Science gets closer to the wonders of the past

This article roots from a completely different source than usual. It is not caused by a listening experience, yet rather a reading experience. The Dean of science journals, Nature, has in its issue from November 30th, a very interesting brief communication on the wood that Stradivarius and Guarneri del Gesu used to build their violins. It is the beginning of a salutary scientific look into the mysteries of some of the greatest creations of humankind. To give you a taste of this work let me quote the authors on the key aspects. They motivate their research as such: "Whether or not the great Italian violin-makers used wood that had been chemically processed in order to preserve it and enhance the instrument’s sound quality has long been a contentious issue1,2." Then, they go and briefly describe the methods they used: "Here we use nuclear magnetic resonance and infrared spectroscopy to analyze organic matter in wood taken from antique instruments made by Stradivari and Guarneri del Gesu." Their results are intriguing: "Our results indicate that the wood used by the masters could indeed have been chemically treated, a technique that may inspire an approach to violin making that is more chemistry-based." You can read the details and the actual data in the article.

For those of you that are not completely familiar with the subject of the paper I will try to give you a flavor of these exquisite instruments. Both violin makers families, as more than just one member was in this business, built their instruments in the second half of the seventeen and the first decades of the eighteen centuries. Both learned the art of violin making from Nicolo Amati yet, most importantly, both tried to create better instruments. And while they did that they created instruments with a very particular sound. At least for me the Guarneri is unsurpassed in the way it produces the high end of the spectrum. Not only is it full bodied and tonally perfect but is also sweet and almost form a different world. Here I definitely prefer it over Stradivari. At the middle of the spectrum Stradivari comes ahead. The amount of tone and its beauty are above any other instrument. It is rich and manages to bring out all the saps of the earth. Don't get me wrong, Guarneri is close and both are far away from any competition. It is just that here Stradivari reaches the absolute. At the lower end of the spectrum it is extremely difficult to set them apart and is just a matter of the hands they're in and your personal preferences. Sometimes I hear the Guarneri a little more "polished" and more "human" if you want. Nonetheless the Stradivari makes up in power and transparency. It is a tie as it is the whole "competition". It is an immense pleasure to listen to any of them as often as you have the chance.

Allow me to point to two cds that can illustrate best the amazing qualities of these violins. I picked one for each, both in the hands of favorite violinists: Nathan Milstein and Ruggiero Ricci. Nathan was playing on a Stradivari and in my view he is a perfect example of what can be made out of such a great instrument. His tone is sublime and his artistry makes the instrument live the most accomplished life. One of his great recordings is described in extenso here and you can hardly find a better illustration for the instrument (the quality of the recording is gorgeous).

Ricci on the other hand played a Guarneri and him too makes an almost perfect case for what this instrument can do. Below you have details on one of the reissues of some of his recordings in impeccable sound. It doesn't get any better than this. Give them a try and I am pretty sure one question that will pop out is: How could those guys build such wonders? I really hope that the research we are talking about here will go on and will give us some insights in an old and, obviously, extremely efficient technique, the geniuses of the men aside.

And because they form a special case I will also mention here the Alban Berg Quartet. One of the very special things about them is that all the instruments are Stradivari. The result is obvious on the spot as the tonal quality of the quartet is one of their landmarks. All over their recordings their artistry is helped hugely by their beautiful instruments. Clearly that's the case in their recording of Beethoven's String Quartets, one of the great victories of the recorded music.

Spectacular sound

What happens if you put together one of the most beautiful tones in violin playing history, great musicianship and exquisite sound? You get a CD that becomes the "show-off" piece of your collection, for your musical taste as well as your sound system. JVC does that with a new breed of compact disc: the XRCD. The initials stand for extended resolution CD and the audio quality is exquisite. The best part about these cds is that you can play them on any common CD-player. They do not require a special player (like SACDs or DVD-Audio for example) yet the listening experience is greatly improved and gets dangerously close to the fore-mentioned formats without any technological hassle on your part. I have to agree entirely with the guys at JVC when they say: "Obvious gains in clarity, transparency, dynamics and warmth of XRCD can be heard by all. XRCD allows the listener to hear what the producer and artist intended to hear the sound of the original master tape." All the improvement comes just from much better care and attention payed to the mastering and manufacturing process so the source sound gets truncated to the minimum. You can learn more about the proces here.

