Friday, 28 October 2016
iTunes 12.5.2
Wednesday, 5 October 2016
XLD & Sierra
Those of you who use XLD to convert FLAC (and other audio file formats) to Apple Lossless format for use with iTunes, may encounter unexpected difficulties when using it after upgrading OS X to macOS Sierra. The solution is to download the latest version from:
Tuesday, 4 October 2016
Dies Irae from Verdi's Requiem.
For your viewing pleasure on YouTube, a fine all-Italian quartet of soloists, although non of the other three can quite match the power of impressive soprano Erika Grimaldi. London Symphony Orchestra, conducted by Gianandrea Noseda. The Mezzo was Daniela Barcellona, Tenor Francesco Meli, and Bass Michele Pertusi. Recorded live on 18 September 2016 in the Barbican Centre (where good orchestras go to die), London. Most enjoyable with the aid of a good pair of headphones (I used Audioquest Nighthawks).
Look for this to be released on the LSO Live label at some point.
Monday, 3 October 2016
de Vriend’s Beethoven Cycle
I wrote a while back about how the Mahler Symphony Cycle has more or less replaced the Beethoven Cycle as the reference standard against which modern conductors and orchestras seek to measure themselves. One of the problems is that there is almost a saturation in the Beethoven repertoire. It's been done so many times that there is less and less room for someone to make a new statement, or showcase a personal approach. Another issue may be that Beethoven’s canvas can be considered more limited and more limiting than Mahler’s, although that is an argument that tends to find more traction outside of professional music circles than within.
On the other hand, Beethoven’s relatively more rigid and formalized approach can be used to great advantage to emphasize subtle points of interpretation, particularly in the context of a complete cycle, in much the same way that a Black & White photograph often opens a window to a greater appreciation of composition and character than its colour counterpart. There is also the practical issue that it is possible, if one is of a mind to do so, to audition a 5-hour Beethoven cycle over the course of a leisurely afternoon, something that would be out of the question with a 13-hour Mahler cycle.
These days, for a conductor embarking upon a new recording of the Beethoven cycle, the vast legacy of Beethoven Symphony recordings that are already out there must surely loom dauntingly. I recall reading one reviewer’s assertion that there are over 400 complete symphony cycles alone, something I find astonishing. So, whatever your vision might be, there is a pretty good chance that somebody, somewhere, sometime, has already done something similar. Then there are the great reference cycles to be considered - what can possibly be constructively added to what the likes of Karajan, Toscanini, Klemperer, Bohm, and so forth, have already laid down?
Over the last three or four decades we have also been treated to the HIP (“Historically Informed Performance”) movement, which seeks to pay homage to the fact that musical instruments in Beethoven’s time were constructed differently, and hence sounded different, compared to contemporary practice. It, in effect, poses the question “What would these pieces have sounded like at the time they were originally created?”, the unspoken subtext being that whatever it was should most accurately reflect the composer’s intentions. It is a very valid question from an academic perspective, and makes for a fiery philosophical discussion.
In any case, none of this seems to have put any sort of brake on the continuing output of recorded Beethoven cycles, which continue to emerge. And it should be noted that some of them have been very highly praised. Harnoncourt, Chailly, Jansons, and Krivine have all produced well-received cycles during the last decade although I haven’t actually heard them all (or, in the case of Krivine, even heard of him!). The cycle I am going to report on here is from another conductor who, until I happened upon this cycle, also occupied a place on my ‘never-heard-of-him’ list. Jan Willem de Vriend. Do we call him “de Vriend” or just “Vriend”? I don’t know, but either way I’m already getting pretty fed up with the way my spell-checker keeps changing him to “Friend”, so apologies in advance if any of those escape my final proof-reading. Here, Vriend conducts The Netherlands Symphony Orchestra.
Carlos Kleiber’s 1975 recording of symphonies 5 and 7 with the Vienna Philharmonic stands out - and in my view stands head and shoulders above all others - as a landmark interpretation. In many ways, it established a new school of thought regarding Beethoven interpretation, but it would take more space than I have here to do that notion justice. Where, for example, Karajan’s superb 1962 cycle emphasizes phrasing, tonality, and an earnest sense of reverence, Kleiber’s 5th has a lighter, smiling face, and opens our eyes (ears?) to the importance of the tight rhythmic elements of the composition, something with which modern jazz musicians would feel an immediate kinship. Vriend’s new Beethoven cycle is very much of the Kleiber school, which, I suppose, is one reason I like it so much, since Kleiber, being possessed of a famously difficult personality, did not go on to record a complete cycle.
