Channel Classics-Making of a SACD

I came across this video produced by Channel Classics on how a SACD recording is made and was totally surprised that the storage drive used is a Western Digital external disk storage.

Do look out for it at 4:37 into the 20 minutes video and you can see it.

BTW, Channel Classics is one of the labels on my list of better recording quality and perhaps we audiophiles have taken things too far in our purist sound.

No pun intended. Just an observation. I am also using Western Digital drives on my MacMini as well at home. So comforting.

Cheers,,,,,Peter Lye aka lkypeter

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye


Beethoven Piano Concerto No 5 in E-flat major Op 73 Emperor

I did a write up on Beethoven's 1st Piano Concerto not too long ago and thought that it would be appropriate to write about his 5th or last Piano Concerto as it is also one of the recorded to death pieces having been recorded by many artists both established as well as green shoots genre. In the Anglophile world, it is also commonly referred to as the Emperor piece and this arose my curiosity as I remembered that Beethoven who was to dedicate his Symphony number 3 to Napoleon Bonaparte was angry enough at the news of Napoleon declaring himself as Emperor to rename the piece to Eroica instead. There is some period between Eroica Symphony and Emperor Piano Concerto as the former carries an opus number of 55 whereas the latter was assigned an opus number of 73. The opus number roughly reflects the chronological order in terms of date of the work being published and does not necessarily reflect the time the composer started or completed the work actually. Putting this aside, I can think of why the name Emperor as Beethoven might have gotten used to the idea of Napoleon making himself emperor or perhaps pragmatism rules the day even for eccentric tempered Beethoven as Napoleon's campaign has walked over much of Austria where he largely lives. One thing is definite that Beethoven did not dedicate this piece to Napoleon as it was clearly addressed to Archduke Rudolf.

Actually Beethoven did not meant the Emperor Piano Concerto to be his last as there is evidenced pointing to fragments of work in progress on the 6th Piano Concerto but too little of the Piano or Orchestration parts exists for modern day Beethoven scholars to piece together a respectable Piano Concerto. It is also at this period that his hearing has almost been reduced to nil and much of the composing is done through his mental perception rather than auditory perception of his work. I was interacting with a customer in a hifi shop today and I advised him that hifi is a hobby that is best enjoyed younger as our hearing sensitivity decline with age.

Beethoven is not as tightly associated with piano music as Chopin where every single piece of his features the piano either in major or minor roles. To Beethoven, the piano is a convenient platform to test the orchestration for his symphonies, concertos etc. All being said, Beethoven did a strange thing by having the solo piano start the piece for almost 2 minutes before the orchestra joins in. This is not very common in classical era works but was sometimes used by composers in the romantic era like Tchaikovsky in his piano concerto and Mendelssohn in his violin concerto. To me, there is no question here that the soloist is meant to be the star of the piece rather than the orchestra.

Although this piece consists of the template 3 movements concerto tradition, it is sometimes mistaken as a 2 movement piece as movements 2 and 3 is connected by a single bassoon note. This technique is also used by some other composers perhaps to ensure that the less musically inclined audience does not disturb the continuity of the piece by clapping in between movements.

I shall refrain from making a comparison of the various recordings as I have not done enough comparative listening to do justice and shall only list the pieces I have listened to in writing this review.

1. Piere-Laurent Aimard with Nikolaus Harnoncourt conducting Chamber Orchestra of Europe

2. Christian Zacharias with Hans Vonk conducting Staatskapelle Dresden

3. Alfred Brendel with Zubin Mehta conducting Vienna Symphony Orchestra

4. Artur Pizarro with Charles Mackerras conducting Scottish Chamber Orchestra

5. Steffan Viader with Barry Wordsworth conducting Capella Istropolitana

6. Vladmir Ashkenazy with Zubin Metha conducting Vienna Philharmonic Orchestra.

As I related to some of my friends, my motivation for writing about classical music is to help propagate classical music to the next generation as it would be a waste if classical music declines starting with my generation. I have not succeeded in getting my two children interested in classical music but I do hope that they will someday.

Cheers,,,,,Peter Lye aka lkypeter

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye

Economic Tsunami

I had a great week in the altruistic dimension of my life this week as I had the good luck of spending time with 2 persons of considerable intellectual capabilities but none of them are ladies not that I am a sexist. On a more serious note, we spoke about many things that does not interest most Singaporean which are chasing after their noble 5 Cs of which I am not at the moment. As I watch the turbulence on Wall Street gyrating up and down on both sides of the Atlantic, I begin to ask myself are there certain patterns or attributable causes and my simple mind began to wonder into dangerous water and I thought I hit on some ideas that could be novel in my limited knowledge but might have been professed by someone else before me.

