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Audiophile
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Bach:
Goldberg Variations
Glenn Gould, pno (1955 performance.)
A Zenph Re-Performance.
SonyClassical 88697-03350-2. Reviewed by RSF
This is the famous 1955 Gould performance. As described in the literature
“Zenph takes audio recordings and turns them back into live performances,
precisely replicating what was originally recorded. The software-based
process extracts and encodes the details of how each note was played,
including musical nuances such as volume, articulation and pedal actions.
The encoding is played back on an acoustic grand piano fi tted with sophisticated
computers and hardware, allowing listeners to experience the performance
as if they were in the room when the original recording was made. This
“re-performance” is then recorded afresh using the latest
recording techniques. The result is a sonic rediscovery of an iconic twentieth-century
recording.” What I’ve read about this “re-performance”
is fascinating. The team was able to bring one of Glenn Gould’s
original piano tuners in to tune the nine foot Yamaha Diskclavier Pro
in the same manner as Gould would have had his piano tuned. The re-recording
was done at the Glenn Gould Studios in Toronto in September of 2006. Tracks
1-32 are Re-performance stereo/surround versions, whilst tracks 33-64
are Binaural stereo versions. What you have is a masterful recreation
in superb modern day sound of one of the most legendary performances ever
recorded. A must own disc.
Supplier: sonyclassical.com
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Dinah
Washington with Quincy Jones and his orchestra - the swingin’ miss
“D”…
Speakers Corner/EmArcy Records, MG36104 Reviewed by RSF
I found an original of this LP the early part of this year. My first Dinah
Washington album, it had me totally enthralled. I liked everything I heard.
One of her best albums, this is another of those ‘grab your gal,
a bottle of wine and put on a fire’ kind of outings. Lots of standards
here including ‘Ev’ry Time We Say Goodbye’, ‘Makin’
Woopee’, ‘Caravan’, ‘Is You Is or Is You Ain’t
My Baby’, ‘Perdido’… this is just a great female
crooner, easy listening album you’ll never get tired of. While I
was happy with my original EmArcy, I wasn’t prepared for the substantial
increase in presence and sound quality contained in the reissue. Ruth
Jones (Dinah Washington) is in the house! Actually, she’s in your
room. I am continually amazed when I hear quality reissues offering better-than-original
sound on silent surfaces. As with too many artists, Ms. Washington had
her share of substance problems and it certainly put a damper on her later
career. This is a fine example of Dinah at her best and I’m sure
you will enjoy these 1956 performances as much as I do. Top recommendation.
Supplier: speakerscornerrecords.com
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Johannes
Brahms: Sonatas for Cello and Piano, Nos 1(Op. 38) and 2 (Op. 99)
Janos Starker, cello and Gyorgy Sebok, pno.
Speakers Corner/Mercury Living Presence SR90392. Reviewed by RSF
This is a stunning record. While I own an early original pressing, sonically
speaking it doesn’t hold a candle to the re-issue. Starker’s
‘cello is bold, woodsy and seated with proper perspective near Sebok’s
piano. The performances recorded here are lively, romantic and heartfelt.
While the E-minor sonata is a somewhat early work for Brahms (composed
prior to any of his symphonies) it would take be another 21 years before
Brahms created Opus 99. The two sonatas performed here are among the finest
of Brahms’ chamber music output. These are “intensely”
Classical pieces and undisputedly Brahmsian in flavour. If you’d
never heard either sonata, the first time you did you‘d say, “Brahms!”
Starker and Sebok, whose individual performances are exceptional, here
offer additional pleasure as a pair, sitting on an equal plane, musically
speaking. The sonatas ARE for ‘Cello AND Piano and that’s
exactly how they are expressed here by mature masters who know their craft
so well. An outstanding pair of performances in equally outstanding sound.
What more could you want?
This is a must own issue!
Supplier: www.speakerscorner.de |
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Johannes
Brahms: Violin Concerto, Double Concerto;
Julia Fischer, violin;
Daniel Müller-Schott, cello;
Netherlands Phil. Orch.
Yakov Kreizberg, cond.
PentaTone PTC 5186 066 Reviewed by RSF
It’s very nice to have these two Brahms works on one disc. It’s
especially nice to have such insightful performances on one disc. By now
it’s no secret that I am a fan of Ms. Fischer and Müller-Schott
is fast joining my list. Since I seem to be fawning over the instrumentalists,
I might as well go further and tell you that I’m equally impressed
with Kreizberg and his Netherlands Philharmonic, having heard them live
at the Concertgebouw. What I like about this disc is the integrity of
the playing. I tend to gravitate toward performances of the double where
soloists are on an equal footing. After all, it is a double concerto.
In the violin concerto Fischer’s tone is sublime. She’s seems
so at home with this work and magical sound just flows from her instrument.
In the Op. 102 Allegro the ‘cello sounds out with a solid melodic
voice and you just know you’re in for a treat. Kreizberg and his
orchestra are the ideal accompanists here and their integration is impeccable.
It’s unusual to have a performance of such internal harmony.
Another top recommendation.
Supplier: www.pentatonemusic.com |
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Barber:
Toccata Festiva
Poulenc: Concertofor Organ
Saint-Saëns: Symphony No. 3
Olivier Lartry, organist.
Philadelphia Orch.
Christoph Eschenbach, cond.
Ondine ODE 1094-5 Reviewed by RSF
In a word: spectacular. A near 80-minute outing, this disc is one of the
finest SACDs I’ve heard. I first experienced it on a recent trip
to Amsterdam where I visited the Polyhmnia studios in nearby Baarn. Polyhymnia’s
Everett Porter played it and I was immediately struck with the naturalness
and power captured in these live performances.
This is definitely a sonic tour-de-force and the electricity flies the
minute Barber’s Toccata Festiva commences; this alone is a thrilling
15+ minutes. While being bowled over with the sound, I was really enthralled
with the outstanding playing of internationally recognized organist Olivier
Lartry. He is a master of the King of Instruments.
His credentials, like his playing, are impeccable. The Poulenc is one
of my all time favorite works – I’ve always loved Guest and
St. John’s on Argo but I may have to rethink. Many conductors move
too quickly though this score and it comes off cluttered. Eschenbach’s
tempo is perfect and as I’ve already said, the sound is to die for.
No need to comment on the Saint-Saëns. Not to be missed at any cost!
Supplier: www.ondine.net
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Tchaikovsky:
Serenade for strings,
Elgar: Introduction and allegro for strings
Munch cond. the strings of the BSO
Cisco Music/RCA Living Stereo LSC 2105. Reviewed by RSF
This Tchaikovsky was recorded on March 15, 1957, with the Elgar following
on April 3. Listening to this excellent re-issue by Cisco, it’s
hard to believe these performances were committed to tape more than 50
years ago. I’ve enjoyed this album ever since I bought mine on the
used market many years ago. Whilst it did suffer from a little brightness,
the tape has been cleaned up, refreshed, and presented in stunning sound
by Kevin Gray of AcousTech mastering and the folks at Cisco Music. These
are elegant works and while there are many famous interpretations in the
back catalogues, I’m not so sure there is anything available in
the re-issue market. The RCA engineers (probably Lewis Layton with Richard
Mohr producing) have captured the ‘sound’ of the late 1950’s
Boston Strings just to my liking. I think if the original had sounded
as good as this re-issue, it would have been a big seller. Regardless,
we now have great sound here to match the excellent performances. Another
excellent Cisco release I’m pleased to have. Keep them coming.
Supplier: www.ciscomusic.com |
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