Catching Up with CDs and SACDs

The following is merely a random sampling of what I’ve been listening to since the last group of reviews in November 2007. Software problems have been the main reason for the long hiatus from reviewing, but stagnation due my advancing years seems to have been a contributing cause.

CDs from Harmonia Mundi

Frédéric Chopin: 24 Préludes, Op. 28; Trois Nouvelles Études; Prélude in C-sharp Minor, Op. 45; Petit Prélude in A-flat Major. Frederic Mompou: Música callada No. 15; Prélude No. 9; El lago (Le Lac). Alexandre Tharaud, piano. HMC 901982 (recorded 2007, released 2008).

There’s more than one way to skin a cat, but not nearly as many ways as there are to play the Chopin preludes. Alexandre Tharaud’s way is not Rubinstein’s or Pollini’s but equally great—very dramatic, verging almost on violence in some of the pieces, but still totally controlled and authoritative. His technique is above criticism. I wasn’t quite as enchanted by these performances as by his older CD of Chopin waltzes, just thoroughly impressed. As for his parallels between Chopin and Mompou, that’s his thing, not mine. Maybe he’s got something there… The audio quality of the recording is just a bit more resonant and swimmy than my ideal but still quite excellent. This is a far from negligible addition to the Chopin discography.

“Fantasy”—repertoire for two violins. Bohuslav Martinu: Sonatina for two violins and piano. Dmitri Shostakovich: Three violin duets, with piano accompaniment. Darius Milhaud: Sonata for two violins and piano, Op. 15. Isang Yun: Sonatina for two violins; Pezzo Fantasioso. Angela Chun & Jennifer Chun, violins; Nelson Padgett, piano. HMU 907444 (recorded 1998, released 2008).

It’s difficult to have a bigtime career as a solo violinist, no matter how good you are—and the Chun sisters are very good. So they did something clever: they went for the relatively limited repertoire for two violins, where they are able to shine. In this recording they shine brightly, no doubt about it. The Martinu sonatina is a sassy, edgy, mildly dissonant, rather lightweight piece, which the Chun sisters toss off with easy virtuosity. The Shostakovich duets are even lighter stuff (arrangements of excerpts from his theater and film music) but lovely-sounding and beautifully played here. The centerpiece and most serious music of the recorded program is the Milhaud sonata, reminiscent of Debussy and Ravel, which the Chun sisters play with a combination of impressionistic refinement and controlled vigor. The Yun compositions leave me cold; they meander all over the place and consist mostly of sound effects (successfully showing off, it must be admitted, the beautiful sound of Angela’s Montagnana and Jennifer’s Amati). All in all—great musicianship, somewhat constrained repertory. The 10-year old recording is excellent in audio quality; the violins have great presence without any edginess; what’s not clear to me is why this performance was shelved for 10 years, while the Chun sisters remained musically active to this day. So far I haven’t received an answer to that question.       

SACD from LSO Live

Gustav Mahler: Symphony No. 6 in A Minor. London Symphony Orchestra, Valery Gergiev, conductor. SACD LSO0661 (recorded 2007, released 2008).

Here we go again—Mahler 6th. This time it’s on a single disc because Gergiev gets it done in 77 minutes and 11 seconds. Is that good? Yes and no. Gergiev has been advertised as an explosive, blood-and-guts dynamo who made his bones in the orchestra pit of a busy opera house, and that’s the way he conducts here. It’s very exciting and certainly different, without the expected Mahlerian longueurs, rather Wagnerian, and necessarily superficial where nuance is needed. I thoroughly enjoyed it and at the same time found it questionable. The LSO is a natural Mahler orchestra in its sonority; they play magnificently. I chose to listen to the 2-channel SACD layer of the disc over my Orion++ loudspeaker system and found James Mallinson’s live recording at the Barbican absolutely stunning. The soundstage is wide and deep; the orchestral texture is very clean and detailed; the dynamic range is wide. I spot-checked the Redbook CD layer, and it sounded about the same. Maybe an interruptible recording without an audience could have brought out an occasional inner detail more clearly, maybe not. This should definitely not be your first and only CD of the Mahler 6th, but as an occasional indulgence it has a lot of merit.      

CDs from Naxos

Béla Bartók: Bluebeard’s Castle (Opera in One Act, Libretto by Béla Balázs). Sung in Hungarian. Bluebeard: Gustáv Belácek, bass; Judith: Andrea Meláth, mezzo-soprano; Bournemouth Symphony Orchestra, Marin Alsop, conductor. 8.660928 (recorded and released 2007).
Béla Bartók: The Wooden Prince (Complete Ballet). Bournemouth Symphony Orchestra, Marin Alsop, conductor. 8.570534 (recorded 2007, released 2008).

In May 2007 Marin Alsop and the Bournemouth orchestra had a big early-Bartók recording session in Poole, England, committing to CD their version of the 1911 opera and the 1914–16 ballet. Whether it was a worthwhile effort is debatable, since both works have benefited from a number of much better modern recordings. (If I weren’t Hungarian and something of a Bartók watcher, I wouldn’t even bother to write about these CDs.) Alsop is too bland for Bartók; the music demands greater incisiveness, more of an edge, you could almost say more violence. Merely beautiful orchestral balances don’t cut it. And that’s not the only problem. For example, the spoken prologue is missing from “Bluebeard,” which is a falsification because the music is supposed to start under the narrator’s voice. As for the Slovak bass Belácek, he sings well enough, but his heavily accented Hungarian reminds me of the itinerant Slovak tinkers who used to peddle their wares in the courtyard of our Budapest apartment house when I was a child. They would call out “Wiring! Patching! Pot mending!” in bad Hungarian; we called them wire-Slovaks. This isn’t just pedantic quibbling; the Magyar cadences are an intrinsic part of Bartók’s vocal metrics. Ten seconds of listening to Mihály Székely, the greatest Bluebeard of all time (Mercury Living Presence, D101216, recorded 1962) will prove my point. (Never mind that there aren’t too many Hungarian-speaking music critics in the U.S.) The mezzo Meláth at least sings in normal Hungarian. The ballet music of the Prince doesn’t quite have the searing and unrelenting intensity of the opera, but there are many gorgeous passages, magnificently orchestrated. Alsop plays it kind of blah half the time; she goes on automatic pilot much too often. Compare, for example, the superb 1991 performance by Pierre Boulez with the Chicago Symphony Orchestra on DGG. The audio quality of both Naxos discs is good, with a credible soundstage and wide dynamic range, but that alone won’t save the day.     

Ernö von Dohnányi: Violin Concerto No. 1 in D Minor, Op. 27; Violin Concerto No. 2 in C Minor, Op. 43. Michael Ludwig, violin; Royal Scottish National Orchestra, JoAnn Falletta, conductor. 8.570833 (recorded 2007, released 2008).

When I was a child in Hungary, Dohnányi (1877–1960) was the big-deal pianist; nobody even talked about him as a composer. By that time (late 1930s), Bartók was the big-deal composer, even though earlier (pre-World War I) Bartók was also considered a superb pianist. From today’s perspective, of course, Bartók is a giant and Dohnányi an interesting minor composer—and who cares about their piano playing? These two violin concertos, composed in 1915 and 1949 respectively, are very easy listening; even the 1949 one isn’t particularly “modern” and the 1915 one a lot less so; both are big, lush, gorgeously orchestrated, Romantic works with amazing virtuoso moments for the violin. That they aren’t regular repertory pieces is inexplicable. Michael Ludwig is a superb violinist with a big, singing, invariably sweet tone; I knew him well as the Associate Concertmaster of the Philadelphia Orchestra, a post he left not long ago. The Scottish orchestra and JoAnn Falletta are also very impressive, and the recording, made in the splendid acoustics of Glasgow’s Henry Wood Hall, is about as good in audio quality as I ever heard in a violin concerto—truly 3-D out of just two channels, with outstanding dynamics. This is a surprisingly excellent CD.    

SACD from Ondine

Peter Tchaikovsky: Symphony No. 6 in B Minor, Op. 74 (“Pathétique”); Dumka, Op. 59. The Philadelphia Orchestra, Christoph Eschenbach, conductor; Christoph Eschenbach, piano (in the Dumka). ODE 1131-5 (recorded 2006, released 2008).

The Philadelphians have been known as a “Tchaikovsky orchestra” since the days of Leopold Stokowski, and here they certainly live up to that reputation. The schmaltzy second theme of the first movement never sounded better than as played by their magnificent strings, and the brasses are also stunning. Eschenbach’s performance is predictably much slower and more sentimental than the definitive Mravinsky/Leningrad recording of 1960 on DGG, but with the Philadelphia sound and the highly expressive, dramatic playing this is still memorable music-making. The recorded sound is far from the best effort of Polyhymnia in Verizon Hall; other recordings have had a more natural reverberation and sounded less congested, although the basic texture and structure are still good in both the Redbook and the SACD layers of the disc. As for the upbeat Dumka, Eschenbach plays it beautifully; he is actually less controversial as a piano virtuoso than as a conductor.   