The first trend is on the eastern end of the Atlantic, we began to see failures on the corporate front starting with the CDO and cumulating into the meltdown of Lehman Brothers and government funded rescue using the TARP funds as the too big to fail maxim took charge and Captain Obama even said that "...at this hour, it is not possible for the government to do too much." in his state of the union address and rallying support for the TARP scheme into FEDS. FEDS have been pursuing a inflation targeted monetary policy since the days of Greenspan and thereafter onto Uncle Ben insisting that this is the right long term move. However, when Wall Street failure hit Main Street and the population at large like the 2 of the 3 biggest auto makers; General Motors and Chrysler sparing Ford into likely bankruptcies if no rescue plan was in place. However, on the western seaboard of the Atlantic, Europe seems to have an easier time until the PIGS ( Portugal, Italy, Greece, Spain ) suffered a sovereign debt issue.

The stark difference could perhaps due to the nature of the retirement funding. In USA, retirement is generally funded privately by companies whereas in more socialistic Europe, it is generally funded by the government. With a rapidly aging population, retirement IOUs are beginning to experience their first few years of negative cash flow as there are less taxpayers in Europe while retirement funding by companies is eroding their competitive edge in USA. I shall stay quiet on the intentions of the Singapore government but look at the trend of policy changes with regards to CPF and also read our PM May day address more carefully and you will hear something said about CPF ordinary, special and retirement accounts. (The Great Singapore CPF (pension) Discussion) With the post war baby boom generation hitting retirement, we have a definite Economic Tsunami at hand whether you are of monetarists or fiscal persuasion. At the end of the day, input must equal output in the long run. My view is that USA is now buffered against a sovereign debt crisis but it could be a matter of time if Obama does not practice more budgetary discipline. China is already the largest holder of American T Bills displacing Japan.

The second is the velocity in which government aid has been administered. In USA, there 9 regional Federal Reserve Banks together with the FEDS in Washington, they can make monetary policy independent of executive and political influence. In fact, The Economists once had an article on who the FEDS are accountable to. Such a mechanism, though not the most consensus seeking allows for quick and independent decisions to be made. Over in Eurozone, the ECB is an animal with a very different DNA from that of FEDS. Decisions are made by consensus and voting by the member states whose representatives have to watch their back as they cast their vote because of the need to ensure they make the correct populist move which might not necessarily be the right for Europe as a whole. German voters are asking why must they pay for Greece's ill fiscal discipline of not keeping deficit to less than 3% of GDP if they themselves swallowed the bitter pill that followed the fall of the Berlin Wall. The Greek voters are against cut in government budgets as they feel that fiscal discipline in this economic climate is equivalent to swallowing a cyanide pill that will kill the country. Since history of money, only Argentina has defaulted as a nation and I do not think any country want to have hold the title of being runner's up chronologically. Oops, some are of the opinion that when USA axed the exchangeability of US$ for gold during Nixon's watch, it is technically a country default but I would not argue this point here.

Thirdly, US$ has existed for a long time and in my limited knowledge however the Euro was only created in recent history in 1999. The US$ was created out of necessity because of the political amalgamation of the states whereas the Euro was created as one of the many milestones that proof that a truly single European Union (EU) coined in Maastricht is attainable. Thereafter, there were some progress with two notable signs which are the creation of the Euro sans without the participation of some countries like UK and the increasing membership of EU. A monetary union without a political union is like putting the cart before the horse and it is only a matter of time before it crashes as predicted by many even before the 1999 inauguration of the Euro.

Fourthly, there has been speculation in two of the largest Euro countries why not get out of the burning house of Euro instead of trying to doze the fire. If the creation of the Euro is analogous to scaling K2, its reversal would be a taller order than scaling Everest. Although there are some automatic mechanism in place like the PIGS countries are finding it more costly to raise money through government bonds that are still denominated on the Euro, their higher CDS price would make it comparatively more expensive for Greece than for Germany to raise money using bonds. However, the spill over effects of the strength or weakness of the Euro against the major currencies will also mean that countries outside of PIGS in Euro zone are impacted by the actions or inactions of the PIGS. My prediction is that the monetary union tension would spill into the political and perhaps later the military arena with dire consequences. Although the first two world wars can be attributed to many reasons but economic tension has never been absent from this platitude of reasons for the start of both world wars.