“Precision” is the first world that comes to mind when listening to the de Vriend cycle. It's what in Rock Music circles we refer to as tight. And Vriend would, surely, have been a drummer. Every phrase and passage, every instrument, is carefully delineated, so that we get to hear deeply into the music. The phrasing is light and airy, but tightly controlled. Tempi give the impression of being on the brisk side, but a stopwatch shows this to be mostly illusory. Above all else, there is a cohesion of purpose across the entire cycle, accomplished to a degree I have never previously heard. Listening through the entire cycle in one sitting, as I have done several times, each symphony flows naturally into the next, like movements within a single vast work. What comes across is a combination of conductor and orchestra very much on the same page - the one is very clearly buying quite enthusiastically what the other is selling.
Perhaps Vriend’s most remarkable accomplishment is the way he transforms Symphony No 1 from being a 'baby brother' symphony to fully formed mature work. Once the slightly plodding introduction gives way, it really makes you sit up and take notice. It is the closest thing you will ever come to hearing a previously undiscovered Beethoven symphony for the first time. Has de Vriend played fast and loose with the orchestration? There is a richness of tone and sureness of touch to the development that I haven’t previously associated with the Haydn-esque Symphonies 1 and 2. I certainly didn’t detect any evidence of such liberties being taken with any of the other symphonies that I know much better. Either way, as the closing bars of Symphony No 1 bray triumphantly out, your attention will surely have been captured, and you will probably find yourself staying in your listening chair as No 1 gives way to No 2, No 3, and so on. I've lost count of the number of occasions in this cycle where, as a particular movement closes, I just want to do a fist-pump and shout "Yes!".
The famous 9th symphony was the first of the cycle that I actually heard, and it prompted me to get the rest of the cycle. ‘Idiosyncratic’ was the word I wrote on my notepad. It too had me sitting up from note one, although first time through it was more ‘interesting’ than gripping. However, it served it purpose, and left me wanting to listen through again, having notched my expectations up accordingly. The 800lb gorilla in the 9th symphony is the choice of tempi with which to conclude the final 30 seconds of the last movement. It is quite possibly classical music’s finest and most satisfying climax. My problem is that, for me at any rate, Karajan’s 1962 performance rules the roost, and any departure from his inspiring rendition just sounds jarring to me. And de Vriend’s version DOES depart. Not in a good way. No fist-pump. Big let-down.
Like I said, more than anything else, what de Vriend has accomplished here is the most coherent Beethoven cycle I have yet heard. It is not perfect, though. While his performance of the 1st Symphony may conceivably be the finest on record, none of the other symphonies will likely make anybody’s personal ‘best of’ list. But this whole coherence thing is not to be under-rated. It has a magnetic personality of its own. More than with any other symphony cycle I own, listening to any one of these symphonies makes we want to listen to another, and another, and another. As a cycle, I have always had a soft spot for Karajan's 1962 go-round, but playing it now, I find myself hearing it as a curation of nine separate symphonies, rather than as a collective statement. What Jan Willem de Vriend has accomplished with this cycle deserves great credit. My feeling is that, as it continues to grow on me as a cycle - and it really does continue to grow on me - it will establish itself considerably in stature. I just wish the ninth didn’t wrap up so disappointingly!
One last thing to be said about this cycle. It was recorded by Northstar Recording in Holland. This group is making what are quite possibly the finest classical recordings in the world today. Given that the quality of classical music recording in general is today at an extraordinarily high level across the board, these could quite possibly be the finest classical recordings ever. Take advantage while you get the chance. Here I listened in DSD64. I also have some of their other recordings in their native DXD (24-bit 352.8kHz PCM) format. [What with Channel Classics also being Dutch, there must be something in the dunes and dykes over there.] It is SUCH a bonus when great music and great recordings come together.
These days, for a conductor embarking upon a new recording of the Beethoven cycle, the vast legacy of Beethoven Symphony recordings that are already out there must surely loom dauntingly. I recall reading one reviewer’s assertion that there are over 400 complete symphony cycles alone, something I find astonishing. So, whatever your vision might be, there is a pretty good chance that somebody, somewhere, sometime, has already done something similar. Then there are the great reference cycles to be considered - what can possibly be constructively added to what the likes of Karajan, Toscanini, Klemperer, Bohm, and so forth, have already laid down?