SACD from PentaTone

Franz Liszt: 12 Études d’exécution transcendante. Claudio Arrau, piano. PTC 5186 171 (recorded 1974, remastered and released 2008).

Claudio Arrau was one of the greatest pianists of the 20th century, an aristocratic musician of impeccable taste and irreproachable keyboard technique. He recorded these supremely difficult pieces at the age of 71, when his prowess was still undiminished and his musicianship at its ripest. In his interpretations, Liszt’s flashy showpieces emerge as beautiful music, not just spectacular explosions of gorgeous sound. He goes one step beyond supervirtuosos like Lazar Berman. Are his fingers quite as amazing? Amazing enough and, besides, it’s irrelevant—his way is the better way to hear this music. As for audio quality, here’s one instance where the reprocessed SACD layer sounds considerably better than the CD layer—cleaner, crisper, better defined. Since the original recording was on analog tape, it’s not quite clear to me how the two versions could diverge so much.       

CD from RCA Red Seal

Jascha Heifetz: The Original Jacket Collection. Works by Bach, Beethoven, Bizet, Bloch, Brahms, Bruch, Debussy, de Falla, Franck, Glazunov, Korngold, Kreisler, Mendelssohn, Mozart, Prokofiev, Rachmaninoff, Ravel, Rózsa, Sibelius, R. Strauss, Tchaikovsky, Vieuxtemps, et al. Jascha Heifetz, violin; various orchestras, conductors, & accompanists. 88697-21742-2 (10 CDs, recorded 1946–1972, reissued 2008).

The arguments about Jascha Heifetz (1901–1987), if any, were always about subtle details of interpretation, never about violin playing. In the latter department he stood alone, almost unquestionably the most perfect violinist of the twentieth century. Even the greatest string players have occasional intonation problems—not Heifetz. He invariably hit each note square in the middle, regardless of duration or velocity. His vibrato was unique; smaller, faster, less wobbly than anyone else’s. His double-stops were flawless, without exception. He was simply unaware of any difficulties of execution. And he played in a lofty, aristocratic, infinitely self-assured, one might say Olympian style, with slight mannerisms of phrasing now and then. It was basically unfair to other violinists. This collection reproduces the original LP jacket art and copy of each recording in reduced CD envelope size—that’s its marketing gimmick. All the great violin concertos are here—the Beethoven, the Brahms, the Mendelssohn, the Sibelius, the Tchaikovsky, in performances unequaled to this day, with some great orchestras (Chicago, Boston, etc.) and great conductors (such as Reiner and Munch). There are also a few solo performances with and without piano accompaniment. The recorded sound in most instances is very acceptable even by today’s standards; in the pieces where the great Lew Layton was the recording engineer the audio quality is actually quite amazing. For those who don’t own some of these unique recordings in older editions, this latest version looks like a good buy.           

Franz Schubert: Piano Quintet in A Major, D. 667 (“The Trout”). W. A. Mozart: Piano Quartet in E-flat Major, K. 493. Yefim Bronfman, piano; Pinchas Zukerman, violin; Jethro Marks, viola; Amanda Forsyth, cello; Joel Quarrington, double bass (in D. 667). 88697160442 (recorded 2007, released 2008).

What’s better than a great chamber ensemble? A chamber ensemble of world-class soloists, provided the latter are totally attuned to chamber music. That’s the case here, in spades. Yefim Bronfman is one of the flashiest of soloists but here he is the team player par excellence. His phrasing is absolutely gorgeous where the piano is on top, and then he fades back into the sonic fabric of the music like a lifelong chamber artist. The same can be said of Pinchas Zukerman; his violin tone is warm and silky at all times and his phrasing elegant, whether he is carrying the melody or playing figurations. The other members of the group are not as famous but certainly no slouches. The juxtaposition of these two lovely compositions, written 33 years apart, is somewhat arbitrary; they are both for piano and strings, but the Mozart is a darker, emotionally more complex work by far. It is quite wonderful to hear both pieces performed on this level of technical excellence. The recorded sound, too, is excellent; strings and piano have all the presence you could ask for and are in perfect balance. The recording was done at McGill University in Montreal—I always liked Canadian audio!   

CDs from Sony Classical

J. S. Bach: Partita No. 2 in C Minor, BWV 826; Partita No. 3 in A Minor, BWV 827; Partita No. 4 in D Major, BWV 828. Murray Perahia, piano. 88697-22697-2 (recorded 2007, released 2008).

Murray Perahia is arguably the world’s greatest living pianist, at least in the standard classical repertoire. This release certainly puts forth that argument. That his chronic thumb trauma still keeps acting up from time to time, forcing temporary withdrawals from the concert stage, does not seem to affect his superb technique when he is well and making a recording, as in this case. As for his musicianship, it remains peerless. These cerebral Bach pieces acquire an utterly natural, singing, human quality under his fingers, while retaining the utmost transparency in polyphony and the greatest possible clarification of rhythmic complexity. Astonishing pianism! The German-engineered piano recording has all the presence you can ask for, with just a tad more resonance than I like—but that’s a matter of taste. Perahia’s warm piano tone is certainly rendered accurately.

Art Tatum: Piano Starts Here; Live at The Shrine. Zenph Studios Re-Performance (stereo surround version and binaural stereo version). 88697-22218-2 (original recordings 1933 and 1949, Zenph re-performance 2007, released 2008).

If you asked me who were the greatest jazz pianists of the 20th century, my answer would have to be Art Tatum first, then a big gap, then all the others. And I am in good professional company with that opinion. The man was not only a superb jazz artist but also a piano virtuoso with the keyboard technique of a Marc-André Hamelin. He appeared to possess four hands instead of just two, and his phrasing, rhythm, voice leading, etc., were always dead-on at any velocity. As for Zenph re-performances, I described the process under Sony Classical/Glenn Gould in the November 2007 group of reviews. The piano sound is completely modern, since the Yamaha player piano is newly recorded, but the dynamic range is limited to that of the original recording. Here we have Art Tatum at 23½ years old in the “Piano Starts Here,” which includes his signature “Tiger Rag,” and 16 years later, at 39½ years old, in “Live at The Shrine.” I find the earlier performance to be more virtuosic, with amazing sonorities and incredibly fast runs of startling clarity, but it’s pretty conventional jazz of such smoothness and fluency that much of it sounds like a superior form of cocktail piano. The later recording is of much more modern-sounding jazz, more interesting but most of it less flashy, less wow-style. Regardless of the differences, it’s all truly spectacular. The binaural stereo tracks are particularly clear over headphones, simulating what Art Tatum himself would have heard while playing, but I find headphone listening to be quite irritating after a few minutes, so I stopped. The best news is that there are many more Zenph re-performances coming. I wonder what recording they’ll resurrect next.          

SACDs from Telarc

Sergei Prokofiev: Symphony No. 5 in B-flat Major, Op. 100; Lieutenant Kijé Suite, Op. 60. Cincinnati Symphony Orchestra, Paavo Järvi, conductor. SACD-60683 (recorded 2007, released 2008).
Sergei Rachmaninoff: Symphony No. 2 in E Minor, Op. 27; Scherzo; Dances from Aleko. Cincinnati Symphony Orchestra, Paavo Järvi, conductor. SACD-60670 (recorded 2006, released 2007).

Here’s 2¼ hours of excellent Russian music, played by the excellent Cincinnati orchestra, conducted by the excellent Estonian-American conductor Paavo Järvi, produced by the excellent record producer Robert Woods, and engineered by the excellent recording engineer Michael Bishop. So why isn’t the overall effect excellent? Mainly because of the Cincinnati Music Hall, a bitch of a recording venue. The orchestra plays beautifully; Järvi’s musicianship and concept of the music are of the highest order; and the sound is just blah. The strings are unable to produce the free-breathing expansiveness and bloom they’re capable of because of the acoustics of the hall. Woods and Bishop have come up with stunning recordings over and over again, so it’s clearly not their fault. The Lieutenant Kijé music comes off relatively best because of the light string writing; the Rachmaninoff symphony, for example, with its gorgeous string passages doesn’t sound as gorgeous as it should. This has nothing to do with the interpretations, which are right up there with the best. I could discern no differences in basic sound quality between the various layers of either disc. Call these efforts a near miss.       

CDs from Testament

Richard Wagner: Der Ring des Nibelungen (Das Rheingold, Die Walküre, Siegfried, Götterdämmerung). Recorded live at the Festspielhaus Bayreuth, July 24–28, 1955, by the Bayreuth Festival Orchestra, Joseph Keilberth, conductor. Cast included Hans Hotter as Wotan, Astrid Varnay as Brünnhilde, Wolfgang Windgassen as Siegfried, Gustav Neidlinger as Alberich, and others of that caliber. SBT14 1412 (14 CDs, released 2006).