Last but no least, the twin deficits that Obama is faced with will not disappear into thin air and it is only a matter of time before it hits American shores and pockets in a more drastic manner even if Obama believes that the entire world will share in its burden as US$ is widely held and transacted. Sanity,justice or rule of quantification (if I may borrow from my friend) will prevail finally.

Cheers,,,,,Peter Lye aka lkypeter

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye

Melancholic Piano Music-Beethoven Piano Sonata No. 14 ‘Moonlight Sonata’ in C# minor Op. 27/2

I have recently written a review of a fairly melancholic piano piece by Chopin on his Nocturne No. 20 in C# minor and it not any co-incidence that it is keyed in minor. I also wrote a review on Beethoven Piano Concerto No. 1 in C major as I was quite into piano music of late and my thoughts were to write a review on Beethoven’s last piano concerto which is No.5 but his Piano Sonata No. 14 “Moonlight Sonata” caught my fancy as a good twining between Chopin Nocturne No. 20 and Beethoven piano sonata no. 14 first movement is almost similar to Chopin nocturne No. 20.
Firstly both pieces are keyed in C# minor and to my ears that are not very trained in classical, I sometimes mistaken one for the other. I would not say that they might have got the idea from each other as there was about a good 30 years between the composition; Beethoven composed his around 1800-1801 and Chopin did his around 1830. I would rather use the word that Chopin might have been influenced by Beethoven if I were to reason it chronologically. The strange thing is that Beethoven lived mainly in the classical era and Chopin witnessed the start of the Romantic era and I was wondering how did such a romantic music come out of Beethoven in 1830? He might have been branded as someone ahead of his time fashion wise and this might not been a good thing.
Secondly, the dark C# minor canvas against which the two pieces were written against makes the music very suitable for listening in a dimly lit room to accentuate the mood. A good glass of Shiraz with a long finish could make the experience. Actually Nocturne translated into English is night. What struck me was the entire Chopin piece was draped in the dark and yet you feel a certain closure at the end of the piece and this is in my mind the very signature of a grand master. The same can be said about Beethoven first movement. There were times that I was almost moved to tears but I was taught from a young age that only girls cry and boys never do.
I thought it relevant to say a few things about the circumstances surrounding Beethoven Piano Sonata No. 14 before I get carried away by the second and third movement. The piece was actually sort of ao commissioned piece and was dedicated to Countess Giulietta Guiccardi but not in the strictest sense a commissioned piece if we think along the lines of the many commissioned pieces that Haydn did and was handsomely rewarded for it. The dedication came after the completion of the piece unlike a commissioned piece for which the composer is told of the occasion in which the music would be used for and what type of structure it should roughly have. The Beethoven must have been an almost plain canvas leaving Beethoven a lot of leeway for his imagination and creativity to turn it into a work of art. This piece was aptly numbered Opus 27/2 because it was either meant to be co-joined together with his Sonata No. 13 as a set or the work of the music publisher to market it as a value for money set since Beethoven most probably handed two pieces to his publisher at around the same time. Your guess is most probably as good as mine on this. I have not listened to his Sonata No. 13 to make an opinionated call here; perhaps later. The name ‘Moonlight Sonata’ was not in the original manuscript as Beethoven most probably did not intend to name the piece. Many Beethoven experts believed that it was Ludwig Rellstab that christened it ‘Moonlight Sonata’.
At the end of the first movement which was in ¾ time signature, the second movement not only changes the time signature to 4/4 but was also uplifted us into a different mood. If we pen the first movement as emotionally melancholic, the very short second movement brings us into the cerebral plentitude of deep contemplative thoughts after the emotionally moving first movement and when we come to the third movement, we can plainly see why the second movement serves as a bridge to bring the Sonata to a closure in the third movement.
The third movement as compared to the first movement is liken to hell and heaven or heaven and hell as the more normal expression. The very first note of the third movement is in a strong definite piano forte chord and continues its explosive display right to the end of the entire piece. It was as if Beethoven has seen the light at the end of the tunnel and I think this piece might also qualify as a piano technician nightmare with the strong and heavy chording. A caution for listeners; if you kept your volume at the same level as when you started the first movement and is in the habit of louder listening, the third movement can blow your system away as it is LOUD by any standard.
I normally would do a comparison of the various versions that I have listened but in this case, I would just merely list them for your reference as I am totally blown away by Beethoven.
1.Beethoven Complete Piano Sonatas-Paul Lewis-Harmonia Mundi HMX 2901902.11-Disc 7 Tracks 9-11


