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 />
Poetics<br />
Corporon/North Tex<strong>as</strong> Wind Symph.<br />
Klavier K11153<br />
Rejskind: This is <strong>one</strong> <strong>of</strong> a long-running<br />
series <strong>of</strong> wind recordings on Klavier by<br />
this first-<strong>rate</strong> orchestra. I think <strong>the</strong> title<br />
may have been chosen at random, but<br />
what it contains is worthy <strong>of</strong> any<strong>one</strong>’s<br />
attention for both musical and sonic<br />
re<strong>as</strong>ons.<br />
The first re<strong>as</strong>on to get it, I think, is<br />
Joseph Schwanter’s Percussion Concerto.<br />
Now <strong>the</strong> percussionist in a symphony<br />
orchestra is not <strong>the</strong> <strong>one</strong> groupies mob<br />
at <strong>the</strong> stage door. Garrison Kiellor once<br />
said that <strong>the</strong> triangle is an instrument<br />
for a saint (he said <strong>the</strong> same thing about<br />
<strong>the</strong> harp, for a different re<strong>as</strong>on). The<br />
percussionist is important, but only once<br />
in a while. Perhaps that’s why, in 1995,<br />
Schwanter w<strong>as</strong> commissi<strong>one</strong>d to write<br />
an extended solo piece for <strong>the</strong> principal<br />
percussionist <strong>of</strong> <strong>the</strong> New York Philharmonic,<br />
Christopher Lamb. And what a<br />
piece it is!<br />
Schwanter says he h<strong>as</strong> long been<br />
f<strong>as</strong>cinated by <strong>the</strong> timbral <strong>as</strong>pects <strong>of</strong><br />
music and been attracted to <strong>the</strong> richly<br />
varied sonic resources <strong>of</strong> percussion.<br />
What he composed is nothing less than<br />
a m<strong>as</strong>terpiece, drawing on an <strong>as</strong>tonishingly<br />
diverse panoply <strong>of</strong> instruments.<br />
They are here played by Christopher<br />
Deane, backed up by <strong>the</strong> band’s regular<br />
percussionists to say nothing <strong>of</strong> <strong>the</strong> rest<br />
<strong>of</strong> <strong>the</strong> orchestra.<br />
Listen for yourself. He marshals<br />
three tom-toms, timbalet<strong>as</strong>, bongos,<br />
a marimba (<strong>the</strong> only amplified instrument<br />
in <strong>the</strong> work), a xyloph<strong>one</strong> which is<br />
sometimes struck and sometimes bowed,<br />
ULTRA HIGH FIDELITY Magazine<br />
and a varied set <strong>of</strong> drums <strong>of</strong> all shapes<br />
and sizes, including a b<strong>as</strong>s drum you’ll<br />
feel <strong>as</strong> much <strong>as</strong> hear. But Schwanter h<strong>as</strong><br />
d<strong>one</strong> more than make noise, for that<br />
would be all too e<strong>as</strong>y. He juxtaposes<br />
dense and sophisticated melodies for<br />
br<strong>as</strong>s and woodwinds with contrapuntal<br />
percussion effects. The result, across<br />
three movements that occupy more than<br />
a half hour, is impressive, sometimes<br />
disturbing, <strong>of</strong>ten viscerally beautiful.<br />
The playing is wonderful too, and<br />
that goes both for Deane and <strong>the</strong> large<br />
ensemble, conducted m<strong>as</strong>terfully by<br />
Eugene Migliaro Corporon. The engineering,<br />
by Bruce Leek, is <strong>as</strong> good <strong>as</strong> it<br />
gets.<br />
But wait a minute, <strong>the</strong>re’s more!<br />
Steven Bryant’s Stampede h<strong>as</strong> a sort<br />
<strong>of</strong> rodeo atmosphere to it, reminiscent<br />
<strong>of</strong> <strong>the</strong> music <strong>of</strong> Aaron Copland. Michael<br />
Gandolfi’s Vientos y Tangos (“wind and<br />
tangos”) is not always rhythmic, but<br />
much <strong>of</strong> it is. Gandolfi h<strong>as</strong> used famed<br />
concert tango composer Astor Piazzola<br />
<strong>as</strong> a model, and I liked <strong>the</strong> piece very<br />
much.<br />
I’m less enthusi<strong>as</strong>tic about Franco<br />
Cesarini’s Poema Alpestre, whose length<br />