This is the full set of the same Ring performance of which I already reviewed the Götterdämmerung conclusion. In this particular edition, as distinct from the four separately available operas, the librettos have been left out (but can be downloaded from www.testament.co.uk), and the entire music is on 14 CDs. As I said, this 1955 production is arguably equal, or even superior, to the 1958–1966 Solti/Vienna Ring recordings, which to this day are considered the gold standard and became the political reason why Decca suppressed this earlier effort for half a century. Certainly Hans Hotter, great as he is in the Solti recordings, was in even better voice a few years earlier; Astrid Varnay is a not a whit inferior to Birgit Nilsson (in my opinion actually more beautiful-sounding, but let’s not fight); Windgassen and Neidlinger overlap both productions but are younger and fresher in the earlier one; and so on. As for the conductor, Keilberth is not as flashy and high-voltage as Solti but an equally good musician, rock solid in Wagner, so that leaves the audio as the sticking point—a very interesting comparison. The 1955 taping is very early stereo, before they knew how to gimmick it up, and therefore utterly natural-sounding, with occasional imbalances due to the tricky acoustics of the Festspielhaus and some tape overloads. The later Solti recordings exhibit much more sophisticated audio engineering, with many more microphones and dazzling effects that often sound a bit artificial. I really don’t know which sound I prefer. That a live performance over one five-day period in Bayreuth can be on such a consistently high level is truly amazing, much more remarkable than the heavily rehearsed and edited studio recordings of Solti over an eight-year interval. We are lucky to have both and should be grateful to Testament for resurrecting the Bayreuth recording.    

HD Radio FM/AM Digital Tuner
Sony XDR-F1HD

This is a $100 (that’s no typo) tuner that blows away the classic “super tuners” of McIntosh, Marantz, Sequerra, Accuphase, etc., according to FM experts who know more than I do. 

Sony Corporation (made in China). Voice: 1 (800) 222-SONY. Web: www.sony.com/service. XDR-F1HD FM/AM Digital Tuner, $99.95 (available from a large number of Internet retailers). Tested sample owned by The Audio Critic.

Analog FM radio can be of fairly high quality if the signal is fat enough, the antenna good enough, and there’s no multipath. Big ifs. Digital HD radio (not to be confused with satellite radio) is much more consistent and reliable. The digital signal is bundled with the analog signal and transmitted over the same broadcast frequency. Usually there are three programs broadcast by one station over a given frequency: the analog FM program, the HD1 program duplicating the analog program, and the HD2 program, which is generally without commercials. The available bandwidth permits a data rate of 48 Kbps for HD1 and 48 Kbps for HD2, or 96 Kbps if there is only one HD channel. Such rates are labeled CD-quality, or near-CD-quality, by iBiquity Digital, the developer and licenser of HD radio, a somewhat wishful appellation in my opinion. (More about that below.)

HD radio broadcasts appear to be proliferating at a higher rate than HD radios and tuners, at least from where I’m sitting. This $100 Sony is a fantastic bargain and appears to be just what the doctor ordered. Unfortunately I don’t have the RF test equipment for generating and measuring FM frequencies, but Brian Beezley does (go to http://ham-radio.com/k6sti/xdr-f1hd.htm). He and his associate Bob Smith, both of whom know what they’re talking about, report that the XDR-F1HD outperforms on the test bench every known tuner under the sun, regardless of price. The secret is a new NXP (formerly Philips) chipset that implements the front end for digital IF reception as well as the digital-IF DSP back end. This proves once again that innovative engineering at reduced cost is able to supersede obsolete high-end solutions (how I love to reiterate that!).

In my location (Bucks County, Pennsylvania, about halfway between Philadelphia and Allentown) I am now able to receive many more programs than ever before without noise, breakup or interference. As for audio quality, here’s what I have observed so far: HD radio at 48 Kbps is wider in both frequency range and dynamic range than analog FM. The noise floor is also incomparably better—basically total silence. What is missing at the reduced data rate is the spatial detail. The subtle spatial clues that render a clear 3-D soundstage and provide air around the instruments are better on the best analog FM broadcasts if cleanly received and reproduced through a really good pair of loudspeakers. I haven’t been able to determine if this is true when the HD radio transmission is at 96 Kbps because all high-quality stations in my area carry both HD1 and HD2 programs. Another problem is that if the HD1 channel locks in, then the analog FM channel is not available, and if it doesn’t lock in, the analog FM signal is most likely equally flawed. One of these days the government will eliminate all analog FM broadcasts, as it has analog TV (beginning February 2009), and then the bandwidth will be available for much higher digital data rates, resolving the quality problem once and for all.

I must add that all of the above observations are based on reception with the excellent Terk FM Pro FM-50 indoor/outdoor antenna with “Power Injector.” (See the old print Issue No. 25 of The Audio Critic, downloadable from this website.) The antenna is permanently fixed in position, aimed at Philadelphia.

The XDR-F1HD also receives AM, both analog and HD, but with the rudimentary AM antenna that comes with the tuner I haven’t received any music broadcasts worth discussing. Talk programs are fine at the reduced data rates.

In appearance, the Sony is small, cute, and cuddly, sporting a 2½-inch display window where you can see the station and channel ID, and sometimes even the title and performer of the selection being played. All the controls are on top of the unit and are duplicated on the “remote commander” (their nomenclature, not mine). Bottom line: highly recommended.

Rebate! (Only until 9/29/08.)

The HD Digital Radio organization is offering a rebate of $50 to purchasers of a large number of HD radios and tuners, including the Sony XDR-F1HD. The offer expires September 29, 2008. Go to http://www.hdradio.com/rebate/rebate.php for all details.  

Powered 4-Way Dipole Loudspeaker System
Linkwitz Lab “Orion++”

Designer: Linkwitz Lab, 15 Prospect Lane, Corte Madera, CA 94925. E-mail: sl@linkwitzlab.com. Web: www.linkwitzlab.com. Constructor: Wood Artistry, L.L.C., 408 Moore Lane, Healdsburg, CA 95448. Voice: (707) 473-0593. Fax: (707) 473-0653. E-mail: sales@woodartistry.com. Web: www.woodartistry.com. “Orion++” loudspeaker system, $10,350 and up for two complete channels (custom-built, complete with two electronic crossovers, all necessary cables, two “Thor” subwoofers, and ATI AT6012 twelve-channel power amplifier). Kit versions available in various stages of completion at lower prices. Tested samples owned by The Audio Critic.

This is a sequel to the February 2005 review of the original Linkwitz Lab “Orion.” It is recommended that readers go back to that review (via Archives below) before getting too involved in this one.

Siegfried Linkwitz is unique in that he understands transducer physics, room acoustics, and auditory psychology equally and has no preconceived engineering biases. That’s why he has been able to develop a superior concept of loudspeaker design. A superior concept always ends up with better results than a less good concept, no matter how perfectly the latter is executed. A “monkey coffin” (i.e., a closed rectangular box housing forward-firing drivers) will not sound as good as Linkwitz’s simple boxless “Orion” concept, no matter how big, beautiful, expensive, elaborately designed, and prestigiously labeled the monkey coffin is. The Stereophile cultists will find that hard to accept but it’s an audible fact of life.

The “Orion+” and the “Orion++”

The “Orion++” is an improvement over the original Orion but not nearly as great an improvement as the original Orion was over ordinary loudspeakers. I am not going to repeat my comments on the original Orion (see the link above); this review is strictly about the changes and improvements. In any event, it would be a waste of bandwidth to go into an extensive discussion of the Orion and Orion++ design principles, since Siegfried Linkwitz himself has done the job far better than I could possibly do it on his brilliant website, www.linkwitzlab.com. Siegfried knows more than I do and dislikes audiophile hype and voodoo at least as much as I do, so I have really nothing to add to what he says. What I am providing here is merely an independent validating opinion.

The main change here is the addition of a rearward-firing tweeter, another Excel T25CF002 “Millennium” by SEAS, placed back-to-back against the forward-firing tweeter and wired in parallel with it, but with reversed phase, so that both domes move simultaneously toward and away from the listener. This one change makes the speaker an Orion+, in Linkwitz’s nomenclature. The Orion+ is therefore basically identical in radiation from the front and back of the dipole, although there are minor differences due to the physical structure of the speaker. There is nothing new about a rearward-firing tweeter (the Snell Acoustics Type A, for example, goes back to the ’70s), but the way it is integrated into the Orion to form a completely symmetrical and uniformly phased dipole is unusual. Linkwitz devotes considerable space on his website to the enlistment of a reflective rear wall for better sound, contrary to the traditional let’s-dampen-everything approach. I am not going to repeat here what he says; go to the website and read it. It’s great stuff.

The Orion+ sounds different from the Orion. (I’ll come to the Orion++ in a moment.) The rear tweeter works in mysterious ways (again, go to the Linkwitz website), opening up the sound and taking the listener further into the venue of the recorded music and away from the acoustics of the listening room. When everything is trimmed in properly—speaker location, toe-in, tweeter level, overall volume, etc.—you are transported to there and no longer aware of here. It’s quite critical, however; the Orion+ is not as forgiving as the Orion. It took me long hours of extremely focused listening to adjust the tweeter trim pots on the crossover circuit board so that the treble sounded absolutely natural. Just a hair up or down made a surprising difference. Siegfried is not at all happy about that, but that’s the way it is. Now that it’s done I wouldn’t have it any other way—both structurally and texturally the best sound I ever had in my main listening room.

