Johannes Brahms’ Op. 53 Alto Rhapsody (1869) for female solo voice, male chorus, and orchestra neatly divides into three parts: Yearning, Striving, and Imploring Divine Aid.
Brahms wrote the Alto Rhapsody as a wedding present for Robert and Clara Schumann’s daughter Julie. One cannot help but think that Brahms chose Goethe’s craggy text as a self-portrait hiding a declaration of love.
The Alto Rhapsody has always been very well-represented on recordings. My fave rave is Dagmar Pecková with Jirí Belohlávek and the Prague Philharmonia, in a 2-CD set that includes some very fine Wagner and Mahler. Above we have a very fine version featuring Italian contralto Sara Mingardo with the Lucerne Festival Orchestra and (surprise, surprise) Andris Nelsons, rounding out our unofficial Andris Nelsons Brahms week here at The Tannhäuser Gate. This video is from a concert that includes Brahms’ Symphony No. 2 and Serenade No. 2. The DVD is here and the Blu-Ray here.
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Brahms: The Four Symphonies
Boston Symphony Orchestra, Andris Nelsons
3-CD set and Downloads from BSO Classics
(Downloads are: 320 Kbs mp3; 24/96 AIFF; and 24/96 and 24/192 FLAC.)
Shawn Murphy, Producer and Engineer; Nick Squire, Recording Engineer; Robert Wolff, Editing Engineer; Tim Martyn, Editing Engineer and Mastering Engineer; Joel Watts and John Morin, Assistant Engineers; Brian Losch and Silas Brown, Production Assistants.
This review will be brief—but imperative. The official (so to speak) start of Andris Nelsons’ tenure as Music Director of the Boston Symphony Orchestra was a performance of the Overture to Richard Wagner’s Tannhäuser. The first CD I reviewed on this blog included that live recording, made the evening of September 27, 2014. (The other work on that CD is Sibelius’ second symphony, recorded later in Nelsons’ first season.) Furthermore, I named my blog after a Tannhäuser reference in the movie Blade Runner. So, all the breadcrumbs have been in plain sight; you should not be surprised that I am predisposed to be well-disposed to any and all new recordings from Andris Nelsons.
And it is not just this particular Humble Ink-Stained Wretch of the Fourth Estate who thinks the world of young Maestro Nelsons, either. Two CDs from Nelsons’ and the BSO’s ongoing Shostakovich series have won back-to-back Grammy awards in the category of Best Orchestral Performance. The BSO’s new 3-CD Brahms set is of that caliber.
By all means, you should click on the jump link for more detail, sound bytes, and some measure of justification. But the bottom line is: If the symphonies of Brahms are important to you, you should buy these CDs (or downloads), immediately. Taking into account interpretation, playing, and recorded sound, this set shoots right up into the top tier of recommendations in this music. Continue Reading →
This is the fifth (and the penultimate) installment in my series about choosing Pareto-Optimal equipment to make archival digital copies of vinyl LP (long-playing) phonograph records. The first part (an overview) is here. Part 2 (Rega’s Planar 3 turntable package) is here. Part 3 (Graham Slee’s Revelation M phono stage) is here. Part 4 (a USB computer interface to handle analog-to-digital conversion) is here. This installment covers software to make and edit a digital transfer of an analog LP.
In my immediately-previous installment, I tried to drive home the point that the kind of “computer audio interface” box that you can find at your local guitar-and-keyboards store is likely to have features you don’t need, while lacking features that you do need. This installment sings the same tune, but with different words.
You do not need the Pro Tools software suite in order to make an archival-quality digital transfer of an LP (or any other legacy sound-media format). (Neither do you need a lightning-fast tower computer with buckets of RAM.) Justifications, after the jump. Continue Reading →
Camilla Tilling: “loves me… loves me not…”
Opera arias by Gluck and Mozart.
Philipp von Steinaecker, conductor
Camilla Tilling grew up on a farm in a rural part of Sweden. Her parents sang in the local church choir. Hearing her parents sing with the choir when she was about six years of age, she later recalled thinking, “Well, this isn’t difficult. I could do the same.” There you go!
I have to confess that Ms. Tilling had not been on my radar screen before I saw a listing for her new SACD from BIS. But one can infer from the stratospheric level of her appearances over the past few years that she has a marvelous voice. From her management’s website: “Fresh from performances of Mendelssohn’s Elijah with the Gewandhausorchester Leipzig and Thomas Hengelbrock, Tilling has a busy concert diary ahead including returns to Teatro alla Scala for Beethoven’s Missa Solemnis under Bernard Haitink, the Berliner Philharmoniker for Mahler’s Symphony No.4 under Sir Simon Rattle, and the New York Philharmonic for Beethoven’s Symphony No.9 under Alan Gilbert.” Also: Brahms’ German Requiem with Andris Nelsons (Boston Symphony), Christoph von Dohnányi (New York Philharmonic), and Bernard Haitink (Tonhalle-Orchester Zürich); Bach’s Matthew Passion with Sir Simon Rattle (Berlin Philharmonic); and Bach’s B-minor Mass with Philippe Jordan (Vienna Philharmonic). Whew!
More, and sound samples, after the jump. Continue Reading →
I love to introduce people to pieces of music (or entire albums) I think should be parts of our shared cultural inheritance but which, for whatever reason, remain comparatively obscure. A prime example is Clifford Brown’s Clifford Brown With Strings. I also love to put together playlists that create a narrative arc (that’s fancypants-speak for, “tell a story”).