The first experience with a XRCD was one of their jazz releases (Patricia Barber, Companion, a generous gift from a friend) and one of the results of that listening experience was an itching curiosity about how a symphonic orchestra might sound like on that support. The occasion to fulfill that curiosity rose pretty soon, once I received my copy of the XR with Ruggiero Ricci. And I just don't have enough words to describe the excitement this cd produced. Ricci is one of my favorite violinists, mainly because of his gorgeous tone on that amazing Guarnieri violin of his. But never have I heard the full body and the divine soul of that violin like on the XRCD. It fills the ears with sound like an autumn vineyard fills your nostrils with all of Earth's aromas. Once you manage to get passed just a little the larger than life sound of the violin a lot of things strike you from all directions: the orchestra occupies a space a lot larger than you ever noticed before, all the instruments are clearly delineated and their personality is displayed entirely with a sonic detail impossible to reach for a regular CD. Did I mention the dynamic? or the air between the instruments or the transparency?

I will just mention the content of this XRCD: Bizet-Sarasate's version of the Carmen Fantaisie, Sarasate's Zigeunerweisen, and Saint-Saens' Havanaise and Introduction and Rondo Capriccioso. A great program which in the hands of Ricci is just pure gold, is made an absolute must by the impeccable technical support of the XRCD. For me it really became the "show-off" stone of my collection as it appeals in equal measure to every kind of listener and the rendition of the violin sound as well as the orchestra behind it makes the most convincing case for the new format. JVC's collection is growing monthly by new additions both classical and jazz so you might have enough options to choose from. I am very confident that you'll enjoy it very, very much.

Don Giovanni at Salzburg Festival

It's not often that things like this opera production happen. There are couple of reasons that make this an historical monument of the recorded music. First is that makes us witnesses to the efervescent period after the WWII. People that felt that are the executors of the testaments of the musical geniuses of the world dedicated their creative power entirely to bringing the great creations of humanity to life. Furthermore it's the video document of Wilhelm Furtwangler and his creative power couple of months before his death. Last but not least is the unique occasion of seeing together arguably the best generation of Mozart interpreters. And all in one of the first, certainly the best, video opera recordings.

As music is the main interest of this blog I will try to get to it right after I mention couple of things about the stage production itself. It is the best I've seen. The set design, the costumes, the lights are all put into place with exquisite detail and attention to the creation of the best environment for some of the greatest music ever composed. Every scene of the opera takes place in an inspiring set. Everything culminates in the scene of Don Giovanni's punishment where a nice, happy dinner place transforms into the gates of hell with flames and haunted souls that swallow the sinful Don.

The cast is as close to perfect as it could be. In the title role you have Cesare Siepi who has to be the greatest Don ever. I haven't heard Pinza in this role but what a character Siepi portrays and to what unbelievable level. He doesn't act, he just is Don Giovanni. You have to see to believe the level of self-confidence, his unthoutful escapades into the lifes of others. Served by an amazing vocal instrument, in beautiful shape, Siepi lives every heart beat of the Don. He creates with exquisite detail the most subtle nuances of his character experiences, from the rude and mean behavior towards his servant (Leporello) to the devious sweetness he calls Elvira's maid with ('Deh, vieni alla finestra') all the way to the fearful defiance of the Commendatore's statue, in his last scene. An unique performance hardly to be bettered by anyone in any era.

It is a difficult job to partner such a powerful Don, yet this production offers an excellent match in Otto Edelmann. Great voice, great actor and a perfect scenic presence, Otto Edelmann creates a very believable and likeable Leporello, proud of his master yet quite unsatisfied with his over the edge life, not so innocent yet not strong enough to escape, with a lot of humour, a very fine companion of Don Giovanni indeed. The other two male characters are also excellent with a plus for very nice stage performance for Walter Berry in the role of Masetto. Anton Dermota's Don Ottavio excels in nobility and fortunately enough his stage appearances do not involve excessive acting. But he sings heavenly and for me it's the most rewarding tenor part in all the Mozart operas I've heard so far. Walter Berry makes Masetto a key character of the opera, one you'll remember and you'll like throughout. A very compelling evidence for what will be a leading figure of German artists.