The “Thor” Subwoofer

When you add a pair of “Thor” subwoofers and a second crossover/equalizer to the Orion+, it becomes the Orion++. This is a luxury, and an expensive one at that, because the Orion+ and the Orion++ sound the same on most recordings. The superiority of the Orion++ becomes apparent only on recordings with a lot of bass energy (organ, double bass, synthesizer, and such), in which case you can play the music much louder with less bass distortion. The low-frequency rolloff of the Thor is about the same as of the Orion woofers, so there is no bass extension as such—the bass was extended all the way to begin with, without subwoofers. That’s why the Thor is not really a subwoofer in the conventional sense but rather a kind of superwoofer.

The Thor’s driver is a 12-inch Peerless Xtra Long Stroke (XLS) Model 830500 from Denmark; the enclosure is completely sealed, with an internal volume of approximately 50 liters (1¾ cubic feet); the crossover frequency is 50 Hz. The response profile is a combination of the sealed-box rolloff and electronic equalization. The latter is provided by the dedicated electronic crossover/equalizer, which also has pushbuttons to switch the two Thors in and out. In most cases, but not all, you hear nothing when you do that. I listen to more music with the Thors out than in. When you need it, however, there’s a complement of six woofers, four 10-inchers and two 12-inchers, to pump out the bass. That’s the equivalent, and then some, of a pair of 18-inch woofers—and more effectively deployed, more accurately crossed over, and lower in distortion than 18-inchers in conventional big systems. The Linkwitz crossover is of a highly sophisticated design to assure a totally seamless transition from the open dipole woofers of the basic Orions to the sealed boxes of the Thors. That would not be possible with a crossover frequency higher than 50 Hz. (Once again, read the website.)

The Measurements

My usual MLS (quasi-anechoic) loudspeaker measurements are limited in accuracy, as Siegfried Linkwitz himself has repeatedly pointed out. I would still perform them and publish them here if it weren’t for Siegfried’s much more sophisticated and authoritative measurement data on his website, which I trust implicitly; they are the very antithesis of the promotional graphs hyped by the typical loudspeaker manufacturer. In any event, the rear tweeter of the Orion+ has exactly the same response as the front tweeter, which is shown in the graph accompanying my February 2005 review of the original Orion. The nearfield response of the equalized Thor is basically the same as the nearfield response of the equalized Orion woofers. The f3 appears to be around 20 Hz. (Yes, see the Linkwitz website.) Of course, the in-room response of this extremely complex system has little to do with the anechoic or quasi-anechoic response, accurate or not.

The Sound

Regarding the extraordinary sonic characteristics of the Orion+ and Orion++, I wish to be a little more specific than above. The basic neutrality, i.e., lack of coloration, of the sound is due mainly to the SEAS and Peerless drivers and, to some extent, the extremely sophisticated electronic crossover. The unprecedented openness and vividness of the sound are probably due to the well-integrated 100% dipole design and correct placement at a distance from all three walls. (The latter requirement undoubtedly eliminates many conventionally furnished rooms from the Orion’s deployment possibilities.) The almost magical sonic disappearance of the listening room and immersion in the acoustics of the recording venue are the result of the mysterious interaction of the rear tweeter and the rear wall, discussed in detail on the Linkwitz website. The impact of the bass drum, of organ pedals, etc., is effected by the perfect synchronization of the Orion woofers and the Thors by the second crossover/equalizer. It’s a complete package, with nothing missing and no part overemphasized at the expense of another. It’s still two-channel stereo, but so far I haven’t heard a 5.1 or 7.1 surround-sound system that gave me as much audio information and brought me as close to the performance as the Orion++.

You could save a lot of money (at least $2150) if you don’t order a ready-made pair of Thors with the bass crossover/equalizer, in which case you’ll still have the same sound if you don’t listen at high levels to bass-rich material. Or you could save a lot more money if you choose one of the many kit options to construct part of, or most of, the system yourself. (See http://www.linkwitzlab.com/DIY%20products.htm and http://www.woodartistry.com/speakers-and-cabinets/index.html.) I can tell you one thing: if you buy a $50,000 pair of monkey coffins with one of the iconic high-end labels, the sound in your listening room still won’t be as lifelike and musical as if you had bought the Orions. The only problem is that a side-by-side listening comparison isn’t available anywhere, to the best of my knowledge. You’ll just have to trust me. Or never know the ultimate audio delights…

New CD and SACD Reviews 

Here’s what I’ve found noteworthy, from my admittedly un-musicological and often audio-biased point of view, among the recent and not so recent releases that have come my way. Please note that I no longer comment separately on stereo and surround-sound versions. Two-channel playback through my Linkwitz Lab Orion++ loudspeaker system (review coming) now gives me more accurate spatial information than 5.1 playback.

CD from CSO Resound
Gustav Mahler: Symphony No. 3 in D Minor. Michelle DeYoung, mezzo-soprano; Women of the Chicago Symphony Chorus; Chicago Children’s Choir; Chicago Symphony Orchestra, Bernard Haitink, conductor. CSOR 901 701 (2 CDs, recorded 2006, released 2007).

CSO Resound is the Chicago Symphony Orchestra’s new private label; this is their first release and also the first recording of the veteran Bernard Haitink as the orchestra’s new principal conductor. The competition in Mahler Thirds is huge, but this live performance can take on most of the leaders, especially in the stupendous first movement, magnificently interpreted by Haitink. Not all of the remaining five movements are quite on the same exalted level. The great orchestra plays superbly, as expected; the famous Chicago brasses are majestic; and the stereo recording, produced by James Mallinson, is exceptionally panoramic, dynamic, and transparent down to the lowest bass, reminiscent of the old Orchestra Hall recordings of Lew Layton (which is the highest praise possible).

CD from EMI 
Anton Bruckner: Symphony No. 4 in E-flat Major (“Romantic”). Berliner Philharmoniker, Sir Simon Rattle, conductor. 3 84723 2 (recorded 2006, released 2007).

Question: What do Anton Bruckner and Sir Simon Rattle have in common? Answer: At their best both are absolutely magnificent and at their worst both are simply bad. This is a case of the former—wonderful music, wonderful performance. Rattle revels in the beauty of the symphony but keeps it within disciplined limits, and the Berlin orchestra plays at its virtuosic maximum. The Fourth is arguably Bruckner’s most immediately appealing work, and Rattle phrases its soaring themes con amore and manipulates its breathtaking dynamics masterfully. It is also the most confusingly reworked and altered of the Bruckner symphonies as a result of the composer’s revision mania; there exist no fewer than five different versions today. Rattle plays the 1886 version, edited by Nowak; I am insufficiently musicological to judge its appropriateness—all I know is that it grips me. The audio is characterized by great beauty of sound and a very wide dynamic range; the transparency is occasionally smeared by the tricky Philharmonie acoustics, but who cares? It’s a great recording.

CDs and SACDs from Harmonia Mundi
J. S. Bach: Das Wohltemperierte Clavier, Buch 1, BWV 846–869. Richard Egarr, harpsichord. HMU 907431.32 (recorded 2006, released 2007).

An excellent antidote to the idiosyncratic Glenn Gould legacy, this is a performance of classical proportions and repose in the utterly transparent harpsichord idiom. Maybe we should have listened to this one first, if that had been chronologically possible, and then to Glenn Gould! The harpsichord, recorded in the Netherlands, sounds as good as it gets, which is no more than one expects from veteran producer Robina G. Young.

Hector Berlioz: Nuits d’été, Op. 7. Maurice Ravel: Shéhérazade; Cinq Mélodies populaires grecques. Bernarda Fink, mezzo-soprano; Deutsches Symphonie-Orchester Berlin, Kent Nagano, conductor. HMC 901932 (recorded 2006, released 2007).

Nuits d’été is some of the greatest music for the voice ever composed by anyone, at least in my amateurish opinion. The performance by the Argentinian Bernarda Fink is a paragon of vocal control, French diction, Gallic style, and Romantic emotion tempered by classical restraint. This is simply exquisite singing, rising almost to the level of Eleanor Steber’s magisterial 1954 mono recording for Columbia with Mitropoulos (a much more operatic interpretation, totally forgotten by today’s critics). The Ravel pieces are irresistibly Frenchy, stylish, and the ultimate in craftsmanship—but, let’s face it, not as beautiful. Kent Nagano’s orchestral accompaniments are perfect, and the stereo recording is gorgeous.

W. A. Mozart: Don Giovanni. Johannes Weisser, Don Giovanni; Lorenzo Regazzo, Leporello; Alexandrina Pendatchanska, Donna Elvira; Olga Pasichnyk, Donna Anna; Kenneth Tarver, Don Ottavio; Sunhae Im, Zerlina; Nikolay Borchev, Masetto; Alessandro Guerzoni, Il Commendatore. RIAS Kammerchor, Freiburger Barockorchester, René Jacobs, conductor. HMC 901964.66 (3 CDs, recorded 2006, released 2007).

