LOUDSPEAKERS: Does the Totem Mani-2 still rate as one of the ...
LOUDSPEAKERS: Does the Totem Mani-2 still rate as one of the ...
LOUDSPEAKERS: Does the Totem Mani-2 still rate as one of the ...
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S<strong>of</strong>tware<br />
Feedback<br />
Beethoven: Hammerklavier Sonat<strong>as</strong><br />
Anton Kuerti<br />
Analekta FL 2 3187<br />
Lessard: Hammerklavier is <strong>the</strong> German<br />
term for pian<strong>of</strong>orte — it w<strong>as</strong> originally<br />
called <strong>the</strong> “hammer keyboard.” The<br />
expression dates from a time <strong>of</strong> growing<br />
German resistance to <strong>the</strong> incre<strong>as</strong>ing<br />
Italian hegemony in music. “Pian<strong>of</strong>orte”<br />
is <strong>of</strong> course an Italian term. Beethoven,<br />
with his usual impetuosity, w<strong>as</strong> hardly<br />
<strong>the</strong> l<strong>as</strong>t to leap into <strong>the</strong> movement. And<br />
I have to say that <strong>the</strong> term “hammer<br />
keyboard” seems to suit perfectly <strong>the</strong><br />
vigorous style <strong>of</strong> this work.<br />
This precious album includes <strong>the</strong><br />
Sonata No. 28 in A Major, op.101, followed<br />
by <strong>the</strong> powerful Sonata No. 29 in B Flat,<br />
op.106, each with four movements. I use<br />
<strong>the</strong> word “precious” advisedly, for that’s<br />
what it is. Not only is <strong>the</strong> composer<br />
sublime (and what remains to be said<br />
about that?), but <strong>the</strong> pianist is entirely<br />
worthy <strong>of</strong> him.<br />
During <strong>the</strong> nearly hour an a quarter<br />
<strong>the</strong>se two works l<strong>as</strong>t, Kuerti, something<br />
<strong>of</strong> a Beethoven specialist, gives us a<br />
demonstration <strong>of</strong> his flawless technique,<br />
buttressed in this c<strong>as</strong>e by equally flawless<br />
sound. You have to hear him navigate<br />
with remarkable e<strong>as</strong>e through sforzando<br />
p<strong>as</strong>sages and o<strong>the</strong>r segments that are<br />
lyrical and fraught with poetry and emotion.<br />
The performance serves to justify,<br />
if justification is needed, his reputation<br />
<strong>of</strong> unsurp<strong>as</strong>sed playing which for many<br />
years h<strong>as</strong> won over music lovers, and<br />
particularly Beethoven lovers. This is<br />
0 ULTRA HIGH FIDELITY Magazine<br />
S<strong>of</strong>tware Reviews<br />
by Reine Lessard<br />
and Gerard Rejskind<br />
Kuerti <strong>the</strong> way I like him. I heartily<br />
recommend this CD.<br />
The booklet, happily complete,<br />
makes it possibly unnecessary for me to<br />
add anything more on <strong>the</strong>se sonat<strong>as</strong> by<br />
this greatest <strong>of</strong> composers <strong>of</strong> <strong>the</strong> early<br />
Romantic period.<br />
Millennium Crossings<br />
Lisa Weiss/ CurtCacioppo<br />
Capst<strong>one</strong> CPS-8734<br />
Lessard: The piano works on this<br />
recording are all by contemporary<br />
American composers, and indeed all<br />
but <strong>the</strong> first were composed since 1985.<br />
There are a number <strong>of</strong> f<strong>as</strong>cinating elements<br />
here, both by <strong>the</strong> composers and<br />
by <strong>the</strong>ir virtuosity on <strong>the</strong> piano. And<br />
speaking <strong>of</strong> <strong>the</strong> piano itself, it is a Bösendorfer<br />
Imperial Concert Grand.<br />
The Bösendorfer name is linked to<br />
Vienna, that musical centre <strong>of</strong> <strong>the</strong> 19 th<br />