Over the last three or four decades we have also been treated to the HIP (“Historically Informed Performance”) movement, which seeks to pay homage to the fact that musical instruments in Beethoven’s time were constructed differently, and hence sounded different, compared to contemporary practice. It, in effect, poses the question “What would these pieces have sounded like at the time they were originally created?”, the unspoken subtext being that whatever it was should most accurately reflect the composer’s intentions. It is a very valid question from an academic perspective, and makes for a fiery philosophical discussion.
In any case, none of this seems to have put any sort of brake on the continuing output of recorded Beethoven cycles, which continue to emerge. And it should be noted that some of them have been very highly praised. Harnoncourt, Chailly, Jansons, and Krivine have all produced well-received cycles during the last decade although I haven’t actually heard them all (or, in the case of Krivine, even heard of him!). The cycle I am going to report on here is from another conductor who, until I happened upon this cycle, also occupied a place on my ‘never-heard-of-him’ list. Jan Willem de Vriend. Do we call him “de Vriend” or just “Vriend”? I don’t know, but either way I’m already getting pretty fed up with the way my spell-checker keeps changing him to “Friend”, so apologies in advance if any of those escape my final proof-reading. Here, Vriend conducts The Netherlands Symphony Orchestra.
Carlos Kleiber’s 1975 recording of symphonies 5 and 7 with the Vienna Philharmonic stands out - and in my view stands head and shoulders above all others - as a landmark interpretation. In many ways, it established a new school of thought regarding Beethoven interpretation, but it would take more space than I have here to do that notion justice. Where, for example, Karajan’s superb 1962 cycle emphasizes phrasing, tonality, and an earnest sense of reverence, Kleiber’s 5th has a lighter, smiling face, and opens our eyes (ears?) to the importance of the tight rhythmic elements of the composition, something with which modern jazz musicians would feel an immediate kinship. Vriend’s new Beethoven cycle is very much of the Kleiber school, which, I suppose, is one reason I like it so much, since Kleiber, being possessed of a famously difficult personality, did not go on to record a complete cycle.
“Precision” is the first world that comes to mind when listening to the de Vriend cycle. It's what in Rock Music circles we refer to as tight. And Vriend would, surely, have been a drummer. Every phrase and passage, every instrument, is carefully delineated, so that we get to hear deeply into the music. The phrasing is light and airy, but tightly controlled. Tempi give the impression of being on the brisk side, but a stopwatch shows this to be mostly illusory. Above all else, there is a cohesion of purpose across the entire cycle, accomplished to a degree I have never previously heard. Listening through the entire cycle in one sitting, as I have done several times, each symphony flows naturally into the next, like movements within a single vast work. What comes across is a combination of conductor and orchestra very much on the same page - the one is very clearly buying quite enthusiastically what the other is selling.
Perhaps Vriend’s most remarkable accomplishment is the way he transforms Symphony No 1 from being a 'baby brother' symphony to fully formed mature work. Once the slightly plodding introduction gives way, it really makes you sit up and take notice. It is the closest thing you will ever come to hearing a previously undiscovered Beethoven symphony for the first time. Has de Vriend played fast and loose with the orchestration? There is a richness of tone and sureness of touch to the development that I haven’t previously associated with the Haydn-esque Symphonies 1 and 2. I certainly didn’t detect any evidence of such liberties being taken with any of the other symphonies that I know much better. Either way, as the closing bars of Symphony No 1 bray triumphantly out, your attention will surely have been captured, and you will probably find yourself staying in your listening chair as No 1 gives way to No 2, No 3, and so on. I've lost count of the number of occasions in this cycle where, as a particular movement closes, I just want to do a fist-pump and shout "Yes!".
The famous 9th symphony was the first of the cycle that I actually heard, and it prompted me to get the rest of the cycle. ‘Idiosyncratic’ was the word I wrote on my notepad. It too had me sitting up from note one, although first time through it was more ‘interesting’ than gripping. However, it served it purpose, and left me wanting to listen through again, having notched my expectations up accordingly. The 800lb gorilla in the 9th symphony is the choice of tempi with which to conclude the final 30 seconds of the last movement. It is quite possibly classical music’s finest and most satisfying climax. My problem is that, for me at any rate, Karajan’s 1962 performance rules the roost, and any departure from his inspiring rendition just sounds jarring to me. And de Vriend’s version DOES depart. Not in a good way. No fist-pump. Big let-down.