A flippant way to summarize this production would be “Don Giovanni Lite,” but it wouldn’t be entirely fair. René Jacobs has a valid point of view, with which a reasonable music lover can agree or disagree. Jacobs wants to scrub the opera clean of the accretions of romanticism and performance quirks of the last 200-plus years and present it in pure 1788 sound and style. (The Prague version premiered in 1787, the slightly modified Vienna version in 1788.) But what if those 200-plus years uncovered new and not immediately obvious beauties in the incredibly rich score? I was raised on the “traditional” Don Giovanni, sung by some of the greatest voices of the mid-20th century. To me, ravishingly beautiful singing is an absolute requirement of a great performance, and I’m not getting it here. Jacobs’s singers are excellent professional musicians who sing correctly, sometimes even with verve, but none of them has a beautiful voice. It’s the virtuoso period-practice orchestra that has the starring role; of its kind, their gut-stringed vibratoless playing with its whiplike attacks has no equal. What’s more, the audiophile appeal of the recorded sound is of the highest order; the clarity, detail, instrumental separation, overall soundstaging, and dynamic range are sensational. Jacobs sticks to the 1788 Vienna version and tacks on the missing 1787 Prague music as an appendix, which is all right in a recording but not in the opera house, where I would want to hear the “impure” conflated version, since I don’t want to miss eitherDalla sua pace or Il mio tesoro intanto. (Purism for the sake of “dramaturgy” is somewhat questionable here, as if Da Ponte’s haphazard and often silly libretto had the theatrical coherence of Racine or Tennessee Williams. It’s the music, dude, not the play…) Bottom line: as my only recording of Don Giovanni I wouldn’t want this, but as an alternative it’s more than worthwhile.

Piotr Ilyich Tchaikovsky: Symphony No. 6 in B Minor (“Pathétique”), Op. 74; Serenade for Strings in C Major, Op. 48. Royal Philharmonic Orchestra, Daniele Gatti, conductor. HMU 807394 (SACD, recorded 2005, released 2006).

The competition in Tchaikovsky Sixths is staggering, going all the way back to Toscanini and Furtwängler, but this performance is still a standout. It is very intense and at the same time very precise, a difficult combination to bring off. Gatti’s timings for the first and third movements are almost identical to those of Mravinsky’s definitive 1960 recording with the Leningrad Philharmonic; in the second movement Gatti is a little faster, in the fourth a little slower. That the two performances are at all comparable speaks very highly for Gatti. The Royal Philharmonic plays magnificently, and the recording, another Robina Young production, is huge in every respect—soundstage, dynamic range, instrumental definition, with particularly rich brasses. And let’s not forget the Serenade, the music for Balanchine’s unforgettable ballet, beautifully played here by the string section of the orchestra, reminding us that not all Tchaikovsky is over the top.

CD from Hyperion
Charles-Valentin Alkan: Concerto for solo piano, Op. 39, Nos. 8–10; Troisième recueil de chants, Op. 65. Marc-André Hamelin, piano. CDA67569 (recorded 2006, released 2007).

Alkan, a contemporary of Chopin, Liszt, and Schumann, sounds like a pastiche of all three on steroids, very intense, wayward, and crotchety. It’s great stuff, but you don’t have to take it too seriously if you don’t want to, and it’s almost impossible to play. Of course, to Marc-André Hamelin everything is possible; he sails through the fiendish passages with incredible ease and panache. The man is not only a world-class artist but possibly the greatest-ever acrobat of the keyboard. The speed, articulation, and clarity of his finger work are simply beyond belief, and at the same time the music keeps singing regardless of the complications. His playing is much more controlled and transparent than that of, say, Horowitz or anyone else. The piano recording, a UK job, is somewhat on the dry side and wonderfully clear.

SACD from IsoMike
Ingolf Dahl: Concerto a Tre (for violin, clarinet, and cello). Bohuslav Martinů: Serenade for Two Clarinets, Violin, Viola and Violoncello, H. 334. Karel Husa: Evocations de Slovaquie (for clarinet, viola, and cello). Sonolumina Ensemble (Russell Harlow, clarinet; Lee Livengood, clarinet; Dara Morales, violin; Leslie Harlow, viola; Jesús Morales, cello).

Again, the news here is Ray Kimber’s sensational IsoMike recording technique, with his weird baffled microphones (seewww.isomike.com), although these three mid-20th-century compositions are undoubtedly good music. The audio is the star, however; the realism, the textural quality, the you-are-there factor of these 4-channel recordings are simply without equal. I could almost say, don’t go to the concert, play this disc through first-rate loudspeakers instead, it’s just as good. The only drawback of the IsoMike technique that I can see is that those huge baffles need heavy equipment for transportation and deployment; the microphone complement of other recording engineers will fit into the trunk of a sedan. Of the three pieces, I like the Martinů best; it sounds like important music on first hearing; the others are merely pleasant listening. The instrumentalists are high-level professionals.

CDs from Naxos
J. S. Bach: Brandenburg Concertos Nos. 1–6, BWV 1046–51; Musical Offering: Trio Sonata in C Minor, BWV 1079; Concerto in G Minor for flute and strings, after BWV 1056 (transcribed by Stéphane Réty). Swiss Baroque Soloists, Andrés Gabetta, director. 8.557755-56 (2 CDs, recorded 2005, released 2006).

They may be clichés at this point, but the fact remains that the Brandenburgs tower over other Baroque composers’ music in originality of format and content. These performances on period instruments are as good as I have ever heard, upbeat, energetic, authoritatively and accurately played, never boring. The Swiss Baroque Soloists consist of some of the most distinguished period instrumentalists of Europe. Their playing has that joyful quality of utterly secure musicians having fun. The Trio Sonata has a flute part intended to be played by Frederick the Great, who probably never got around to playing it. The audio, recorded in a church by French engineers, is absolutely transparent and natural, as good as it gets.

Sergey Rachmaninov: Prelude in C-sharp Minor, Op. 3, No. 2; Preludes, Op. 23; Preludes, Op. 32. Eldar Nebolsin, piano. 8.570327 (2007).

These are the complete preludes of Rachmaninov, glorious Romantic piano music, composed three-quarters of a century later than the heyday of Romantic piano music. Today, 64 years after the composer’s death, who cares about the anachronism? It’s simply great music, dates notwithstanding. Nebolsin is another wonderful Russian pianist in his early thirties—they keep coming. He combines superb technique with thoughtful musicianship; these performances rank right up there with the best. The piano recording, made in England, is my favorite kind: close-miked and fairly dry, i.e. not too resonant, with a completely untrammeled dynamic range. The you-are-there factor is high.

SACDs from Ondine
Peter Tchaikovsky: Symphony No. 4 in F Minor, Op. 36; The Seasons, Op. 37b (July–December). The Philadelphia Orchestra, Christoph Eschenbach, conductor; Christoph Eschenbach, piano (in The Seasons). ODE 1104-5 (recorded 2006, released 2007).

Samuel Barber: Toccata Festiva, Op. 36, for organ and orchestra. Francis Poulenc: Concerto in G Minor for Organ, Strings, and Timpani. Camille Saint-Saëns: Symphony No. 3 in C Minor, Op. 78 (“Organ”). Olivier Latry, organ; The Philadelphia Orchestra, Christoph Eschenbach, conductor. ODE 1094-5 (recorded 2006, released 2007).

I have been a Philadelphia Orchestra subscriber for many years, and in my admittedly biased opinion it is the greatest orchestra in the world. These two SACDs of live concerts (which I have attended) give strong support to that opinion—breathtakingly beautiful playing in every piece. In the current Eschenbach controversy I tend to be pro-Eschenbach; I think his strengths far exceed his weaknesses. Yes, he micromanages certain aspects of the performance and has some fussy mannerisms, but he shapes every bar of the music with the most intense devotion and squeezes the last drop of emotional content out of every phrase. He never goes on automatic pilot. Witness the Tchaikovsky Fourth performance—such momentum, such splendor, those brasses…wow! His piano playing in the second half of The Seasons (the first half was tacked on to the Tchaikovsky Fifth recording) is also topnotch. As for the new Fred J. Cooper Memorial Organ in Verizon Hall—this is its debut recording—it is an absolutely magnificent instrument, the acoustics of the hall rendering better definition of its majestic tones than the echoey nave of a church possibly could. Olivier Latry is the organist of Notre-Dame in Paris and considered one of the world’s finest. What he does with the pedal cadenza of the Barber toccata—a brilliant piece in its entirety—is pretty amazing. The best music on the disc is probably the Poulenc concerto, with its catchy tunes, marvelous instrumentation, and blending of old and modern styles. The Saint-Saëns work is something of a bore until the rousing finale, where the organ gets a real workout. The audio quality of the two discs shows a further improvement in Polyhymnia International’s recording technique in Verizon Hall. In the Tchaikovsky symphony, especially, the huge soundstage, utter transparency, stunning dynamics, and exactly right liveness are close to setting a new standard and ending my nostalgia for the days of Lew Layton, John Eargle, and Max Wilcox. The bottom notes of the organ in the Poulenc piece are also worth mentioning—got a good subwoofer? Bravo Ondine!

