Just as Rossini had accomplished with his brilliant String Sonatas twenty years earlier, Mendelssohn, too, was absurdly young when writing his wonderful String Symphonies (1821–3).

The repertoire was hitherto unknown to me. The music is charming and belies the youthful years in which they were composed.

There are 12 string symphonies, and record label cpo (based in my old stomping grounds of Osnabrück, Germany) has spread them over three volumes. I’m late to the party with Vol. 3. No matter when the music is performed and recorded so brilliantly. And I have no reason to think the other two volumes are at least as good. So, fans of Mendelssohn and beautiful string music, grab Vol. 1, 2 or all three.

Last month, I received a very pleasant email from Parisian-born, Manhattan-based tenor sax player Jerome Sabbagh asking if Audiophilia would be interested reviewing his latest release on vinyl. If it’s jazz, blues or classical vinyl, I’m usually a hard yes. No Filter is a collaborative project with guitarist Greg Tuohey (songs are original and about 50/50 on the record between Sabbagh and Tuohey) with bassist Joe Martin and Kush Abadey on drums.

I received the album promptly and scheduled it for some late night listening and a full review session the following day. The album had me at late night. And while this wonderful record was playing, I checked out the back cover. I discovered some serious vinyl and analog shenanigans going on. The LP was recorded live to 1/2 inch, two track analog tape at 30” per second and was mastered and cut by no less than the master himself, Bernie Grundman. The quality shows in the artwork, the gentle and tactile recording quality and the mastery of the performances from all four players (no edits or overdubs on the album).

I have been a long time fan of Claudio Abbado’s Brahms since my father bought me an early Abbado DG Brahms LP in 1972 (Serenade No. 2; Academic Festival Overture). Grade 8 in Canadian School years. I was never a fan of the Serenade, but Abbado’s Academic was stunning and sounded as such with Karajan’s remarkable band. This new Esoteric release is a remaster of the late 80s, early 90s DG Brahms set recorded at the beginning of Abbado’s reign with the Philharmoniker.

I never owned this particular set, but I very much admire anything Abbado conducted in those days with the LSO, Boston, Chicago, Vienna or Berlin. Such a consistent standard with five great orchestras over a large repertoire. His consistency can be found in this re release through all four symphonies and sundry orchestral works.

For those of you not familiar with vinyl Direct to Disc technology, think of it as cutting out the recorded medium middle man. New to me Berliner Meister Schallplatten explains the process as:

The recording is made onto a lacquer disc. With a galvanic process this lacquer disc is turned into an extrusion die. Every vinyl disc is thus an original copy of this recording. Because lacquer discs and extrusion dies are destroyed or worn out during the manufacturing and multiplication process, the pressed vinyl discs are ultimately the best possible reproductions of a direct-to-disc recording.

Lacking a storage process on tape or as a computer file, there are very short and direct signal routes. The instruments' sound waves are transformed into electrical oscillations by microphones, and cut into a groove on the lacquer disc by the cutting stylus directly and without any delay. Direct-to-disc recordings do without digitizing the music, and also without a lossy storage on analogue tape.

I usually write music reviews, especially classical, with my classically-trained hat on, commenting on performance, interpretation, comparables, etc. My audiophile nature kicks in at times and posts commentary in each review, for sure, but the main event is always the music.

For this review, it’ll be primarily about the sound.

What is the lover of classical music, Brahms, von Karajan, the Berliner Philharmoniker, and especially of reissue vinyl, getting from yet another version of their legendary performances? Karajan’s Brahms cycle was released originally on vinyl by Deutsche Grammophon in 1964. There were variations/pressings of the vinyl, both individually and in box sets, then on DG CD, followed by lots of different releases in that form. More recently, streaming, and now the limited edition vinyl reissue.

Seong-Jin Cho is the young Korean phenom who won the XVII International Chopin Piano Competition in 2015, joining such winning luminaries as Martha Argerich, Maurizio Pollini and Krystian Zimerman. A healthy ratio of winners of this particular competition go on to renown and legendary status.

Even though the 2015 competition was filled with very gifted pianists, Cho was the jury and audience favourite. He’s a very refined musician with a wonderful aesthetic and great technique. A worthy winner.

Recordings of The Nutcracker usually come thick and fast around the holidays. Orchestras and ballet companies have made fortunes performing the perennially wonderful music and telling the story. If only Tchaikovsky knew? And, what about Disney?

I usually bin the idea of listening to the ‘Suite’, be it Nutcracker or Firebird—both Russian fairy tales sound much better in their original, ‘full’ guise. As for ‘Suites’, composers and publishers like to cover every financial angle, Stravinsky, especially! As for The Nutcracker, there is so much glorious music in the full ballet, it’s the way I think it should be enjoyed. If you must have the Suite, The Royal Ballet Gala on RCA vinyl or Rostropovich/Berlin/DG on CD are the way to go.

As chosen by Audiophilia's Publisher,  Anthony Kershaw. 

Images link to Audiophilia review for your information. 

Available at most online sites. Reviews have to be published in Audiophilia during 2017 and the recording released internationally in 2017. Media and label noted under the image.

If you visit the top vinyl sales websites such as Elusive Disc and Acoustic Sounds among others, the quality vinyl lists are fairly similar. All the familiar suspects—RCA, Lyrita, EMI, Mercury, Blue Note, Argo, Decca—populate the must haves. And many fabulous reissues also are cross referenced (Testament, Speakers Corner, Classic Records, etc). 