Like I said, more than anything else, what de Vriend has accomplished here is the most coherent Beethoven cycle I have yet heard. It is not perfect, though. While his performance of the 1st Symphony may conceivably be the finest on record, none of the other symphonies will likely make anybody’s personal ‘best of’ list. But this whole coherence thing is not to be under-rated. It has a magnetic personality of its own. More than with any other symphony cycle I own, listening to any one of these symphonies makes we want to listen to another, and another, and another. As a cycle, I have always had a soft spot for Karajan's 1962 go-round, but playing it now, I find myself hearing it as a curation of nine separate symphonies, rather than as a collective statement. What Jan Willem de Vriend has accomplished with this cycle deserves great credit. My feeling is that, as it continues to grow on me as a cycle - and it really does continue to grow on me - it will establish itself considerably in stature. I just wish the ninth didn’t wrap up so disappointingly!
One last thing to be said about this cycle. It was recorded by Northstar Recording in Holland. This group is making what are quite possibly the finest classical recordings in the world today. Given that the quality of classical music recording in general is today at an extraordinarily high level across the board, these could quite possibly be the finest classical recordings ever. Take advantage while you get the chance. Here I listened in DSD64. I also have some of their other recordings in their native DXD (24-bit 352.8kHz PCM) format. [What with Channel Classics also being Dutch, there must be something in the dunes and dykes over there.] It is SUCH a bonus when great music and great recordings come together.
Saturday, 1 October 2016
Jenna Mammina - Close Your Eyes
When it comes to new releases, the gulf between commercial and specialist recordings in terms of sound quality is widening by leaps and bounds. The best specialist recordings are getting progressively better, while mainstream commercial recordings are getting progressively worse. [The one ray of hope is in Classical music, where the sound quality of commercial recordings is getting to be staggeringly good pretty much across the board.] The trouble with the specialist recording industry is that there is a bit of a disconnect between the artists and music that they offer, and the tastes and desires of the wider buying public. Most of this is down to simple economics. There is no money in the music industry, which seems an odd thing to say with Kanye West and Taylor Swift flying overhead in their private jets. But it’s true. Just as there’s no crying in baseball, there’s no money in music.
So as audiophiles we can cue up our audiophile prizes - here’s a stunning recording of Joe Blow with his guitar whispering his honestly-crafted and heart-felt folk songs; there’s a Jani Doe with her heart-on-her-sleeve piano arrangements of out-of-copyright classics (listen - you can hear the tears rolling down her cheeks); I have a copy of Burt Qwonk’s incredible virtuoso performance on the [insert name of a bizarre instrument that looks like a guitar with four necks]; then there’s all these other REALLY INTERESTING albums. No, wait, honestly… Once you put your cynicism to one side, some of them are REALLY GOOD.
Sorry, I was getting kind of excited there. No, they’re not. None of them can be mentioned in the same breath as Kind Of Blue, Ziggy Stardust, The Doors, OK Computer, Couldn’t Stand The Weather, Random Access Memories, etc, … the stuff you really want to play when the booze has run out and your audiophile buddies have all gone home.
Wait a minute. “Random Access Memories”?? I did NOT write that!
No. What I’d want - what we ALL want - is an an album of really good music, showcasing first rate material, serious-shit musicians, and a producer who won’t settle for sound that falls short of demonstration quality. I’d want an album that I’d enjoy listening to even if it was only on my car stereo. I’d want an album I’d find myself humming all the time. I’d want an album I can play to friends without having their eyes roll. In fact, they would like it so much they would ask me what it was. And I’d tell them - it’s Jenna Mammina’s “Close Your Eyes”.
I downloaded Close Your Eyes from Cookie Marenco’s Blue Coast Records store, “Downloads Now!” (exclamation mark included). If you don’t know who Cookie Marenco is, you’re either no audiophile, or you’re living under a rock. She’s been in the music business since … a long time ago. I imagine she must have recorded “Nobody Does It Better”, because nobody does, although she would have been about 3 at the time. Now she has her fair share of “honestly-crafted and heart-felt folk singers”, and all kidding aside, some of them are seriously, seriously good, and her catalog, while limited, is as good as any in the no-compromises audiophile market. But I don’t think she has any four-necked guitar virtuosos (actually, if there are any, Todd Garfinkel is probably recording them).