SACDs from RCA Red Seal
Ludwig van Beethoven: Symphony No. 3 in E-flat Major (“Eroica”), Op. 55; Symphony No. 8 in F Major, Op.93. The Deutsche Kammerphilharmonie Bremen, Paavo Järvi, conductor. 88697 00655 2 (recorded 2004 and 2005, released 2006).

I would never have imagined that I could get excited over any new Beethoven symphony recording at this point (unless conducted by the resurrected ghost of Arturo Toscanini and recorded by the resurrected ghost of Lew Layton). I was wrong. This is a unique disc. The Bremen chamber orchestra, consisting of 36 to 40 players, is a supervirtuoso group, more in the sense of an amazing string quartet than that of a large symphony orchestra. Their playing is totally transparent, meticulously inflected, very crisply accented, precise to the nth degree, and blazing with primary colors. It’s like the gutsiest period practice without period instruments. You have the impression that you are hearing the music the way Beethoven originally imagined it, since it would have been anachronistic for him to imagine it played by a 105-piece modern orchestra and unrealistic to expect a contemporary live performance this good. Paavo Järvi brings out tiny details in the score that I was unaware of before. It’s a welcome change from the tief Germanic interpretations of Furtwängler or Klemperer. Check it out; you’ll love it. The recorded sound is as vivid as the playing, a perfect match.

Richard Strauss: Don Quixote, Op. 35: Fantastic Variations on a Theme of Knightly Character; Don Juan, Op. 20. Antonio Janigro, cello (in Don Quixote), Chicago Symphony Orchestra, Fritz Reiner, conductor. 88697-04604-2 (recorded 1959 and 1954, respectively; remastered and released 2006).

These are quite simply the greatest performances, ever, of the two Richard Strauss masterpieces, with the possible (but far from certain) exception of Toscanini’s, which were not nearly as well recorded. Lewis Layton’s recordings in Chicago’s Orchestra Hall of the 1950s were unequaled in transparency, spaciousness, and instrumental definition for their time, and the RCA Living Stereo reissues on CD in the mid-1990s recreated the original technology pretty accurately. This particular 2006 remastering for SACD is no improvement, despite the restoration of the center channel of the original three-track tapes—the top end appears to have been made hotter, when it was a little too hot to begin with. Even so, if you love Richard Strauss you’ve got to have one version or another of these Reiner performances. They are unique.

Giuseppe Verdi: “La traviata.” Violetta Valery, Anna Moffo, soprano; Alfredo Germont, Richard Tucker, tenor; Giorgio Germont, Robert Merrill, braritone; Rome Opera Orchestra and Chorus, Fernando Previtali, conductor. 82876-82623-2 (recorded 1960, remastered and released 2006).

For all I know, there exists a better recording of Traviata than this one, but I haven’t heard it. I am totally blown away by the stupendous singing of Anna Moffo, and the legendary voices of Richard Tucker and Robert Merrill are, if anything, even more impressive. As for the 1960 recording by the unsurpassable Lewis Layton, if you told me it was done last year on state-of-the-art equipment, I’d believe it. The whole production is a stunning achievement, one of the all-time RCA Living Stereo classics. The excellent DSD remastering restores the center channel, which I don’t find all that important; there are no rear channels or .1 bass. (Why can’t they make opera recordings like this today? That utterly secure, bulletproof quality is lacking in today’s best voices, good as they are.)

SACDs from Sony Classical
J. S. Bach: Goldberg Variations, BWV 988. Zenph “re-performance” of the original 1955 performance by Glenn Gould (piano), in stereo surround and binaural stereo versions. 88697-03350-2 (recorded 2006, released 2007).

When Columbia released in 1955 an LP of the Goldberg Variations by an unknown 23-year old pianist named Glenn Gould, the music world reeled. Such clarity of the counterpoint and such vitality of phrasing in a Bach keyboard work had not been heard before. The LP became a bestseller, and when Gould made a new digital recording of the work a quarter of a century later in 1981, the comparisons were flying and persist to this day. Many prefer the sprightlier 1955 version, the one “re-performed” here by the Zenph process. This is a process that analyzes a piano recording and separates its musical components—volume, pitch and duration of notes, velocity of key strikes, key releases, pedal actions, and so on—from the surrounding noise, then encodes the denoised musical components digitally into a high-definition MIDI file. A computer-controlled nine-foot Yamaha Disklavier Pro grand piano then replays that file, thus recreating an exact replica of the original performance in live sound, minus the noise. The recreated audio brings out subtle details in the performance that were not clearly audible in the 1955 recording; the only problem is that the Yamaha has a much richer timbre than the drier-sounding piano played by Gould, so you still don’t get a totally exact reincarnation of the original performance. Even so, it’s a definitely worthwhile tradeoff. Ain’t science wonderful?

Franz Liszt: Vallée d’Obermann; Il Penseroso; St. François d’Assise—La prédication aux oiseaux; Bagatelle ohne Tonart/Bagatelle sans tonalité; Hungarian Rhapsody No. 13; Sposalizio; “Weinen, Klagen, Sorgen, Zagen;” Funérailles; La lugubre gondola No. 2; En rêve—Nocturne. Arcadi Volodos, piano. 88697065002 (recorded 2006, released 2007).

Volodos is the “other” young Russian supervirtuoso of the piano, perhaps not quite as well-known as Kissin but equally brilliant. His technique is transcendental, and his musical personality is in the grand tradition. Here he plays ten of Liszt’s most beautiful shorter works, and his performance is a knockout. The impact of a piece like Funérailles, for example, is breathtaking. The only negative is his occasional departure from Liszt’s written score, editorializing on the composition (shades of Horowitz). Considering the liberties Liszt himself took with other composers’ works, it’s a forgivable sin. The recording has tremendous presence and a huge dynamic range but would be even better, in my opinion, if it were a little bit less resonant.

SACDs from Telarc
Benjamin Britten: The Young Person’s Guide to the Orchestra, Op. 34; Four Sea Interludes from Peter Grimes, Op. 33a. Sir Edward Elgar: Variations on an Original Theme, Op. 36 (“Enigma”). Cincinnati Symphony Orchestra, Paavo Järvi, conductor. SACD-60660 (2006).

Every audio reviewer should have a Young Person’s Guide recommendation, and this is mine. It is gorgeously played by an orchestra that has risen to world class over the last few years, and the sound has great impact and presence if you really crank the volume control (otherwise the orchestra sounds a little distant). The Sea Interludes are basically high-class movie music, expertly orchestrated and flawlessly played here. (No, La Mer they are not.) The Enigma variations are every conductor’s cup of tea, brewed to taste, and Järvi’s taste is very good. He opts for a cool, objective approach, with very elegant phrasing. It works. Watch Paavo Järvi; I think he has already passed his dad and is on his way to superstar status.

Luigi Cherubini: Requiem in C Minor; Marche Funèbre. Beethoven: Elegischer Gesang, Op. 118. Boston Baroque, Martin Pearlman, director. SACD-60658 (recorded 2006, released 2007).

Cherubini was ten years older than Beethoven and became popular for his operas before he turned to religious music. The Requiemdates from 1816, the same year as Beethoven’s A-major piano sonata, Op. 101 (just for a timeline reference). Guess who praised the Requiem to the skies? Beethoven, Berlioz, Mendelssohn, Schumann, Brahms, and Wagner, that’s who—after which I don’t believe you will be interested in my praise. It is a complex, dramatic, richly scored (trombones and tam-tam!) work that every serious music lover should know. This performance is beautifully sung, played, and recorded (maybe with a wee bit too live acoustic); I haven’t compared it with other recordings but I’m basically satisfied. The purely instrumental Cherubini funeral march is very powerful; the 5½-minute Beethoven potboiler is rather a bore.

CD Set from Testament
Richard Wagner: Götterdämmerung. Astrid Varnay, Brünnhilde; Wolfgang Windgassen, Siegfried; Josef Greindl, Hagen; Hermann Uhde, Gunther; Gustav Neidlinger, Alberich; Gré Brouwenstijn, Gutrune. Chorus & Orchestra of the Bayreuth Festival, Joseph Keilberth, conductor. SBT4 1393 (4 CDs, recorded 1955, released 2006).