Century, and to Franz Liszt, whose<br />
energetic technique and dazzling playing<br />
always ended up wrecking <strong>the</strong> pianos he<br />
played. The m<strong>as</strong>sacre ended <strong>the</strong> day he<br />
got his hands on a Bösendorfer. Not only<br />
could it resist his excesses <strong>of</strong> enthusi<strong>as</strong>m,<br />
but he w<strong>as</strong> won over by its incomparable<br />
tonal beauty, and he made it his own.<br />
From that day, <strong>the</strong> house <strong>of</strong> Bösendorfer,<br />
already famous, gained even more in<br />
celebrity.<br />
The Imperial Concert Grand’s key-<br />
board includes <strong>one</strong> more octave than<br />
o<strong>the</strong>r pianos, situated at <strong>the</strong> bottom<br />
end, going down to CCCC, capable <strong>of</strong><br />
producing a t<strong>one</strong> <strong>of</strong> 16 Hz! Even when<br />
those extra notes aren’t played, <strong>the</strong>y<br />
vib<strong>rate</strong> in sympathy with <strong>the</strong> o<strong>the</strong>r notes,<br />
giving <strong>the</strong> piano its unique sound.<br />
Klavierstück, <strong>the</strong> first piece on <strong>the</strong><br />
disc, from 1976, and <strong>the</strong> Sonata tr<strong>as</strong>figurata<br />
<strong>of</strong> 1986, are from Curt Cacioppo.<br />
This musician h<strong>as</strong> had considerable<br />
contact with American Indians and<br />
is an activist for Native rights, and it<br />
happens that here and <strong>the</strong>re he uses<br />
elements inspired by Native culture.<br />
Initially intrigued by <strong>the</strong> originality <strong>of</strong><br />
his inspiration, I w<strong>as</strong> charmed within a<br />
few me<strong>as</strong>ures by <strong>the</strong> music’s architecture,<br />
by <strong>the</strong> juxtaposition <strong>of</strong> sounds, by<br />
<strong>the</strong> firm and energetic touch, and by <strong>the</strong><br />
clarity <strong>of</strong> <strong>the</strong> playing. The pianist in this<br />
c<strong>as</strong>e is Lisa Weiss, herself a composer,<br />
who also plays Marino Ba<strong>rate</strong>llo’s 1991<br />
Klavierstück.<br />
Ingrid Arauco’s Triptych is a collection<br />
<strong>of</strong> three short pieces, played this<br />
time by Curt Cacioppo: <strong>the</strong> Freely, qu<strong>as</strong>i<br />
improvisando, followed by an Intermezzo<br />
<strong>of</strong> less than 50 seconds, and a final Allegro<br />
with wit and verve, which manages to be<br />
both tender and agitated.<br />
Cacioppo also plays two magnificent<br />
pieces by Joseph Hudson, <strong>the</strong> Fant<strong>as</strong>y-<br />
Refrain II and a Piece for <strong>the</strong> Swans.<br />
What I take away from this music<br />
and <strong>the</strong> musicians who play it is <strong>the</strong><br />
conciseness, <strong>the</strong> clarity <strong>of</strong> <strong>the</strong> sound that<br />
<strong>of</strong>ten comes in clusters or in arpeggios,<br />
sometimes in trills, and <strong>the</strong> polished<br />
dynamic and timbral effects.<br />
As for <strong>the</strong> sound, it is up to <strong>the</strong><br />
standards <strong>of</strong> <strong>the</strong> most demanding<br />
audiophiles.<br />
Felix Hell<br />
Felix Hell<br />
Reference Recordings RR-101CD<br />
Rejskind: It’s so great to have Reference<br />
Recordings back! Keith Johnson won’t<br />
be setting up his microph<strong>one</strong>s again<br />
until summer, but I had heard n<strong>one</strong><br />
<strong>of</strong> his l<strong>as</strong>t productions before Dorian<br />
“bought” <strong>the</strong> company (without actually