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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This can serve for St. Valentine’s Day, and for President’s Day too!
Abraham Lincoln might have been a log-splitter who had been born in a log cabin; but, at some point in his adult life, Lincoln turned into a true opera lover. (Please remember, opera was what entertained people before movies came along.) In the month before he was murdered, Lincoln was at Ford’s Theater to hear Mozart’s opera The Magic Flute (which had to have been sung in German, because there was no English-language performing version at the time).
More? Lincoln’s favorite opera was von Flotow’s Martha, which was performed as part of the festivities attending his second inauguration. Although German in language, Martha was French in style, with a setting and a plot entirely made up of English-Romantic story elements, such as the two bored upper-class girls who, on a lark, decide to enlist as hired servants. Yeah, right. Of course, one girl finds true love, fast. The upper-crusty beloved, of course, has agonies over his having fallen in love with a serving girl. But, how can our well-born heroine admit that she was an imposter? Or impostress?
Lincoln loved it. He most likely heard it in the original German, though Martha was such a wildfire hit that versions in French and Italian came quickly (with English a bit later). Even later, Enrico Caruso made parts of the Italian version popular hits on record from 1906 on.
More, after the jump. Continue Reading →
All children know that February 2 is the day that the Groundheifetz emerges from his burrow, and…
Well, as I said, everybody knows that.
I had a visceral bad reaction to most of the famous RCA stereo releases—on both sound and interpretative grounds—however, some of his early mono work is actually quite relaxed, and very musical (as well as collegial). Of that era, his Glazounov Concerto with Barbirolli and the LPO stands out.
So, Happy Birthday to a cultural icon—one whose name (as is the case with Einstein’s) is also a common noun.
As in, “He’s no Heifetz.”
Click the jump link for a 1949 Pabst Blue Ribbon magazine beer ad with Heifetz as a celebrity endorser. Continue Reading →
I last featured Gilad Hekselman in some lovely electric-guitar J.S. Bach. Here he is now in a trio (Gilad Hekselman – guitar; Joe Martin – bass; Marcus Gilmore – drums; and special guest Jeff Ballard – drums), in a pensive modern mood, shot in pensive black-and-white. No need for much commentary from me; the lovely music making speaks for itself.
Gilad’s album Homes is here. Just buy it!
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Photo by John Marks.
This is the third installment in my series about choosing Pareto-Optimal equipment to make digital archival 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. But even if you are not planning to make digital transfers, you might be interested in my thoughts on turntables and phono stages.
Phono stages are necessary to (1) amplify the faint electrical signal generated (literally) by the phono cartridge, and (2) reverse the drastic frequency changes imposed on the music signal in order to make LPs playable. If an LP were to be cut without treble pre-emphasis and bass pre-de-emphasis, the high treble would be lost, while the deep bass notes would cause the stylus to jump out of the groove. Continue Reading →
Richard Wagner is certainly a problematic character, historically, musically, and ethically. The short answer is that bad (or at least morally compromised) people can make great art. Wagner’s stated aim was to destroy the established order and to transform established social relationships. (That’s why Wagner’s personal behavior often involved sexual betrayals.) Wagner himself wrote:
I will destroy each phantom that has rule o’er men. I will destroy the dominion of one over many,
of the dead o’er the living, of matter over spirit; I will break the power of the mighty, of law, of property.
— (Richard Wagner: “The Revolution.” Printed in Volksblätter No. 14, Dresden, Sunday April 8, 1849.)
Ironically enough, Wagner’s stunning success as a composer of music dramas was quite dependent upon the generosity of the newly rich (who craved the social prestige that came from being associated with a celebrated composer), and later, the patronage of the nobility. So much for overthrowing the established order—at least in the real world. Continue Reading →
Not all the great music has already been written. Nor is it the case that in order to be great, music must have been written more than 100 years ago. A prime example is Morten Lauridsen’s Nativity motet “O Magnum Mysterium.” Yes, the overall style pays tribute to historical forms; but, there is a ray of modern light, as the composer explains here.
Lauridsen’s “O Magnum Mysterium” is one of the most oft-performed classical compositions of the 20th century. The reasons why should become obvious upon listening.
Wishing all a Merry Christmas.
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Part 1 covered recorded media (CD boxed sets, and an SACD/CD hybrid). Part 2, concerning recommendable hardware gifts, will be short and sweet… three buy-them-once-and-buy-them-right pieces of audio gear.
To learn their identities, though, you will have to click through to the jump page.
Photo by Peter McGrath, MFA
My colleague Mike Zisserson has already written up this event for Positive Feedback Online. Therefore, my coverage will be a bit broad-brush.
This open house took place Saturday afternoon December 3, at Fidelis Music Systems‘ Nashua NH store. While the featured brands were Wilson Audio Specialties and MSB Technology, I was tickled that Wilson Audio’s Peter McGrath had brought along two of my Esperanto Audio digital cables, one for the S/PDIF signal, and the other for the Word Clock connection. More, and more photos, after the jump.