The inspiration for this project came from <I>Stereophile</I>'s Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing <I>ad hoc</I> ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.

The inspiration for this project came from <I>Stereophile</I>'s Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing <I>ad hoc</I> ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.

The inspiration for this project came from <I>Stereophile</I>'s Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing <I>ad hoc</I> ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.

The inspiration for this project came from <I>Stereophile</I>'s Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing <I>ad hoc</I> ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.

The inspiration for this project came from <I>Stereophile</I>'s Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing <I>ad hoc</I> ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.

The inspiration for this project came from <I>Stereophile</I>'s Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing <I>ad hoc</I> ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.

The inspiration for this project came from <I>Stereophile</I>'s Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing <I>ad hoc</I> ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.

The inspiration for this project came from <I>Stereophile</I>'s Gretchen Grogan and Erich Vollmer of the Santa Fe Chamber Music Festival. Music Festivals are perhaps the healthiest aspect of classical music making, allowing <I>ad hoc</I> ensembles to chart the farthest reaches of the repertoire, as well as retracing the familiar ground of the great works. Why not, they thought, capture a representative selection of works performed at the 1995 Santa Fe Chamber Music Festival? This would not only document some of the great performances to be heard, but also allow music lovers everywhere to participate in what has increasingly been recognized as one of the US's best summer music festivals.

<I>SLAM!</I> My left foot went numb. My fellow salesman, Danny Shapiro, had lost control of the Thiel CS5 that we'd been walking into place in Demo Room V, and it had come crashing down on my foot with unerring accuracy&mdash;all 180 lbs worth. As I stared down in horror, I remembered that we'd left the spikes on. But wait a minute&mdash;there was no pool of blood spreading out from under the CS5. How could that be? Convinced that the heavy cabinet was acting as a tourniquet, I levered it off my foot, expecting a grisly sight. I got one: my new Rockport pierced by the carpet-point&mdash;right between my big and second toes. And people ask me why I like small loudspeakers.

<I>SLAM!</I> My left foot went numb. My fellow salesman, Danny Shapiro, had lost control of the Thiel CS5 that we'd been walking into place in Demo Room V, and it had come crashing down on my foot with unerring accuracy&mdash;all 180 lbs worth. As I stared down in horror, I remembered that we'd left the spikes on. But wait a minute&mdash;there was no pool of blood spreading out from under the CS5. How could that be? Convinced that the heavy cabinet was acting as a tourniquet, I levered it off my foot, expecting a grisly sight. I got one: my new Rockport pierced by the carpet-point&mdash;right between my big and second toes. And people ask me why I like small loudspeakers.