Economics Business Music Politics Altruism : January 2011

192K 24 Bits Linnrecords Mozart Symphony

I have always loved recordings from LinnRecords for their consistent recording and have been buying their SACDs both via internet as well as from retailers. Last night I bought their 192K Studio Master of the above by the late Sir Charles Mackerras conducting the Scottish National Chamber Orchestra and was blown away by it as I seems to be able to turn up the volume and not have the jarring violin and brass. It blew me away....

I compared with the sister recording by the same conductor, orchestra but playing Mozart Symphonies 38, 39, 40, 41 on SACD and certainly there is a difference in the sound.

I am going for 192K to the extend that my finance allows it as it is not cheap as the 192K is USD 27 per CD which is dearer than SACDs.

The equipment I am using for the 192K playback are as follows:

1 .Buffalo NAS Linkstation Quad
2. Gigabit Ethernet
3 .MacMini Core2Duo 2.4 GHz 4GB OSX 10.6.6 iTunes 10.1.1 (AIFF files in 192K 24 Bits)
4. USB Cable-Stock from DAC Box
5. Wyred4Sound DAC2
6. Acrolink 6N-A2200II Interconnect
7. ModWright SWL 9.0 SE Tube Pre-Amp
8. Nanotech Golden Strada #201DCS Interconnect
9. Wyred4Sound Multi-Channel 4 Channel PowerAmp-BiAmp
10. Nanotech Golden Strada #79 Speaker Cables
11. Vandersteen 2ce Mark II speakers

The equipment I am using for the SACD playback are as follows:

1. Marantz SA11S2 SACD Player

2. IXOS Interconnect

3. ModWright SWL 9.0 SE Tube Pre-Amp

4. Nanotech Golden Strada #201DCS Interconnect

5. Wyred4Sound Multi-Channel 4 Channel PowerAmp-BiAmp

6. Nanotech Golden Strada #79 Speaker Cables

7. Vandersteen 2ce Mark II speakers

Cheers,,,, Pete aka http://lkypeter.blogspot.com

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. Copyrights of all contents in this blog belongs to Peter Lye unless stated otherwise.

Beethoven Piano Concerto No 2 in B flat major Op 19-The Half Price Concerto

Having wrote two commentaries on Beethoven Piano Concerto No. 1 opus 15 and No. 5 opus 73; his first and last for this genre, sometime back, I am into his piano concerto again. I shall be chronological at least in terms of the date of publicity based on opus number and write about his second concerto opus 19. The reason why opus number is not a good chronological gauge as it is common for composers to publish their work about a year or so later to ensure that they are the only performer and provide little basis for comparative critique especially when the piano is Beethoven's instrument of choice. In fact Beethoven himself said that musical policy demands that one should keep the best concertos to oneself for a time. Actually after more recent discovery of Beethoven's undoubted first piano concerto that pre-dates opus 15 named Piano Concerto in E flat major WoO 4 as no opus number was assigned as it was not published during his lifetime. Perhaps he considered this work too amateurish or juvenile to be associated with it like the phrase "I would not be caught wearing that dress".

Why half price? In selling this concerto to Hoffmeister, Beethoven only asked for 10 ducats instead of the usual 20 ducats as he remarked that he believe that this is not among his best. From this remark, scholars have argued both ways why it is his first attempt in composing the piano concerto genre. Those arguing why it is the first reasoned that it is likely his first attempt as it is less matured in many ways when compared to his piano concerto No. 1 opus 15. Those on the other side reasoned that after having published his piano concerto No. 1 opus 15, this remark is a comparative statement that it is not as good as the previous opus 15.

The concerto opens with a lively orchestra tutti that some remarked that the beginning is fashioned after Mozart flamboyant style while others opined that it is much more reflective of Haydn's gallantry especially the ending of the first movement and the most of the third movement. My favorite portion of this movement is the zesty orchestra tutti that launches this concerto as well as the ending where the soloist displays his ability to divorce his left hand from his right hand to execute the rhythmically polarized portions. On this note, I think that Martha Argerich interpretation of this solo part is my favorite as it sounded so effortless like a walk in the park.

Beethoven's imprint and style is so obvious in this lyrical second movement and to me, it could be connected to his sixth symphony. This is the movement to sit back and soaked up the gentile Adagio like a walk in the beautiful black forest of Germany during spring time.

The finale is the movement that Beethoven has done most modifications from differential in the various manuscripts that survived to the extend that one of them believed to be the original finale has actually been named as a standalone Rondo without opus number Wo4 in B flat major due to the large differential with later manuscripts. Barry Cooper of University of Manchester puts technical brilliance as what sets this movement apart from the rest of the concerto. The resolution at the end of this movement actually sums up not only this movement also the entire concerto nicely.

I have listened to 7 versions of this concerto in writing this concerto and tempo wise, it seems a reversal in trend. The later recordings like the version by Pierre-Laurent Aimard with Nikolaus Harnoncourt conducting being the slowest and earlier recordings the version by Alfred Brendel with Heinz Walburg conducting seems a tad hurried. Harnoncourt was a percussionist before taking up conducting and these are the artists that put the most emphasis on the tempo.Here are the versions pictorarily.

The Betrothal-Wieniawski Légende Op 17 in G minor

Henryk Wieniaswki composed this piece out of desperation as Henryk was facing objection from Isabelle Hampton's parents for them to be engaged. It was not recorded what was the nature of their objection was clear but after hearing Légende composed by Wieniawski, her parents changed their mind and allowed the two lovers to be engaged and later marry and have children.

With such a romantic backdrop to this piece, I decided to listen more in depth into this piece and before long, I was humming it. This piece and composer was never on my radar screen of classical music but all that changed after this piece.

I am not going to mention how many versions I have as it would be embarrassing to have and not play and appreciate it. Suffice to all, it does not exceeds using all the limbs of a human being as counters.

This short piece of slightly over 7 minutes can be divided into 3 sections. Quite a rarity for such short pieces in my opinion. The orchestra or piano introduces the pieces for a few short bars before the solo violinist joins in. Perhaps the Henryk wanted to show his sadness in not being able to engage Isabelle. Before you know it, the piece launches itself from G minor to G major whilst maintaining the motif intact. With the transition from minor to major key, the moods brightens so does the tempo. This is perhaps to convey the sweetness of his love for his daughter. The second section ends with a dramatic descending chromatic scale and bring the piece back to the original G minor key. The descend perhaps as a parallel to her parents objection and how this decision could result in a sadness for both Henryk and their daughter Isabelle conveyed in the 3 section in G minor.

I have taken a lot of liberty in interpreting this piece and if you do not agree, I can fully understand. This piece so moved me and I was trying to search for its interpretation but found very scarce information and decided to write one myself.

Some of my recommended recordings IMHO are:
1. Anne-Sophie Mutter/James Levine/Weiner Philharmoniker-Carmen Fantasy-Track 2-DG

2. Itzhak Perlman/Lawrence Foster/The Abbey Road Ensemble-A la Carte-Track 8-EMI

3.Gil Shaham/Lasrence Foster/London Symphony Orchestra-Wieniawski Violin Concerto 1 & 3,
Sarasate, Zigeunrwisen-Track 7-DG

Guys, perhaps this could add to our bag of tricks to get the girl of our dreams or to dream on.