exceeds its breadth, but even without<br />
him this recording is chock full <strong>of</strong> goodness.<br />
The first time you’ll play it for <strong>the</strong><br />
sound, but I predict you’ll come back for<br />
<strong>the</strong> music.<br />
Film Spectacular II<br />
Black & London Festival Orch.<br />
FIM XR24 070<br />
Rejskind: My first impression, if you’ll<br />
pardon <strong>the</strong> pun, is that nobody does<br />
music like this anymore. They sure used<br />
to. Films had lush ballads <strong>as</strong> scores, and<br />
<strong>the</strong>re were countless orchestr<strong>as</strong> that<br />
would bring out collections <strong>of</strong> <strong>the</strong>se<br />
hummable tunes. Percy Faith w<strong>as</strong> <strong>one</strong>,<br />
Billy Vaughn w<strong>as</strong> ano<strong>the</strong>r, and Stanley<br />
Black w<strong>as</strong> yet ano<strong>the</strong>r.<br />
This <strong>one</strong>, from 1963, is special for<br />
being part <strong>of</strong> London/Decca’s “Ph<strong>as</strong>e 4”<br />
series. Of course Ph<strong>as</strong>e 4 did not feature<br />
four channels, and <strong>the</strong> re<strong>as</strong>on for <strong>the</strong><br />
name is a mystery. Decca (<strong>the</strong> British<br />
company, not <strong>the</strong> American <strong>one</strong> <strong>of</strong> <strong>the</strong><br />
same name) w<strong>as</strong> known for its realistic<br />
ffrr recordings, intended to sound <strong>the</strong><br />
way an orchestra might from <strong>the</strong> eighth<br />
row <strong>of</strong> a good hall. Ph<strong>as</strong>e 4 w<strong>as</strong> Decca’s<br />
attempt to live down that reputation.<br />
The technique w<strong>as</strong> totally opposite:<br />
use a lot <strong>of</strong> microph<strong>one</strong>s, each <strong>one</strong> very<br />
close to an instrument, and dial in lots <strong>of</strong><br />
stereo separation. Crank up <strong>the</strong> volume<br />
on <strong>the</strong> pressing, to overcome rumble,<br />
hum, whatever. The results were spectacular,<br />
though not perhaps truly hi-fi.<br />
It had been many years since I had<br />
listened to a Ph<strong>as</strong>e 4 recording, and<br />
<strong>of</strong> course I had not had <strong>the</strong> advantage<br />
<strong>of</strong> listening with gear like <strong>the</strong> Omega<br />
reference system. Notwithstanding <strong>the</strong><br />
very close-in sound, <strong>the</strong>se recordings<br />
really did sound good. The dynamics are<br />
overwhelming, probably difficult to get<br />
onto modern digital (First Impressions<br />
Music h<strong>as</strong> used xrcd to do <strong>the</strong> job). And<br />
Stanley Black, here conducting <strong>the</strong> Royal<br />
Festival Orchestra, w<strong>as</strong> a really talented<br />
bandleader.<br />
This CD is a reminder that writers<br />
<strong>of</strong> film music back <strong>the</strong>n were not<br />
too shabby, and it did my heart good<br />
to hear <strong>the</strong>m again. Here’s Lawrence<br />
<strong>of</strong> Arabia, G<strong>one</strong> With <strong>the</strong> Wind, The<br />
Magnificent Seven, a suite from My Fair<br />
Lady, and even <strong>the</strong> haunting score from<br />
Hitchcock’s Spellbound. I h<strong>as</strong>n’t heard<br />
any <strong>of</strong> <strong>the</strong>m in a while.<br />
I also couldn’t help noticing that,<br />
despite my impressions <strong>of</strong> <strong>the</strong> old LPs,<br />
<strong>the</strong>y are not truly recorded in ping pong<br />
stereo. When <strong>the</strong>re is a cl<strong>as</strong>h <strong>of</strong> percussion<br />
or br<strong>as</strong>s, you can hear it travel all<br />
<strong>the</strong> way to <strong>the</strong> o<strong>the</strong>r wall and back again.<br />
The original engineer, Arthur Lilley,<br />
knew what he w<strong>as</strong> doing.<br />
No, nobody does music like this<br />
anymore, but a modern engineer, or<br />
musician for that matter, could learn a<br />
lot by listening to this CD.