The ladies are as good. Elisabeth Grummer is a very convincing Donna Anna. Her pain and dispair in the face her father's tragic death and her relentless pursuit of an impossible peace are portryed with dignity in a very convincing manner. Lisa della Casa manages to draw a beautiful image of an elegant and sincere Donna Elvira who lives the drama of loving the Don. She sings heavenly and everything falls in place with such veridity. Finally, Erna Berger, recreates Zerlina, the country girl. Again the character comes to life so real, in flawless music and voice. Her duet with Don Giovanni is one of the highlights of the opera ('La ci darem la mano') and alongside Walter Berry's Masetto they create a most lovable couple.

Above all we recognize and bow with the deepest respect and admiration in the face of the creative genius of the greatest conductor of the last century, Wilhelm Furtwangler. He is the will and the driving force behind it all. He manages to build perfect sonic architecture with his lengedary sense of musical drama. He conducts the Vienna Philharmonic to heights of musical expresivity (and they respond, to their praise, admirably) and builds the sound stage for the soloists. Everything is so right (I hope by now you agree with me that speed cannot be a measure for good music), makes so much sense and the balance between the orchestra and the voices is kept perfectly. You can almost see his enlightning influence in every phrase, at every moment of the opera. Another remarkable achivement from the great man.

Last but not least I have to appreciate the technical achievement that took place with the production of this opera. For the year 1954 everything is great. The sound is an excellent mono, the colors are vivid, the stage lightning is captured to full effect, everything copes with the sense of an unique event. A sincere and well-deserved bravo to the whole technical team.

You owe to yourself to see this. I didn't see enough to say this is the greatest opera dvd ever, but it certainly is there in the Pantheon, both as production and music. And what music this is!!!!

Brendel's Schubert

Whe you walk, as I did the last couple of weeks, through the colossal pieces of the sonorous architecture reaching a cd like this is like entering a old house hidden in the belly of a huge city, with a beautiful garden unbelievably quite and close to nature. This was my feeling when I spent the time listening to it. Yet again I found myself enjoying so much the talent of Alfred Brendel and telling myself again that I have to get more of his music. Not the first on my list of favourite pianists he still has to dissapoint me. His Mozart is beautiful, his rendition of Beethoven Bagatelles is one of the best I know and now, his Schubert is in a class of its own.

The most amazing thing with Brandel is, for me, the amazing sensitivity he manages to express through music. Everything is heartfelt and human. His technique is exceptional and serves the expression to full extent. Schubert's music is one the best vectors for his musicality. Although I prefer Arrau's take on this music, I found Brendel to be a refreshing alternative. This cd is a nice glimpse into Brendel's view on Schubert. The main feature is the sonata D. 959. A beautiful version, very articulate, shining and radiating sincere and heartfelt music. Brendel takes a lighter approach compared to Arrau yet the whole scenery is there in beatifully crafted detail. It leaves no need for more and the audition leaves you with a beautiful feeling over the unbearable lightness of being. The other pieces on this cd are treated by the Austrian pianist with the same care and attention to detail. The Hungarian melody is a shocker. Such a small piece unfolds such a powerful drama that is hard to believe. In three minutes an entire destiny is pulsating to a painful climax and than abandons itself to peace. It's a little musical jewel and it's the only place I know of you can listen to it. Beautiful! The same qualities are manifest in the 16 German dances. Brendel manages to bring to light their individual character in a beautifully contoured performance.

The way Brendel plays Schubert give all the reasons for him being a living legend and dean of the contemporary pianists. For those who are not familiar with him or his approach to Schubert this is a good start. It is a most rewarding experience.

Giulini - The Chicago Recordings

In the history of music making there are quite a few examples of great partnerships. The partnership between Chicago Symphony and Carlo Maria Giulini is without a doubt one of them. Equally praised by the virtuoso enssemble and the conductor, it's a partnership most cheered by the listeners all over. Here you have probably the most "european" of the american orchestras, brilliant in tone and technique, and one of the podium greatest figures of the last century. Maybe not such a good friend of cameras and news reporters as his contemporary Karajan, Giulini's work forms some of the pillars of the Recorded Temple of Music. The rewarding booklet of this anniversary box makes a pretty good case about the special chemistry that formed instantly between the conductor and his orchestra. And the most rewarding thing is the responsiveness and the cohesion apparent throughout all recordings.

