Like most audiophiles, I salivate over the latest Jurassic, second-mortgage-inducing power amplifier. Whether it's about the music itself, or simply "my amp is bigger than your amp" one-upmanship, we all know that those who risk a hernia in pursuit of the ultimate in sound invariably come out winners.
"Rarely, if ever, can this densely written sonata have been presented so lucidly with each note precisely in place...the dramatic and lyrical aspects were never slighted or taken for granted."<BR>—Peter G. Davis, writing in the <I>New York Times</I> about Robert Silverman's New York debut in 1978, when he performed the Liszt B-Minor Piano Sonata in Alice Tully Hall.
The <I>auteur</I> theory of the cinema, first described in the 1950s by François Truffaut, states that a great movie represents the artistic vision of one person, usually the director. Moviemaking may involve collaboration, but it cannot be done successfully by a committee. There has to be a single individual in charge, one whose sensitivity and world view is reflected in the movie. In the same sense that the author of a novel is telling a story through the medium of print, the director of a movie is telling a story through the medium of film.
I first met Tony Federici at a 1986 high-end show in Lucerne, Switzerland. He was at that time distributing Perreaux amplifiers in the US; the dem room Perreaux shared with KEF and McIntosh overlooked Lake Lucerne and Wagner's villa at Tribschen, perhaps the most idyllic setting for Show sound I have ever experienced. Tony was educated as a philosopher: In the 10 years I've known him, I have never known him at a loss for an opinion. It's all the more strange, therefore, that <I>Stereophile</I> has never asked him to submit to the ordeal of a formal interview.
In debates about audio, philosophy, literature, fine art, or whatever, people often adhere to either <I>absolutism</I> or <I>relativism</I>. Absolutism supposes, for example, that <I>either</I> analog or digital is superior and that whichever is better holds for <I>all</I> parties concerned. Michael Fremer, for instance, is not just advertising his opinion about the superiority of analog; he believes that <I>everyone</I> would acknowledge it if they paid attention to the evidence. Relativism, on the other hand, teaches that no such absolute and univocal consensus can be reached. In the end, we all have our own subjective preferences, and that, quite simply, is that. If we disagree about whether tube amps are better than solid-state, or single-ended is better than push-pull, <I>c'est la vie</I>.
<B>MOZART: Piano Concertos 21 & 24, K.467 & K.491</B><BR> Eugene Istomin, piano; Gerard Schwarz, Seattle Symphony Orchestra<BR> Reference Recordings RR-68CD (CD only). Adam Stern, J. Tamblyn Henderson, Jr., prods.; Keith O. Johnson, eng. DDD. TT: 59:34
Siegfried Linkwitz was born in Germany in 1935. He received his electrical engineering degree from Darmstadt Technical University prior to moving to California in 1961 to work for Hewlett-Packard. During his early years in the USA, he did postgraduate work at Stanford University. For over 30 years Mr. Linkwitz has developed electronic test equipment ranging from signal generators, to network and spectrum analyzers, to microwave sweepers and instrumentation for evaluating electromagnetic compatibility.
<I>"There are two kinds of fools: One says, 'This is old and therefore good.' The other says, 'This is new and therefore better.'"</I>—<A HREF="http://www.digido.com">Bob Katz</A>
<B>DAVE HOLLAND: <I>Ones All</I></B><BR> Dave Holland, acoustic bass<BR> Intuition INT 21482 (CD only). Dave Holland, Clare Holland, prods.; James Farber, eng. AAD. TT: 57:27
K<I>A-SLAM!!!!</I><BR><I>thump thump thump</I>