J. Gordon Holt

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J. Gordon Holt Posted: May 28, 2010 Published: Dec 28, 1989 0 comments
Sonic Booms
Steam Locomotives, Jet Fighter Aircraft, Military Exercise (with live ammunition), WWII Aircraft, Comic Relief I & II, West Mountain Inn, Diesel Train, Steam Train with Rain & Thunder
Bainbridge BCD6276 (CD only). Produced & mixed by Brad S. Miller. DDD. TT: 58:00
J. Gordon Holt Posted: Jul 11, 2013 Published: Feb 11, 1984 6 comments
BEETHOVEN: Violin Sonata in G, Op.96
ENESCU: Violin Sonata No.3, Op.25 (In Rumanian Style)

David Abel, violin, Julie Steinberg, piano
Wilson Audio W-8315 (LP). David Wilson, prod., eng. AAA.

Oh, what a breath of fresh air this is! An audiophile recording of real music that isn't bombastic, overblown, or high-powered.

Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about.

I could rhapsodize endlessly about this record, but I won't. Suffice it to say that if you think there's even a remote chance you'll like this music, you will be positively mesmerized by this recording of it . . .

J. Gordon Holt Posted: Jun 09, 2014 Published: Jan 01, 1985 1 comments
Performance Recordings is the closest thing to a one-man label. James Boyk is president, A&R director, musical director, recording engineer, production manager, jacket notes author, and the star performer. He is also Artist in Residence and lecturer in music and engineering (specifically sound recording and reproduction) at Cal Tech. And he happens to be one of digital's most ardent detractors, having conducted, and widely publicized, several controlled listening tests that proved to his satisfaction that digital recordings are destructive to musical sound. (I will not question his methodology or conclusions here; suffice it to say that James is as stalwartly pro-analog and anti-digital as it is possible to be.)
J. Gordon Holt Posted: Oct 24, 2013 Published: Jun 01, 1987 0 comments
Copland: Appalachian Spring (Suite), Eight Poems of Emily Dickinson, An Outdoor Overture (CD only)
Pacific Symphony Orchestra/Clark/Marni Nixon (soprano)
Reference Recordings LP RR-2 and CD RR-22CD. Tam Henderson, prod.; Keith Johnson, eng.

This is unquestionably one of the best recordings Reference Recordings has done. The sound of the LP is up-front and quite bright, giving the orchestra that peculiarly nasal quality I usually associate with small French orchestras. There is truly remarkable detail and naturalness here; I was about to write that the recording makes the orchestra sound very small and pinched in Appalachian Spring when I noticed on the record jacket that this is the "Original version for 13 instruments." Okay, so I know what it costs to hire musicians in the US, but I still prefer the version of this work scored for full, bombastic, overblown 108-piece symphony orchestra. The 13 instruments are superbly balanced, though—even the piano, which is usually (and wrongfully) relegated to behind the orchestra. About a half a block behind it.

J. Gordon Holt Posted: Jul 08, 2014 Published: Oct 01, 1984 2 comments
1084rotmjgh.jpgSaint-Saëns: Piano Concerto No.2
Rachmaninoff: Rhapsody on a Theme of Paganini

Bella Davidovich (pno), Concertgebouw Orchestra, Neeme Jarvi, cond.
Philips CD 410-052 2 (CD), 6514-164 (LP).

At last we're starting to realize some of the promise of CD from a major record company. This is the best CD recording I've heard yet from Philips. Both of these are virtuoso romantic works requiring a big piano sound and the stamina to produce it for 6–10 minutes at a stretch, which is probably why few lady pianists will tackle them. Bella Davidovich pulls these off with great aplomb.

To me, the Saint-Saëns is the better of the two, and is one of the truly great performances of this work. I grudgingly rate it as equal to my long-time favorite, the Rubinstein/Reiner performance on a 1958 RCA LP (LSC-2234), although I would have liked a little more TLC from Ms. Davidovich in the first movement. She seems a little rushed where an occasional lingering caress is indicated, but that is quibbling with what is a really rousing performance.

J. Gordon Holt Posted: Apr 10, 2014 Published: Sep 01, 1985 0 comments
985rotm.shost250.jpgShostakovich: Symphony 15
USSR Ministry of Culture State Symphony Orchestra, Gennady Rozhdestvensky conducting.
JVC/Melodiya CD VDC-528 (CD). Igor Veprintsev, eng. AAD.

I have been wondering recently if we aren't seeing the beginning of the end of rotten recordings. I'm now not too surprised when yet another superlative-sounding Telarc or Reference Recordings disc arrives for review, but when a Soviet-made Melodiya blows me away with its sound, not to say a stupendous performance, I must conclude that something earthshaking is going on.

J. Gordon Holt Posted: Aug 30, 2010 Published: Sep 30, 1989 1 comments
Denon Anechoic Orchestral Recordings
Music and Test Signals for Evaluation of Room Acoustics
Mashahiko Enkoji, Osaka Philharmonic Orchestra
Denon CD PG-6006 (CD only). Katsuhiro Tsubonou, Yoshiharu Kawaguchi, dirs.; Norio Okada, Katsuhiro Miura, engs. DDD. TT: 58:42
J. Gordon Holt Posted: Feb 26, 2010 Published: Sep 26, 1987 0 comments
During my recent interview with the Sheffield Lab people in connection with their Moscow recording sessions (Vol.10 No.3), both Lincoln Mayorga and Doug Sax had some unkind things to say about the cost of recording an orchestra in the US. Their complaints are justified. It costs more to record in the US than anywhere else in the world, and these astronomical costs are detrimental both to symphonic music in the US and to the audiophile's pursuit of sonic perfection.
J. Gordon Holt Posted: Jan 30, 2012 Published: Apr 01, 1988 0 comments
Beethoven: Sonata No.32, Op.111; Sonata No.21, Op.53 ("Waldstein")
Tibor Szasz, piano
Bainbridge BCD-6275 (CD). Leo de Gar Kulka, eng. & prod. DDD. TT: 58:03