In this 4 CDs box one can find everything from Beethoven to Stravinsky. In a beautiful recorded sound, spacious and detailed, one can hear the trademark Giulini interpretations: beautifully shaped fluid architecture, with insightful details, perfect balance of tempos, razor sharp precision that allows the display of musical ideas in a whole that breathes humanity. I would like to highlight three of the recordings present on these cds: Berlioz's dramatic symphony Romeo and Juliette, Beethoven's 7th symphony and Brahms' 4th. I picked these because each of them displays a certain characteristic of Giulini's style.

In Berlioz's work he manages to recreate, through a unbelievably responsive and expressive Chicago orchestra, the whole emotional universe of the romantic drama. They manage to fully convey the tension that puts everything in motion, as well as to recreate heartbraking lyrical moments as the Love Scene (their winds have to be heard to be believed). The heavy twists of musical drama unfold with implaccable logic and with a sense of inevitability on the wings of superb orchestral playing. Beethoven's famous 7th symphony offers Giulini and Chicagoans the chance to proof that they are amongst the few that can do justice to this great music. Their conception and execution reaches true natural phenomena proportions. The clash between the two opposing forces, the wild liberator Dyonisos and the cerebral and insightful Apollo, takes place unrestrained with intoxicating rithms and powerful character. Again the playing of the Chicago orchestra is superb and the Beethovenian universe is recreated to a thrilling effect.

Last but not least you have Giulini's view on the music of Brahms. And what an experience that is! Listening to it you can say that Brahms had a special place in Giulini's soul. He takes the liberties allowed just to a very restrained circle of friends. Backed up by the same elegant and wonderful music body of Chicago he sails through the troubled waters of Brahms' masterpiece with such a confidence and with such a depth of understanding. They create sheer beauty in what might be the most impresive second part on disc. In the end you just know that you experienced a different level of music making and a completely different level of understading of Brahms' music.

Given that all the other pieces are as valuable (with a little extra for his Stravinsky) you cannot afford yourself at least not to hear these recordings. They still hide surprises for those who think that know Giulini and of course they are a treasure for those who didn't meet the great master yet. All in all, thanks to EMI for a gret gift from all points of view, quality of sound included.

A Bolero from a different world

As much as I would like to respect Celibidache's wish to stay clean of recordings I cannot but be so happy that his work with Munchner Philharmoniker became available on cds. One of the most fascinating musical personalities of the last century, and one of the most controversial for that matter, Celibidache's vision on music made his concerts and make his cds a revelation for anyone who thought famous repertoire has no secrets anymore. Yes, it is true that his highly intellectual interpretations aren't the best options for the first audition of a certain musical composition. Yet, what an umbelievably rich and vast universe opens at the time one becomes quite seasoned with one work when one turns to Celibidache's version.

One of these cases are present on this cd. Although the reason I want to talk about this cd is Ravel's Bolero, Mussorsgy's very popular work has a very similar treatment. I am pretty sure that there is no need to say anything about one of the most popular classical pieces such as the Bolero. A star that everybody thinks they know and it has no secrets for them. And then, you put in your cd player tray EMI's incarnation of Celibidache's version and everything you know falls apart. In the end can't help admitting that: "Yes, this piece is about rythm, not melody". What sense would make playing the same melody over and over again, compared with bringing the very essence of Earth's energy closer and closer to surface. The idea is to bring the vital pulsation of life closer to those fortunate to assist. This is what I imagine Celibidache is saying as he conducts his Philharmonic through this vital form of energy flow. Because this is what you feel in the end. Nature's heart beat in one fundamental form, the dance.

The orchestra he made sound like a world-class orchestra is fatefull to his master and delivers everything with precision and quite passionately. The multiple soloists do their job very well and technically speaking the whole thing is without fault. Yet, what is absolutely impressive is the parallel world of sound and feelings that opens and doesn't have any direct relationship with the actual sound production. Is where the mastery of Celibidache manages to recreate the natural phenomena that were in the beginning the very source of music.

Again, this is not the first version you want to hear but is definitely the one with which you want to be left in the end.

