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 ...
Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
S<strong>of</strong>tware<br />
Feedback<br />
And <strong>the</strong> daylight o’er <strong>the</strong> pavement<br />
quite h<strong>as</strong> faded,<br />
And <strong>the</strong> strong [death-march]<br />
enwraps me.<br />
The moon gives you light<br />
And <strong>the</strong> bugles and drums<br />
give you music,<br />
And my heart, O my soldiers,<br />
My heart gives you love.<br />
That text is from renown poet Walt<br />
Whitman. Now listen to <strong>the</strong> barit<strong>one</strong> in<br />
<strong>the</strong> Lacrimosa — Pie Jesu, with ano<strong>the</strong>r<br />
Whitman text:<br />
Vigil strange I kept<br />
on <strong>the</strong> field <strong>one</strong> night;<br />
When you my son and my comrade<br />
dropt at my side that day…<br />
Long <strong>the</strong>re and <strong>the</strong>n in vigil I stood,<br />
dimly around me<br />
<strong>the</strong> battlefield spreading,<br />
Vigil wondrous and vigil sweet <strong>the</strong>re<br />
in <strong>the</strong> fragrant silent night,<br />
P<strong>as</strong>sing sweet hours,<br />
immortal and mystic hours<br />
with you dearest comrade<br />
Not a tear, not a word,<br />
Vigil <strong>of</strong> silence, love and death,<br />
Vigil for you my son and my soldier<br />
• Analogue Productions<br />
• Audio Fidelity<br />
• Cisco Music<br />
• Cl<strong>as</strong>sic Records<br />
• Mosaic Records<br />
• Simply Vinyl<br />
• Speakers Corner<br />
• Sundazed<br />
Many o<strong>the</strong>r non-audiophile labels<br />
Over 1,200 new vinyl titles in stock<br />
www.diamondgroove.com<br />
1-877-DGROOVE<br />
info@diamondgroove.com<br />
<strong>the</strong> whole sound <strong>of</strong> vinyl<br />
for Canada and <strong>the</strong> world<br />
4 ULTRA HIGH FIDELITY Magazine<br />
Don’t miss <strong>the</strong> Sanctus, with wildly<br />
ringing bells, rolling drums, strings,<br />
and <strong>the</strong> tenor singing <strong>the</strong> glory <strong>of</strong><br />
<strong>the</strong> Almighty in alternation with <strong>the</strong><br />
choir. The Hosanna is extraordinary,<br />
with voices, percussion and br<strong>as</strong>s, a<br />
veritable song <strong>of</strong> praise, followed by <strong>the</strong><br />
Benedictus.<br />
The Agnus Dei, Lay this Body Down,<br />
sung by <strong>the</strong> mezzo soprano, is eminently<br />
touching. The text is by Michael<br />
Harper.<br />
Can’t you see<br />
What love and heartache’s d<strong>one</strong> to me<br />
I’m not <strong>the</strong> same <strong>as</strong> I used to be<br />
This is my l<strong>as</strong>t affair<br />
Two o<strong>the</strong>r illustrious poets are<br />
featured, Ralph Waldo Emerson, and<br />
an American poet identified in <strong>the</strong> text<br />
<strong>as</strong> H.D. (Hilda Doolittle). A touching<br />
anonymous Negro Spiritual is sung by<br />
<strong>the</strong> barit<strong>one</strong>.<br />
The final Lux Æterna is sung at<br />
ppp volume by <strong>the</strong> choir. It is a gentle<br />
conclusion, peaceful, in which <strong>the</strong> fear<br />
<strong>of</strong> <strong>the</strong> Final Judgement is resolved in an<br />
act <strong>of</strong> faith and hope on <strong>the</strong> part <strong>of</strong> souls<br />
awaiting <strong>the</strong>ir Maker.<br />
This, <strong>the</strong>n, is a 21 st Century Requiem<br />
that will put you through an entire range<br />
<strong>of</strong> emotions, and orient your reflection<br />
toward <strong>the</strong> p<strong>as</strong>sage from temporal to<br />
eternal life, at le<strong>as</strong>t <strong>as</strong> presented by <strong>the</strong><br />
Christian church. First performed in<br />