Mozart: Piano Concerto No.13, K.415; Overture to Lucio Silla, K.135
Jeremy Menuhin, piano; George Cleve, 1987 Midsummer Mozart Festival Orchestra
Bainbridge BCD-6273 (CD). Leo de Gar Kulka, eng. & prod. DDD. TT: 36:58

Prokofiev: Alexander Nevsky, Lieutenant Kije
Andre Previn, Los Angeles Philharmonic
Telarc CD-80143 (CD). Jack Renner, eng.; Robert Woods, prod. DDD. TT: 63:37

Rachmaninov: Sonata for Cello and Piano, Op.19
Steven Kates, Montagnana cello; Carolyn Pope Kobler, Bösendorfer piano
Bainbridge BCD-6272 (CD). Leo de Gar Kulka, eng. & prod. DDD. TT: 40:42

The Sounds of Trains, Vols.1 & 2*
Bainbridge BCD-6270, -6271* (CDs). Brad Miller, eng. & prod. DDD. TTs: 60:45, 50:14*

If you read my article in these pages about recording the Cumbres and Toltec Scenic Railway steam trains (January 1987, Vol.10 No.1), you may recall the mention of Colossus. Colossus is the name of a new digital recording system which designer Lou Dorren claims to be different from every other digital system in several ways, none of which has ever been disclosed to us. I had a chance to listen to some tapes made on it shortly after writing the C&TSRR article, but since they were made with a completely unfamiliar microphone (Mobile Fidelity Productions of Nevada's own design) and featured mainly the sounds of trains, airplanes, and other sources of potential ear damage, I couldn't really tell anything about the recording system, except that it had the kind of low end I expect from any respectable digital audio. A sonic evaluation had to wait until I heard Colossus on more familiar terms—that is, with music recordings. Now, that time has come.

J. Gordon Holt Posted: Nov 18, 2013 Published: Dec 18, 1986 0 comments
REFLECTIONS
666rotm.reflections.jpgJim Walker, flute, Mike Garson, piano
Reference Recordings CD RR-18CD.

DEBUSSY: Quartet in g
RAVEL: Quartet in F

The Cleveland Quartet
Telarc CD-80111.

What do you listen to when you've heard Reference Recordings' Symphonie Fantastique, Telarc's 1812 Overture, and Sheffield's Firebird, the last of your audiophile guests have gone home, and tomorrow's a workday but you're too hyped up to go to bed?

These.

Both are from record companies whose reputations were built on sonic blockbusters, but the subjects of this review are about as true to expectation as Mr. T flouncing about with a limp wrist.

Reflections is a program of short works for flute and piano. It's quiet, restful, and, in an age when it seems that nothing is worth listening to unless it's high-powered or "significant," this laidback program is a delightful change of pace.

J. Gordon Holt Posted: Nov 18, 2013 Published: Nov 18, 1986 1 comments
666rotm.earl.jpgBERLIOZ: Symphonie Fantastique
Royal Philharmonic Orchestra, Massimo Fraccia
Chesky CR-1.

RACHMANINOV: Piano Concerto No.2 in c
Earl Wild, Royal Philharmonic Orchestra, Jascha Horenstein
Chesky CR-2.

Chesky? Massimo Fraccia? Is this a put-on?

No, it's not. Chesky is a new record company which, at a time when everyone is predicting the imminent demise of the LP, has just launched its first two LPs and is threatening to follow them with more.

David Chesky is a young composer/musician who, despite some impressive credentials in the classical music world, remains singularly unrenowned. But he is also a musical reactionary after my own heart, who feels that all the best performances of the so-called Romantic repertoire were done years ago and will probably never be equalled. But rather than just bitch about this in record reviews, he is doing something about it, by releasing some of those early, possibly definitive performances on the best-sounding recordings he knows how to produce.

J. Gordon Holt Posted: Jan 04, 2010 Published: Jun 04, 1986 0 comments
Although inclined to mood swings bordering on the manic-depressive, I am generally a very patient, tolerant person, willing to accept and overlook the foibles of those less perfect than myself. But even my incredible equanimity has its limits, beyond which the milk of my human kindness curdles, becoming as lumpy as last month's yogurt.
J. Gordon Holt Posted: Nov 30, 1971 0 comments
After much searching of soul and of bank account, we have reached an earth-shattering decision. The Stereophile is going to start taking ads.
J. Gordon Holt Posted: Oct 09, 2005 Published: May 09, 1993 0 comments
Richard Shahinian has been offering loudspeakers to music lovers for more than 15 years. I use the word "offering" here in its strictest sense, because Dick has never "sold" his products—by pushing them. Indeed, he is probably one of the worst self-promoters in the business. If we think of "soft sell" in the usual context of laid-back and low-pressure, then Shahinian's approach would have to be called "mushy sell."
J. Gordon Holt Posted: Sep 18, 2012 Published: Jul 01, 1985 0 comments
While it is not quite accurate to say that $500/pair loudspeakers are a dime a dozen, they are by no means unusual. And since this is a price area where major design compromises are mandatory (footnote 1), the sound of such loudspeakers tends to vary all over the map, from pretty good to godawful—depending on what performance areas the designer chose to compromise and by how much.

I approached this latest half-grander with little enthusiasm, despite Siefert's persuasive literature, I have, after all, been reading such self-congratulatory hype abiout new products for longer than most Stereophile readers have been counting birthdays. This, I must admit, was ho-humsville.

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