Elisir d'amore

Here my friends we step into the beautiful, at times delicate, but certainly with a good concentration of humor, period of Bel Canto. And the recording I'd like to propose to you creates a very good image of what this period and style should be all about. A lot of people feel atracted to it for very understandable reasons. The music is very melodic and requires nothing more but a beautiful voice capable of nice trills. The overall feeling is of light, laid-back, fun-indulgent music that is extremely likable.

Although, not the best and not the most famous of Bel Canto era production, Elisir d'Amore has lots of fans. The reasons are obvious when you start listening: beautiful music, some delightful areas and very funny moments. When done right one sees no reasons to call this a difficult work. Yet many dull recordings tell a different story. Many conductors have difficulties getting it right and the cast has to be in very good vocal shape and interpretative mood to pull it out in a convincing manner.

This recording has most if not all the qualities in place. It all starts, as it should, with Bonynge who gets a very good and consistent performance from the English enssemble in a very nice bel canto style (he proves his abilities with this music in his wonderful Lucia also) , managing to highlight the great moments of the opera and a detailed characterization of his characters. Then, come the two protagonists. Pavarotti is in the best shape I have ever heard him. The music and the character suit him nicely and he displays a gorgeous voice very well molded on the psychological profile of the music. Probably one of his best recordings alongside his remarkable Requiem. You won't hear a more beautiful and full of clean voice "Una furtiva lagrima". His feminine counterpart is equally good if not better. Joan Sutherland is also at a vocal peak and she's a treat throughout the opera. Their duets sound from a different world.

The supporting cast is less impressive yet does a good job "supporting" the two lovers. My favourite character in this opera, the hilarious huckster Dr. Dulcamara, is not served in the best way I've heard. For me, his voice is a little to heavy and not elastic enough especially for his introductory aria but he does a fine job nonetheless. Belcore, the other important character is better sang and acted (at least compared with Nucci, in the other Pavarotti recording with this opera) and even though plays a very imoprtant role in the opera I'm not very fond with him and I won't say more.

So, if you never listened to a bel canto opera this is a recommended first and if you like Elisir is also a mandatory addition to your collection.

Scheherazade - Pas de deux

For this review we rest our thoughts on one of the most popular symphonic poem: Rimsky- Korsakoff's Scheherazade. Describing in music the adventures of Simbad the Sailor it is a work of beautiful melodies and endless emotional power. Korsakoff reaches very distant shores of psychological detail and asks from members of an orchestra the same level of performance as from the enssemble itself. Everything he describes is carefully shaped and carved in some of the most beautiful and memorable melodies composed. It is almost like a democratic gathering of the instruments, a medley of concertos for instrument and orchestra. A lot of recordings let you guess how rich and beautiful this work is yet few mange to show it completely.

Listening to about a dozen recordings and couple of live concerts convinced me that if you want to live the full experience of this work you have two options: Sir Thomas Beecham and his Royal Philharmonic Orchestra or Fritz Reiner and Chicago Symphony. They deliver the same complete performance but they do it in such a different way. However you cannot go wrong at all with any of them.

Beecham unleashes the poetry inside like no other, the strings are heavenlish and the solo parts are gorgeous. The musical drama is all there yet he allows time to dream and to taste the delight of another world so beatifully described in the music. Everything bears the mark of his innate elegance but in the same time the characters and their adventures develop with power and conviction. The RPO plays in a different league and the result is an interpretation that completely transforms everything in the listening room. Beecham and his orchestra create a living phantasy world with a lot of misteries and things difficult to understand and yet so more beautiful.


Reiner on the other hand comes to tell with precision and power the drama within this music. The Chicagoans are in perfect shape and play marvelously for him and Reiner uses their capabilities to shape a very articulate music, played right from beginning to end. The dreamery moments are all there in full splendor yet they are just short breaks from the unfolding of the drama. His control over the music is exquisite and he has at hand an orchestra that manages to go all the way effortlessly (at least it seems so) to bring forward with crystal clear logic and conception a very powerfull musical experience.


They are all great moments in recorded music and definitive redintions of this much beloved composition. They differ in character yet they are very similar in effect. If you like Scheherazade you owe to yourself to listen to both of them.