Decca made live stereo recordings of all four evenings of Der Ring des Nibelungen at the 1955 Bayreuth Festival and then never released them. It was politics; a couple of years later their sensational, groundbreaking Solti studio recording of the Ring was under way, and the Bayreuth tapes were shelved—until their resurrection by Testament a half century later. I have heard only the fourth and probably greatest work of the series, Götterdämmerung, in the Bayreuth version, and I am not at all sure that the Solti version is better. As a total performance, I cannot imagine a better rendition of Wagner’s stupendous music than the Keilberth recording. Astrid Varnay is the greatest Brünnhilde I have ever heard—I am throwing caution to the winds with that flat declaration—and I’ve heard them all, either live or recorded: Frida Leider, Kirsten Flagstad, Helen Traubel, Birgit Nilsson, you name them. Varnay, who was at her absolute peak at 37 years old at the time of the recording, could produce a crescendo ascending to her highest notes and actually sound fuller and stronger than below instead of thinning out slightly like even the greatest dramatic sopranos. Astonishing singing. Windgassen was the best, certainly the most musical, Heldentenor since Lauritz Melchior, and so on down the line, the best possible cast. Keilberth isn’t as glamorous as Solti but he was a musician’s musician and a Wagnerian to the core; he phrases the music most convincingly. (He reminds me a little bit of George Szell at the old Met in 1942, when I first fell in love with Wagner—the highest possible praise.) As for the early (1955) stereo recording, it’s very respectable but not as good as some critics made it sound. For example, the contemporaneous RCA Living Stereo recordings in Chicago’s Orchestra Hall are considerably better. That amazing sunken orchestra makes the Bayreuth acoustics quite tricky; there are serious imbalances in the recorded sound, with hot spots and cold spots and thin, shrieking brasses in the climaxes. Only the strings sound consistently natural. Even so, the recording is good enough to preserve the full impact of a magnificent performance. Testament has rendered great service.

Proven: Good Old Redbook CD Sounds the Same as the Hi-Rez Formats 

Incontrovertible double-blind listening tests prove that the original 16-bit/44.1-kHz CD standard yields exactly the same two-channel sound quality as the SACD and DVD-A technologies.

In the September 2007 issue of the Journal of the Audio Engineering Society (Volume 55, Number 9), two veteran audio journalists who aren’t professional engineers, E. Brad Meyer and David R. Moran, present a breakthrough paper that contradicts all previous inputs by the engineering community. They prove beyond a shadow of a doubt, with literally hundreds of double-blind listening tests at matched levels, conducted over a period of more than a year, that the two-channel analog output of a high-end SACD/DVD-A player undergoes no audible change when passed through a 16-bit/44.1-kHz A/D/A processor. That means there’s no audible difference between the original CD standard (“Red Book”) and 24-bit/192-kHz PCM or 1-bit/2.8442-MHz DSD.

Please note that this is not just a disagreement with the cloud-cuckoo-land tweako audiophiles but also with the highest engineering authorities, such as the formidable J. Robert Stuart of England’s Meridian Audio and others with similar credentials. That the Meyer-Moran tests leave no room for continued disagreements is an occasion for the most delicious Schadenfreude on the part of electronic soundalike advocates like yours truly. I stated my suspicions that SACD was no improvement over CD seven years ago, in my review of the first Sony SACD player, the SCD-1, in Issue No. 26 of The Audio Critic (downloadable from this website). I could hear no difference between the CD and SACD layers of the same disc when stopping the player and switching over, instant toggling between the two layers being impossible.

Now, Meyer and Moran are careful to point out that the new hi-rez formats generally sound better than standard CDs, but not because the processing technology is superior. The hi-rez discs are aimed at a more sophisticated market, and therefore the recording sessions and production techniques tend to be more sophisticated, more puristic, in terms of microphoning, compression, editing, etc. The use of a standard 16-bit/44.1-kHz processor as a “bottleneck” in the Meyer-Moran tests eliminated this concern. Comparing the CD and SACD layers of the same disc also eliminates it.

It should also be pointed out that more bits and a higher sampling rate in recording are still a good thing because they permit a little bit of unavoidable sloppiness, so that you can still comfortably end up with 16-bit dynamics and 20 kHz bandwidth. Meyer and Moran do not say that 14 or 15 bits in a truncated CD are just as good as 20. What they say is that spot-on 16-bit/44.1-kHz processing is as good as it gets, audibly. Finally, let’s not confuse the Meyer-Moran tests with stereo vs. surround sound comparisons. All of the above has to do with the two channels, left and right, of stereo recordings, nothing else. The musical value of additional surround channels is something I have been wondering about lately, but that’s an altogether different subject.

—Peter Aczel

12-Channel 6-Zone Power Amplifier
Amplifier Technologies AT6012

Amplifier Technologies, Inc., 19528 Ventura Boulevard, #318, Tarzana, CA 91356. Voice: (818) 343-4777. Fax: (818) 343-7444. E-mail: amptech@ix.netcom.com. Web: www.ati-amp.com. AT6012 twelve-channel six-zone power amplifier, $1995.00 (discounts sometimes available). Tested sample owned by The Audio Critic.

As I have explained a number of times before, I am no longer interested in reviewing conventional (viz. me-too) audio electronics. Now, it could be argued that a 12-channel power amplifier capable of nearly 1000 watts total output is not exactly conventional, but my immediate reason for getting involved with the AT6012 was to power my newly upgraded Orion++ speaker system with a single amplifier. The Orion++, as distinct from the basic, plain-vanilla Orion, is ideally driven from 12 clean power-amplifier channels, and the AT6012, which clips at 80 watts per channel into 8Ω, appears to be the most powerful 12-channel beast available. I could have used several amplifiers, of course, but matching the gains of all 12 channels is a great inconvenience that way. (The Orion++, which adds rearward-firing tweeters and two subwoofers to the original Orion, will be reviewed here presently.)

The Design

ATI’s basic amplifier design is not new. I reviewed the six-channel AT1506 in Issue No. 27 (downloadable from this website) more than six years ago, and I see no significant differences in topology between the two models, except of course for the intended power output per channel, which is approximately halved in the 12-channel model. Morris Kessler’s classic circuitry appears to be timeless; I refer the reader to the older review for details.

The AT6012 is divided into six two-channel modules, each of which can be assigned to a different “zone” and independently gain-controlled via a special three-wire connection, six in all. I was not interested in this feature, since I was powering 12 drivers simultaneously through 12 channels at full gain. Each module is fully protected by a special circuit against overloads and shorts, automatically resetting itself when the excessive input or the short is removed. As for the 12 output terminals, they are spaced for dual banana plugs, thank goodness, unlike those crazy European speaker terminals. That alone is worth the price of admission to users of elaborate wire harnesses.

The Measurements

I must hasten to confess that I did not measure all 12 channels. Two random channels, simultaneously driven, were all I had the patience for. Presumably, the remaining ten channels are similar. I began with our specialty, the PowerCube test, which is best performed with two simultaneously driven channels, although the readout shows only one channel. As I’ve explained many times before, the PowerCube test measures the ability of an amplifier to drive widely fluctuating load impedances. As far as I know, The Audio Critic is the only American audio journal to publish PowerCube measurements. The instrument for the test is made in Sweden; it produces repeated 1 kHz tone bursts of 20 ms duration into 20 different complex load impedances across the amplifier (magnitudes of 8Ω/4Ω/2Ω/1Ω and phase angles of –60°/–30°/0°/+30°/+60°). The graphic output of the instrument shows the 20 data points, at 1% THD, connected to form a more or less cubelike polyhedron. The test shows up the differences between otherwise similar amplifiers when it comes to real-world loudspeaker loads rather than just resistances.

Fig. 1 shows the PowerCube of one channel of the AT6012. It is a typical result for an amplifier that is perfectly stable and adequately power-supplied into 8Ω and 4Ω loads but not quite so perfect, although still pretty good, into 2Ω and 1Ω loads. The output at 1% distortion into 8Ω/0° is 26.1 volts (85 watts); into 4Ω/0° it is 23.4 volts (137 watts); into lower impedances it drops off sharply. The very slightly rising output into all reactive loads of 8Ω and 4Ω is as it should be; into reactive loads of 2Ω and 1Ω there is some unevenness but nothing major. The drop-off in output voltage into the lower impedances is of course inevitable in an amplifier without a gigantic power supply. All in all, a decent but not a brilliant PowerCube.

Fig. 1: PowerCube of one channel with two channels driven. The three axes are output in volts, impedance in ohms, and phase angle in degrees.

Fig. 2 shows the standard distortion vs. power output measurement, without which no amplifier can be properly characterized. The six curves represent THD+N in two channels with test tones of 20 Hz (bottom), 1 kHz (middle), and 6 kHz (top), into a resistive load of 8Ω. The 6 kHz test tone was the highest that could yield a meaningful result with the 20 kHz measurement filter used (harmonics of 12 kHz and 18 kHz). The curves are largely, but not entirely, noise-dominated; maximum distortion at any power level above ½ watt with any input frequency in any channel is –60 dB (0.1%), which is not particularly low but certainly inaudible. The average distortion at typical levels is at least 12 dB lower (0.025% or thereabouts), and at 20 Hz in one channel the distortion dips to a spectacular low of –94 dB (0.002%) in the 7- to 11-watt region. Clipping at all frequencies occurs at 80 watts into 8Ω, which as I said appears to be a record for 12-channel power amplifiers. I did not measure the distortion into 4Ω because the PowerCube clearly shows that the results would scale to the 8Ω measurements.

Fig. 2: THD+N vs. power into 8Ω in two channels with inputs of 20 Hz (blue & green), 1 kHz (magenta & cyan), and 6 kHz (cyan & black).