Occasionally, when the budget is there, Cookie will show you what the extra dollars can bring, whether that is the cost of talented session musicians, or the cost of the extra studio time required to assemble a multi-tracked recording. And you should know that the caliber of session musicians Cookie can assemble includes folks who won’t even return your phone call ... in fact their agents won't even return your phone call. Jenna Mammina is a talented singer who inhabits the middle-of-the-road pop scene most readily identified with Norah Jones. Jones is a superstar whereas Mammina is not. Such are the vagaries of the music business. Listening to Close Your Eyes, you might wonder why.
Close Your Eyes is a sort of “Best Of” album, comprising tracks taken from different recordings Cookie has made for Jenna going back about ten years. Mostly these are recorded to 2” analog tape, although a couple were recorded directly to DSD. For “Close Your Eyes” the original tapes were remastered to DSD256 using the very latest Pyramix equipment. The results are quite astonishing. Most tracks comprise Jenna on vocals, backed by Bass, Drums, Keyboards, and assorted other instruments including Guitar, Soprano Sax, and Accordion. Most of the instruments are recorded and mixed with a light touch, the whole album having a seriously laid-back feel, but the bass - OOH, THE BASS - is just spectacular. I don’t mean Jaco Pastorius spectacular. I mean absolutely flawless technique, a musical approach that doesn’t intrude, an instrument of the highest caliber, and a recording technique that captures it all perfectly. You might argue that it is mixed about 6dB too high, but then maybe you just don’t appreciate tasty bass.
From the very first track you are enveloped by the music. A laid-back take on Steely Dan’s “Dirty Work”, it immediately sets the tone for the album. The arrangement is slick, highlighted by a soprano sax solo, and suits Jenna’s breathy vocal to a tee. Immediately, you are aware that you are in the presence of serious musicians. Next comes “Lotus Blossom” an old track from the 40’s, brilliantly evoking a Parisian Boulevard with a dash of accordion. It all comes together so well. “You Can Close Your Eyes” is a James Taylor song, with Jenna accompanying herself on piano. As she invites you to close your eyes, there is little else that you want to do in that moment.
Next up, and quite possibly the best cover I have heard of it, is Elvis Costello’s “Watching The Detectives”. I’m sure Costello himself would approve. The vocal delivery manages to evoke a hint of hip-hop drawl which gives it a contemporary vibe. Chris Izaak’s “Wicked Game” is the only track on the album that at first seems out of place. Just Jenna with a simply plucked guitar accompaniment, but somehow I find myself thoroughly drawn into it. I think it is all down to how artfully the vocal is delivered, and the empty sound of the guitar just catches the emotion perfectly. “Running To Stand Still” from U2’s Joshua Tree album is probably the most ambitious track on the album. But arena rock does not translate so well to the intimate cafe-lounge setting, and you find yourself waiting for a slow-building climax that simply isn’t delivered.
Dr. John’s “Pictures and Paintings” is offered as a straightforward jazz standard with piano trio, but segues into my favourite song on the album, Tom Waits’ “I Hope That I Don’t Fall In Love With You”. Just Jenna accompanied by piano, a great song, sung with great feeling. It’s odd that, on an album notable for its instrumental mixes, I should pick out the simplest one, but such is life. “Don’t Let Me Be Lonely Tonight” is another James Taylor offering presented as a soulful jazz number. Once again we have that delicious bass playing, the laid-back drum licks, and the keyboards doing their classic Hammond thing. What’s not to love. The album closes with “When I’m Called Home”, an Abbey Lincoln song, taken from an album Jenna did of Abbey Lincoln covers. Abbey Lincoln? You might well ask.
So this is one seriously good album. The songs are of a uniformly high standard, and quite frankly, is easily as good as anything from the Norah Joneses of this world. I have played it hard and often. Even my wife nodded appreciatively, which doesn’t happen all that often. In fact she asked me to turn it up, which NEVER happens. And despite having all those strikes against it, it stands as an absolute reference when it comes to recording quality. I love it.
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