I was chatting with my friend Doug White, of the Philadelphia-area specialty high-end audio dealer “The Voice That Is.” The subject was the then-upcoming visit from John Atkinson, Jana Dagdagan, and Herb Reichert, all from Stereophile magazine. I volunteered to put together a playlist of high-resolution classical tracks that could do double duty as system-showing-off demo fodder while at the same time providing memorably engaging musical experiences. (Note, I think that the word “classical” is stretchy enough to encompass “Bridge Over Troubled Water.”)
I began sifting through my various lists of demo tracks. It soon became obvious to me that I could profitably fill just about one hour of listening by playing six tracks, all from the Norwegian audiophile label 2L. The tracks are in four parts: Two pairs of shorter tracks that share some aspects, and then two longer tracks from contrasting musical forces and genres. The gamut runs from a-cappella choral music through organ music and solo-piano music, ending with orchestral music. Continue Reading →
Berlin the Bear celebrates Christmas with some great audio gear! Photo by John Marks
This is the fourth installment in my series about choosing Pareto-Optimal equipment to make archival digital copies of vinyl LP (long-playing) phonograph records. The first part (an overview) is here. Part 2 (Rega’s Planar 3 turntable package) is here. Part 3 (Graham Slee’s Revelation M phono stage) is here. This installment covers the conversion of the analog signal from the phono stage into a digital-audio data file.
Unfortunately, as far as I have been able to determine, the various inexpensive solutions for making digital transfers of LPs are inadequate for making archival-quality copies. In this regard, I am not referring to “Best Practices.” I am only talking about “Non-Inadequate Practices.” I cannot recommend all-in-one “USB Turntable” or “USB Phono Stage” solutions for anything other than their convenience for casually ripping an LP to a CD-R. The reasons for this disinclination on my part appear after the jump.
I am a bit of two minds about this video. I’ve had a positive impression of John Mayer ever since I happened across his Room for Squares CD (Sony CK 85293), which I wrote about in Stereophile in 2003, thusly:
Rock singer-songwriter-guitarist Mayer is often compared to Dave Matthews, but for me
his combination of bedevilment over the fair sex, wry wordplay, smooth arrangements,
and low-key vocal delivery strongly calls to mind Michael Franks’ early work.
So, I start out predisposed to whatever John Mayer feels like doing at any time–even though I have not been wowed by all of it. Therefore, to hear him in the “Rock Power Trio” format with totally committed bass player and drummer is good, and to hear them cover one of Jimi Hendrix’ strongest self-penned numbers is even better. Continue Reading →
Film-score composer John Barry’s father owned movie theaters in England. So, in a sense, Barry (1933-2011) grew up in the movie business. (The family name was “Prendergast;” Barry used his first and middle names as his professional name.) The movie business and the music business are similar, in that fickle public tastes can make or break projects and careers. Also similar in that the process of actually getting paid can be… quirky.
John Barry composed the scores for 11 James Bond films including Goldfinger, as well as for Body Heat, Born Free, Dances With Wolves, Out of Africa, The Lion in Winter, and Midnight Cowboy. Barry’s film scores won him five Academy Awards and four Grammys. However, it is almost certain that Barry’s most popular (and profitable for him) film score was for a film that was decidedly unsuccessful upon its original theatrical release, finding a larger audience only on cable tv, and then a bit later with the advent of home video on VHS cassettes.
I wrote about Graham Slee’s UK-made Revelation M phono stage with selectable treble-cut and bass-boost controls (which enable proper playback of non-RIAA as well as RIAA 33 rpm records—and also most electrically-cut 78 rpm discs) here.
Bruce Kohl, facilitator of Graham Slee’s US in-home trial program, included a pair of Graham Slee’s Lautus analog line-level signal cables (with locking RCA phono-plug terminations at both ends–other terminations optional) in the package with the phono stage.
When listening for reviewing I try to avoid (if at all possible) changing more than one variable at a time. So, I had to put Slee’s interconnects aside; and, put-aside they stayed. I eventually did listen; but since you are reading this, you likely figured that out already. The story continues after the jump! Continue Reading →
According to pop-song authority Mark Steyn, there exist more than 100 recordings of Rodgers and Hart’s “My Funny Valentine“—by Chet Baker. Baker recorded the song as a trumpeter with Gerry Mulligan in 1952, re-recording it as a vocalist in 1954, a breakthrough performance that has been widely anthologized. I gather that for the remainder of Baker’s checkered career, audiences continued to demand it, because his last recording of it was in 1985.
The 1937 musical Babes in Arms (set in the imaginary town of Seaport, Rhode Island) is famous not only for “Valentine” (the name of the male romantic interest the song is sung to) but also the standards “The Lady Is a Tramp” and “Where or When.” Less well known but equally significant is that the show included a “dream ballet” by George Balanchine.
The song starts in C minor, and in emotional tone is both pensive and a bit anxious. The girl knows that her guy is a bit of a ditz, but the idea of losing him upsets her no end—the climax comes on the words “Stay, Valentine, stay.” Standout versions include those by Anita O’Day; Miles Davis; and Bill Evans with Jim Hall. And, of course, Keith Jarrett, here with Jack DeJohnette and Gary Peacock.
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