Recent Releases No. 41 (CD Mini-reviews)
By
Karl Nehring
Lucie Horsch: Origins. Charlie Parker: Ornithology; Piazzolla: Libertango; Maxwell Davies: Farewell to Stromness; Traditional: Simple Gifts; Piazzolla: Fuga y Misterio; Bartók: Romanian Folk Dances; Debussy: Syrinx; Stravinsky: 3 Pieces for Solo Clarinet, No. 1; Chanson Russe; 3 Pieces for Solo Clarinet, No. 3; Piazzolla: Café 1930; Traditional: Pašona Kolo; IsangYun: The Actor with the Monkey; Bartók: 3 Hungarian Folksongs from the Csìk, Sz. 35a; Traditional: She Moved Through the Fair; Londonderry Air (Danny Boy); Horsch, Sissoko: Tilibo; Nyami; Heraclio Fernandez: El diablo suelto (The Devil on the Loose); Zequinha de Abreu and Charlie Parker: Tico Tico. Lucie Hirsch, recorders; Fuse (Julia Philippens & Emma van der Schalie, violins; Adriaan Breunis, viola; Mascha van Nieuwkerk, cello; Tobias Nijboer, double bass; Daniel van Dalen, percussion); Carel Kraayenhof, bandoneon; LUDWIG Orchestra; Dani Luca, cimbalom; Sean Shibe, guitar; Bao Sissoko, kora. DECCA 485 3192
Christopher Tin: The Lost Birds: An Extinction Elegy. Flocks a Mile Wide; The Saddest Nosie; Bird Raptures; A Hundred Thousand Birds; Wild Swans; Intermezzo; Thus in the Winter; There Will Come Soft Rain; All That Could Never Be Said; I Shall Not See the Shadows; In the End; Hope Is the Thing with Feathers. Voces8; Royal Philharmonic Orchestra conducted by Christopher Tin and Barnaby Smith. DECCA B00836123-02
Having previously enjoyed a recording of a composition by the American composer Christopher Tin (b. 1976) titled “To Shiver the Sky” (
reviewed here), I was excited to see that he had a new composition out featuring the Royal Philharmonic Orchestra, this time with the vocals of Voces8, whose vocal stylings have been featured on numerous recordings reviewed previously on this site. The theme of the album brought to mind the composition Spectral Spirits by another American composer, Edie Hill (b. 1962), which was included on a recording by the Philadelphia-based choral group, The Crossing (
reviewed here). The recording was largely funded by a Kickstarter campaign reported to have topped the record for the highest-funded classical music crowdfunding campaign ever. The lyrics (which are printed in the CD booklet) are adapted from poetry by Emily Dickinson, Christina Rossetti, Edna St. Vincent Millay, and Sara Teasdale.
Although there is plenty to like about this release, the music has a film score quality to it that may not prove palatable to all listeners, and the prominence of Voces8 in the mix can make some of the soprano parts sound overpowering at times. All in all, this is a pleasant, well-intentioned album that will not make serious demands of listeners, but on the other hand might leave some listeners wishing for more musical substance.
Mahler: Symphony No. 5. Czech Philharmonic conducted by Semyon Bychkov. Pentatone PTC 5187 021
Conductor Semyon Bychkov was born in St. Petersburg, Russia, in 1952 to Jewish parents. As a result of his family suffering from some official anti-Semitism, Bychkov fled to Vienna in 1974 and then emigrated to the United States in 1975, becoming an American citizen on July 4, 1983. He was music director of the Buffalo Philharmonic from 1985-89 and the Orchestre de Paris from 1989-98. Fast-forward to 2018, and Bychkov became music director of the Czech Philharmonic. Then early in 2022, he and the orchestra made their Pentatone recording debut with the release of Mahler’s Symphony No. 4, the first of what is projected to be a complete Mahler symphony cycle. That recording received generally favorable reviews, including from our own JJP, a review that can be found
here.
Now we have the second release in the series, Symphony No. 5, and once again Bychkov and his Czech forces have produced an excellent recording. Although it does not quite have the sheer dramatic intensity of the Bernstein/Vienna Philharmonic version (as an aside, Bernstein was buried with a copy of the score of the Mahler 5th) on DG or the completely convincing combination of performance and engineering of the Haenchen/Netherlands Philharmonic version on Pentatone – a release from some time back,
reviewed here. This is a very good recording; the problem is that there are just so many very good recordings of Mahler on the market today. Or maybe that’s not a problem – if you are a Mahler fan, this new recording would be a good one to add to your collection. The Czech Philharmonic, which did a previous Mahler cycle under the late Vaclav Neumann in the 1970s, is a natural fit for this music, and Bychkov certainly knows what he is doing. This will be a Mahler cycle to keep an eye – and ear – on.
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 more than 20 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 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. 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 tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II 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.
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.
Having previously enjoyed a recording of a composition by the American composer Christopher Tin (b. 1976) titled “To Shiver the Sky” (reviewed here), I was excited to see that he had a new composition out featuring the Royal Philharmonic Orchestra, this time with the vocals of Voces8, whose vocal stylings have been featured on numerous recordings reviewed previously on this site. The theme of the album brought to mind the composition Spectral Spirits by another American composer, Edie Hill (b. 1962), which was included on a recording by the Philadelphia-based choral group, The Crossing (reviewed here). The recording was largely funded by a Kickstarter campaign reported to have topped the record for the highest-funded classical music crowdfunding campaign ever. The lyrics (which are printed in the CD booklet) are adapted from poetry by Emily Dickinson, Christina Rossetti, Edna St. Vincent Millay, and Sara Teasdale. 