I could have made more window-dressing measurements à la Stereophile, but I believe that the above sufficiently characterizes the amplifier, especially since it is basically the same design as the abovementioned AT1506.

The Sound

I am absolutely convinced that one channel of the AT6012 connected to a passively crossed-over loudspeaker would sound exactly the same as one channel of any other well-designed power amplifier. My reasons for that conviction have been explained over and over again on this website, so I won’t repeat myself here. In my case, however, the AT6012 was used to drive the multiplicity of electrodynamic transducers in the Linkwitz Lab Orion++ system and was fed from two electronic crossover/processors. I can say that magic happened, but it wasn’t due to the amplifier. The latter was merely doing its job of being a transparent conduit for the signals. The magic will be discussed in a forthcoming Orion++ review.

Conclusion

I would have liked to use a more “interesting” amplifier to drive the Orion++, maybe one of those newfangled Class T designs (which would have saved some money, too), but I searched the Internet in vain for a 12-channel model with adequate power. The conservatively designed and clearly reliable AT6012 proved to be the best choice for the job, a clean class AB amplifier with lots of power at a decent price. I couldn’t be happier.

Obsession with Amplifiers 

Letters to the Editor are not a feature of this website because in nearly all cases they are trivial and replying to them is a waste of time. The following exchange of messages is an exception.

Hi. I’ve been enjoying reading your publication online. I came across it some time ago and was highly interested, but the (as I believe was the case) steep subscription price was a barrier I could not overcome. With the new blog format and downloadable PDFs I’m glad that I can now enjoy the no-nonsense information that hopefully will help me save tons of money on audio purchases in the future.

I have a comment/suggestion for a blog regarding amplifier topologies. I don’t doubt Mr. Aczel’s points of view on the idea that all modern, well-designed amplifiers sound the same. I have myself attempted comparisons and found so little difference between reasonably matched power capabilities that it becomes largely irrelevant in the face of source material and loudspeaker design.

My curiosity about the old and tired debate over “all amps sounding the same” was piqued reading the April 2006 review of the Parasound Halo A 21 amplifier, a device that I myself have had the pleasure of owning. While impressive in capability, it certainly does seem like excessive overkill considering the equally meaty power claims of much less expensive “pro” amplifiers from the likes of Crown and QSC. The marketing difference that led me to purchase an A 21 (and subsequently some of those aforementioned “pro amps”) was in the topology: the A 21 boasts a class A output for the first few watts of output, which is the raison d’être for the amplifier’s stylistic heat sink and side fin design. The copious amounts of heat put out by the amp while in use only confirm this.

But let me get to the point. With so many new amplifiers coming out these days based on switching power supplies and ever more exotic topologies such as H, D, T, and all the letters of the alphabet yet to be used, can the idea of all amplifiers sounding the same still be applied without question? Can I put a class A Krell amp against a class T model such as the (in)famous Sonic Impact mini amp, and expect indistinguishable output given identical input and level matching?

I would love to see a commentary on this question, since it seems to be the new thing in amplifier technology, what with everyone going gaga over ICE modules and digital amps and hybrid AB/H designs for power efficiency reasons, with debate over power input having moved from $5,000 pure-gold power cords to $5,000 stabilized DC battery banks and other such exotic power generation ideas for the new digitals. Needless to say, the little ‘amp on a chip’ devices yet again seem to herald an unmatched level of sonic bliss beyond anything else on the market; perhaps understandable given manufacturers’ need to continue to sell new product. But is there really any difference this time around?

[From] Shadow

First of all, let me disabuse you of the notion that The Audio Critic is there to “help [you] save tons of money on audio purchases.” We’d have to review hundreds of products at each price point to do that successfully. No, The Audio Critic is there to point out what’s important and what’s unimportant in audio. Big difference.

As for amplifier topologies, the sensible answer is, “Who cares?” Any amplifier, regardless of topology, can be treated as a “black box” for the purpose of listening comparisons. If amplifiers A and B both have flat frequency response, low noise floor, reasonably low distortion, high input impedance, low output impedance, and are not clipped, they will be indistinguishable in sound at matched levels no matter what’s inside them. Of course, some of the new “alphabet soup” topologies do not necessarily satisfy those conditions.

I really believe that all this soul-searching, wondering, questioning, agonizing about amplifiers is basically unproductive and would be much more rewarding if applied to loudspeakers instead. For various reasons that I have discussed in the past, people are more willing to change amplifiers than loudspeakers. That’s most unfortunate because a new and better loudspeaker will change your audio life but a new amplifier will not.

—Peter Aczel, Editor & Publisher

Integrated 5.1 Surround Sound System
Spherex Xbox 5.1

Spherex Inc., 3641 McNicoll Avenue, Toronto, Ontario M1X 1G5, Canada. Voice: (416) 321-6211. Fax: (416) 321-1500. Web: www.spherexinc.com. Xbox 5.1 Surround Sound System, $180 to $210 (lowest Internet prices). Tested sample owned by The Audio Critic.

Bad news for the high end. Very bad news.

The Design

Unlike most other inexpensive systems, the Xbox 5.1 isn’t an ad hoc assembly of preexisting generic components. Its parts were designed from the ground up to work with one another; it’s engineered as a unique integrated system, and that’s why it performs so beautifully at minimum cost. Anyone can design and put together a cost-no-object system; it takes real engineering to maximize performance at the lowest possible cost. The company responsible for the design is Audio Products International (API) of Canada; Spherex Inc. is a subsidiary of API. (Other API brands are Energy, Mirage, Athena Technologies, Energy Pro, and Sound Dynamics.) Ian Paisley, a name recognized by audiophiles everywhere, is the chief engineer of API. A number of innovative technologies have gone into the design of the Xbox 5.1. Instead of describing each of them in detail here, I’ll ask you to go to http://www.biline.ca/spherex.htm, where the subject is covered about as thoroughly as can be, item by item, although a bit uncritically. (The website is that of Jeff Mathurin, a Canadian techie, computernik, and audio enthusiast, who among other things was responsible for compressing those 14 back issues of The Audio Critic into downloadable PDFs and who first pointed out to me the superiority of the Xbox 5.1.) I happen to have some unresolved reservations about the theory of a 30/70 percent direct/reflected sound ratio with 360° dispersion in loudspeaker design, but in practice the approach appears to work just fine, at least in this case. (What I don’t quite understand is the reason for “30/70-ing” a signal which has already been “30/70-ed” by the acoustics of the recording venue. Twice 30/70 is better than once? Maybe there’s an explanation.) About the only feature of the Xbox 5.1 that I find less than satisfactory is the Waves “MaxxBass” low-frequency implementation system (again, see the above Web link). Instead of actually reproducing the lowest frequencies down to 25 Hz or so, MaxxBass fakes them by generating characteristic harmonics that mimic the particular low frequency. The mimicry is fairly plausible, but the room doesn’t actually get energized and your innards don’t get shaken by the organ pedal tones or the T. Rex steps. In reality the 8-inch woofer goes down only to about 50 Hz at best. It’s a compromise that blunts the high-end effect. The five satellite speakers, on the other hand, need no apology.

The Measurements

The Xbox 5.1 is a closed-loop system, from digital (or analog line-level) input to acoustic (speaker) output. You cannot break into the loop and make valid measurements of the various components because the latter cannot be isolated in their simplest “flat” mode. Nor can you make quasi-anechoic (MLS) measurements of the satellite speakers because their very principle of operation is “echoic,” based on reflected sound. Those constraints limited the measurements I was able to make. I used the optical digital input for my signal feed and made some close-miked nearfield measurements of one speaker. That’s about all. Unfortunately, such measurements do not reveal the true quality of the total system when it comes to actual listening. I am sure that API’s more comprehensive and sophisticated measurement techniques track the audible performance more closely. My methods are better suited to separate components. Fig. 1 shows the nearfield frequency response of the front left speaker channel on the vertical axis and the side-firing axis. From about 500 Hz upward, if you split the difference between the two curves you get a reasonably flat characteristic. This, of course, has little to do with the 30/70 percent direct/reflected response of the speaker.

Fig. 1: Nearfield frequency response of the front left speaker channel on the speaker’s vertical axis (cyan) and its side-firing axis (red).

Fig. 2: Nearfield frequency response of the woofer.

Fig. 3: Nearfield spectrum of a 20 Hz tone reproduced by the woofer, at a 1-meter SPL of 80 dB.

The woofer response curves clearly show what I heard: very little genuine deep bass, lots of tricky synthetic bass. Here the measurements and the listening experience correspond.

The Sound

Listening to 5.1-channel SACDs, I was amazed by the utterly natural, spacious, dynamic surround sound produced by the Xbox 5.1, lacking only in “pressure bass,” as I already explained. The openness of the reproduced sound was remarkable, providing a strong argument for the geometry of the satellite speaker design. There appeared to be no obvious limitations to loudness; the orchestral climaxes were full strength in my rather large listening space. Closing my eyes, it was easy to pretend that I was listening to a costly high-end system. I find it incredible that other reviewers did not pick up on this. Bad for business?