Recent Releases, No. 35 (CD reviews)
By Karl W. Nehring
Brahms: Cello Sonata No 1 in E minor; Clarinet Trio in A minor; Rachmaninoff: Cello Sonata in G minor. Yuja Wang, piano; Andreas Ottensamer, clarinet; Gautier Capuçon, cello. Deutsche Grammophon 486 2388.
This is one of those recordings that is nearly self-recommending, featuring as it does three excellent pieces of chamber music performed by three of today’s finest young musicians who actually have experience in playing chamber music together rather than just being brought together ad hoc for marketing purposes. (And did I mention that this CD times out at more than 80 minutes? There’s a lot more chips than air in this bag, folks!) The program begins with a pair of cello sonatas, both of which are big and bold, but in different ways. As those familiar with Brahms might expect, his first sonata for cello and piano is a blend of the classical and romantic styles, traditional in form but rich with emotional expression. Wang and Capuçon bring out the deep emotional resonance without exaggerating or overdramatizing.The Rachmaninoff sonata is in four movements rather than the traditional three like the Brahms; moreover, it has less sense of formal structure, although it certainly feels carefully crafted, chock full of energetic phrases and melodic inventions that the two players navigate with seeming ease. Presenting the Rachmaninoff together with the Brahms sonata is an interesting bit of programming that gives this release extra appeal. To make things even more appealing, for the final selection on we are back to Brahms, but now as a bonus adding the sound of the clarinet to that of the cello and piano as Andreas Ottensamer joins Capuçon and Wang to perform Brahms’s Clarinet Trio. Ottensamer has an especially lovely tone, light and clear and pure, never sounding forced or strained. The trio is a delightful composition that is given a fine performance by these three young stars and the recorded sound is top-drawer. If you appreciate chamber music, this is a release well worth your attention.
Face à Face. Beyond; The Under Zone; Two by Two; Across the Aisle; Algobench; Chosen Spindle; Extended Circumstances; Bunch; Sharpen Your Eyes; Ruptured Air; Stand Alone; Forest Shouts. Barre Phillips, double bass; György Kurtág jr., live electronics. ECM 2735.
Although the veteran bass virtuoso Barre Phillips (b. 1934) might be an unknown quantity to most, many classical music fans will no doubt assume that György Kurtág jr. (b. 1954) must be the son of the Hungarian composer György Kurtág (b.1926). As things sometimes happen in life, the way these two musicians from different backgrounds came to play and eventually record together was based on a related but mistaken assumption, as recounted by Kurtág the younger: “Our musical relationship, which is one of the most important of my life, was born of a misunderstanding. In 2013 a director who was preparing a film on Barre suggested incorporating a duet with György Kurtág. In the mind of the director, it was obviously my father under discussion – they are of the same generation – but Barre, who had heard me at the Le Havre festival a few months earlier, thought it was me. So he called me to suggest a meeting at a brasserie near Paris’s Gare d’Austerliz. As I knew and appreciated his work, I immediately accepted.” The two immediately hit it off, wound up playing some live gigs together, and now nine years later the pair have come together in the recording studio under the watchful eye and adventurous ear of legendary ECM producer Manfred Eicher to record their improvised music for all to hear. The music is a combination of the acoustic sound of Phillips’s bass and the electronic sounds produced by the synthesizers and electronic percussion devices played by Kurtág. There are stretches where the music wanders a bit “out there,” but other stretches that feel tender and intimate. To hear these two veteran musicians interact as they react to each other in real time is a fascinating experience. This music is not quite jazz, not quite classical, but it is certainly engaging music no matter how you might choose to label it. The sound quality is up to the usual ECM standard, clear and spacious, a spellbinding blending of electronic and acoustic sounds.
KWN
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
Contact Information
Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.
This is one of those recordings that is nearly self-recommending, featuring as it does three excellent pieces of chamber music performed by three of today’s finest young musicians who actually have experience in playing chamber music together rather than just being brought together ad hoc for marketing purposes. (And did I mention that this CD times out at more than 80 minutes? There’s a lot more chips than air in this bag, folks!) The program begins with a pair of cello sonatas, both of which are big and bold, but in different ways. As those familiar with Brahms might expect, his first sonata for cello and piano is a blend of the classical and romantic styles, traditional in form but rich with emotional expression. Wang and Capuçon bring out the deep emotional resonance without exaggerating or overdramatizing.The Rachmaninoff sonata is in four movements rather than the traditional three like the Brahms; moreover, it has less sense of formal structure, although it certainly feels carefully crafted, chock full of energetic phrases and melodic inventions that the two players navigate with seeming ease. Presenting the Rachmaninoff together with the Brahms sonata is an interesting bit of programming that gives this release extra appeal. To make things even more appealing, for the final selection on we are back to Brahms, but now as a bonus adding the sound of the clarinet to that of the cello and piano as Andreas Ottensamer joins Capuçon and Wang to perform Brahms’s Clarinet Trio. Ottensamer has an especially lovely tone, light and clear and pure, never sounding forced or strained. The trio is a delightful composition that is given a fine performance by these three young stars and the recorded sound is top-drawer. If you appreciate chamber music, this is a release well worth your attention.
Although the veteran bass virtuoso Barre Phillips (b. 1934) might be an unknown quantity to most, many classical music fans will no doubt assume that György Kurtág jr. (b. 1954) must be the son of the Hungarian composer György Kurtág (b.1926). As things sometimes happen in life, the way these two musicians from different backgrounds came to play and eventually record together was based on a related but mistaken assumption, as recounted by Kurtág the younger: “Our musical relationship, which is one of the most important of my life, was born of a misunderstanding. In 2013 a director who was preparing a film on Barre suggested incorporating a duet with György Kurtág. In the mind of the director, it was obviously my father under discussion – they are of the same generation – but Barre, who had heard me at the Le Havre festival a few months earlier, thought it was me. So he called me to suggest a meeting at a brasserie near Paris’s Gare d’Austerliz. As I knew and appreciated his work, I immediately accepted.” The two immediately hit it off, wound up playing some live gigs together, and now nine years later the pair have come together in the recording studio under the watchful eye and adventurous ear of legendary ECM producer Manfred Eicher to record their improvised music for all to hear. The music is a combination of the acoustic sound of Phillips’s bass and the electronic sounds produced by the synthesizers and electronic percussion devices played by Kurtág. There are stretches where the music wanders a bit “out there,” but other stretches that feel tender and intimate. To hear these two veteran musicians interact as they react to each other in real time is a fascinating experience. This music is not quite jazz, not quite classical, but it is certainly engaging music no matter how you might choose to label it. The sound quality is up to the usual ECM standard, clear and spacious, a spellbinding blending of electronic and acoustic sounds.
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