.

The CD closes with the Cello Concerto, another "studio" (i.e., not a live concert) recording. The soloist for this piece, Jay Campbell (a member of the JACK Quartet) is not a member of the Seattle Symphony. And yes, once again we have music of great energy, but once again a feast for rather than an assault upon the ears.  The playing by both soloist and orchestra is animated and expressive.

All in all, this is a quality CD. Interesting new music, excellent recorded sound, helpful liner notes that are actually printed so that even my 70-year-old eyes can read them, and a generous length of nearly 73 minutes. If you are willing to take a chance on a recording of a composer heretofore unknown to you, I hope you will feel as lucky as I did when I heard the fascinating French modern music by Monsieur Dalbavie.

KWN

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