I’ve been reviewing lots of cartridges and phono stages lately and have been deep diving into my vinyl collection to add a little spice to the reviewing process. 

I began the subject of this list in Vol 1 and continued with Vol 2 with individual record releases. We’ll continue with box sets that may or may not be famous, but should be in any audiophile’s collection.

If you visit the top vinyl sales websites such as Elusive Disc and Acoustic Sounds among others, the quality vinyl lists are fairly similar. All the familiar suspects—RCAs, Lyritas, EMIs, Mercurys, Blue Notes, Argos, Deccas—populate the must haves. And many fabulous reissues also are cross referenced (Testament, Speakers Corner, Classic Records, etc). 

I’ve been reviewing lots of cartridges and phono stages lately and have been deep diving into my vinyl collection to add a little spice to the reviewing process. 

I began the subject of this list in Vol 1.

I began this review period disliking much of what I heard from the first, casual run through of this new set of Brahms Symphonies by Daniel Barenboim and his Staatskapelle Berlin. My ears were perked, but the style was not what I was used to.  

A few weeks later, with many cycles heard under my belt, I felt far more comfortable with Barenboim’s very Romantic and 'urtext'  approach.  

Some of my initial reservations were clouded by my reverence for the Brahms of Karajan and Joachim—full bodied and played with a Ferrari orchestra, the Berlin Phil. 

This July 2018 release is the third of Andris Nelsons' DG Shostakovich Symphony cycle and contains live performances of the 4th [1936, but withdrawn 'till 1961] and 11th [1957] Symphonies. Nelsons is performing his Shostakovich cycle with the Boston Symphony Orchestra.

The first two instalments were remarkable successes, with definitive performances of the 5th and 10th Symphonies.  The 5th was paired with the 8th and 9th, the 10th stood alone. To be fair, not much could follow the 10th, what I consider the greatest symphony of the 20th Century. And therein lies the problem with a complete Shostakovich symphony cycle. Of the fifteen symphonies, I think six (1, 4, 5, 7, 8, 10) are masterpieces interspersed with lesser patriotic or dramatic works, and even a couple of jingoistic duds (2 and 3). 

Ralph Vaughan Williams (RVW) (1872 – 1958) is the composer who best captures the elegiac nature of 20th Century English classical music. Unique works featuring flowing melodies, gorgeous harmonies, and with few exceptions (the war-like 4th and 6th Symphonies, among them), gentle flowing rhythms. Pieces like The Lark Ascending, Fantasia on a Theme by Thomas Tallis and the masterpiece on this recording, Serenade to Music, represent Vaughan Williams at his pastoral best.

This recent release on the Chandos label features four beautiful works by RVW played by the Toronto Symphony Orchestra (TSO), conducted by its outgoing maestro, Peter Oundjian. The recording is a commemorative tribute to Oundjian featuring works closely associated with him during his career. 

A delightful, recently released Navona Records CD arrived at the office last week. The latest recording by Brooklyn-based, Serkin-trained pianist Beth Levin called Bright Circle. 

Bright Circle contains masterpieces of Romantic piano literature by Schubert (Sonata No. 20) and Brahms (Variations and Fugue on a Theme by Handel), and a wonderfully passionate, neo-romantic piece for solo piano, Ode to Music (2015) by American composer David Del Tredici (b. 1937).

Levin has a fluent technique, produces gorgeous tone with refined musicianship and has bold musical ideas. Throughout the album, ‘gumption’ is what came to mind. Levin has her mind set on the musical images and story arc she wants to convey. And with her gifts, it’s a rich listening experience.  

I did not know the Gundula Janowitz version of Strauss’ great final work, Four Last Songs. I owned the performance on just about every format, even cassette, but purchased for the world class performance of Death and Transfiguration, a Side 1 to end all Side 1s. Stupid, I know! 

A favourite of Karajan, Janowitz’ voice has the best of both worlds—as pretty as Kiri and Kathleen with the gravitas and weight of Jesse and Renée. As such, she can float Strauss’ stratospheric demands like a coloratura then dig down for the low register lines with trombone power. All the while interpreting the great German poems by Hesse and von Eichendorff with deep reverence and musicality. 

Whither, the major symphony orchestra concertmaster? If your job is in England, like the London Symphony Orchestra's Roman Simovic, your title is Leader.

For sure, there have been concertmasters of the past that had a solid career outside of their main gig—solo works, chamber music, etc. The best of them could rely on a couple of concerto performances a year, with their own orchestra, or the best of them, with first class ensembles (Boston Symphony's Joseph Silverstein as example). But, for violinists aspiring to be a soloist, the pool of concert appearances is relatively thin. The pool has to accomodate stellar violinists such as Perlman, Mutter, Hilary Hahn, Gil Shaham, and many others. So, for many fine violinists, concertmaster it is. Hey, as we say, 'a gig's a gig'. 

I first heard British violinist Thomas Bowes on a Signum Records release. It was a recording of the Walton and Barber Violin Concertos conducted by the wonderful violinist, Joseph Swensen, with the equally wonderful Malmo Opera Orchestra. Both performance and recording were superb. 

If you know that recording, you will appreciate the art of a very special violinist. Bowes has the technical gifts of many of the virtuosos seen before the public, but he brings much more to his performances than many fiddlers spinning yet another Mendelssohn. There is deep commitment, musicality, and yes, risk. Even on recordings, as heard here on this marvellous new set of CDs from Navona Records, you will thrill at the risks that Bowes attempts, both with tempo and in dynamic range . It makes for an exceptional listening experience.