November 2001, this Requiem can be<br />
cl<strong>as</strong>sed among <strong>the</strong> great <strong>one</strong>s: Mozart,<br />
Berlioz, Verdi, brahms, Dvorak, and<br />
Fauré, and closer to our own day those<br />
<strong>of</strong> British composers Benjamin Britten,<br />
John Rutter…and Andrew Lloyd<br />
Webber, whose Pie Jesu haunts <strong>the</strong> firsttime<br />
listener long after it ends.<br />
At <strong>the</strong> summit <strong>of</strong> his art at <strong>the</strong> age<br />
<strong>of</strong> 50, Richard Danielpour is <strong>one</strong> <strong>of</strong> <strong>the</strong><br />
cream <strong>of</strong> contemporary composers, and<br />
his celebrity did not begin with this<br />
work. He h<strong>as</strong> penned o<strong>the</strong>r music that<br />
h<strong>as</strong> been much played and recorded,<br />
and h<strong>as</strong> known major success: oper<strong>as</strong>,<br />
concertos, symphonies, ballets, chamber<br />
music, and o<strong>the</strong>r genres.<br />
The CD booklet is generous with<br />
details on <strong>the</strong> composer <strong>as</strong> well <strong>as</strong> on <strong>the</strong><br />
orchestra, <strong>the</strong> choir and <strong>the</strong>ir respective<br />
conductors, Carl St. Clair and John<br />
Alexander. If this music is new to you,<br />
that is more than useful.<br />
Suite Española<br />
Frühbeck de Burgos/New<br />
Philharmonia<br />
FIM XR24 068<br />
Rejskind: This recording is from late<br />
1967, <strong>the</strong> golden age <strong>of</strong> Decca (known in<br />
North America <strong>as</strong> London for re<strong>as</strong>ons <strong>of</strong><br />
trade mark conflict). It had not yet been<br />
swallowed up by <strong>the</strong> Polygram/Philips<br />
empire, in which it would become<br />
merely a brand name. And it w<strong>as</strong> busy<br />
making new recordings <strong>of</strong> <strong>the</strong> cl<strong>as</strong>sical<br />
repertoire in <strong>the</strong> <strong>the</strong>n distinctive ffrr<br />
(Full Frequency Range Recording) style.<br />
The stereo LP w<strong>as</strong> a mere decade old,<br />
and not all <strong>the</strong> tre<strong>as</strong>ury <strong>of</strong> music had yet<br />
been red<strong>one</strong>.<br />
At <strong>the</strong> same time Decca had not yet<br />
begun playing it safe, recording familiar<br />
warhorses that could be counted on to<br />
sell in large numbers. This recording is<br />
an unusual <strong>one</strong>, and <strong>one</strong> I suspect few<br />
companies would tackle today. A shame,<br />
because it is exceptional.<br />
Isaac Albéniz is <strong>one</strong> <strong>of</strong> Spain’s most<br />
recognized composers <strong>of</strong> <strong>the</strong> end <strong>of</strong> <strong>the</strong><br />
19 th Century and <strong>the</strong> early 20 th . If his<br />
music reflected far more influences than<br />
those <strong>of</strong> his native Catalonia, it can be<br />
explained in large part by <strong>the</strong> fact that<br />
he ran away from home at <strong>the</strong> age <strong>of</strong><br />
13 and toured Costa Rica, <strong>the</strong> United<br />
States, England, Germany, Belgium and<br />
Hungary. Of course by <strong>the</strong> time he got<br />
to Belgium he w<strong>as</strong> no longer a runaway<br />
teenager, and in fact he w<strong>as</strong> able to get a<br />
bursary from no less a personality than<br />
<strong>the</strong> King <strong>of</strong> Spain to study at <strong>the</strong> Brussels<br />
Conservatory. He later studied with<br />
Vincent d’Indy, Paul Duk<strong>as</strong>, and…oh<br />
yes, Franz Liszt. You would expect his<br />
music to be thoroughly cosmopolitan.