2.Beethoven Piano Sonatas-Artur Pizarro-Linn Records SACD CKD244-Tracks 4-6


3.Beethoven Complete Piano Sonatas-Bernard Roberts-Nimbus 1774-Disc 10 Tracks 5-7



4.Beethoven Piano Sonatas Volume 1-Gerard Willems-ABC Classics 4650772-Disc 2 Tracks 1-3


5.Beethoven Sonatas 8, 14 & 23-Daniel Barenboim-EMI 0724356697621-Tracks 4-6


6.Simply Beethoven-Bruno Leonardo Gelber-Simply(Denon) 36-Disc 2 Tracks


7.Ultimate Beethoven-Claudio Arrau-Decca B000ICMF5I–Disc 5 Track 7-9


Cheers,,,,Peter Lye aka lkypeter


Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for

Oracle / Sun Humour


C. Montgomery Burns said
"Since the dawn of time man has dreamed of destroying the sun!"

However Larry Elison have managed to buy SUN and integrated its name into Oracle recently.....

Peter Lye aka lkypeter

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye

George Whitefield Chadwick-Suite symphonique in E flat

What prompted me listen to this piece was because I suddenly realized that I know two Chadwicks;an American lady from Chicago that used to work in Singapore and British gentleman that used to work in Hong Kong. No further details as I do not have their permission but some of my closer friends who read this would know who I am referring to or at least one of them. I was looking through my library of CDs and I have put aside those that I have not even listened at all in one corner and I sometimes wonder I am still buying CDs when I have quite a number in this corner. I think I have been stricken with the disease of collectivism if ever there is such a word.

For some reason, I have two CDs from pieces composed by Chadwick and both of them have not even been unwrapped yet. I could not even remember when and why I have bought them. Perhaps because of the recording label Reference Records reputation for good recording. Although I consider myself to be more of a music person as opposed to a sound person as I think that the music comes first. With good music, you will need good recording as well as good system to play them to enjoy it. Some of my friends are from the other camp that puts the sound system and recording above the music. There is no right or wrong but a matter of taste and preference.



After returning home from the office, I wanted something refreshing. This drew me to the unexplored part of my CD collection. Of the two Chadwick CDs that I saw, the one with the more graphic cover caught my attention proving that I am still a normal male Homo Sapien. I then sunk myself into my so called listening position or sweet spot and spin the CD and started to read the cover note of the CD. I was expecting it to be a neo-classical era as I have not come across this composer but it surprised me that he lived 1854-1931 and that the piece in question was composed at the turn of the century around 1907. When I meant neo-classical, my reference was mainly to composers that are still living today or born after 1900 although that is not quite right technically speaking.

The piece comes in four movements as with most symphonic works although I understand that Chadwick himself has avoided the label Symphony like poison and this could be the reason why it was named in that manner but after listening to the piece a few times, it really fits squarely into the classic symphonic template not only because of the 4 movements but also the order and choice of movements. It starts with a fairly energetic Allegro molto animoto that ends on a fairly percussion centered ending. It then makes way for a very lyrical Romanza in the second movement. I could not put my finger on a term but my heart just went jelly from the very first note of this movement to the last note. The second movement is awesomely sentimental and moving. I played it repeatedly a few times and it is my favorite movement.

After all the lyricism of the second movement, the third movement is a scherzo like Intermezzo e Humoreske like a good joke after all that sentimentality. Another signature of this movement is the transition into and out of the odd time signature of 5/4 and Chadwick did this not once but twice. My modern re-collection of this time signature goes to the song Take Five but the entire piece only have one time signature. This says very much about the creativity and living on unchartered water for the composer as this was done in 1907 and not in recent past where almost anything and everything that makes a sound can be music. After the joke, it is back to serious matter and the composer takes us to a rhythmic and grandiose finale befitting of the piece. The finale is like a full bodied red wine and it makes good and extensive use of a large orchestra and there is little time out for most members of the orchestra.

If you have 36 minutes to spare, this is a great piece of music not to be missed and I wonder why it is not as popular as it deserve and it is to me like uncovering a rare gem. Enjoy.

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye