J. Gordon Holt

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J. Gordon Holt  |  Oct 24, 2013  |  First 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  |  Dec 01, 2008  |  First Published: Apr 01, 1987  |  0 comments
As the person who "invented" subjective testing, I have followed with great interest the many articles in the mainstream audio press which purport to prove that none of us can really hear all the differences we claim to hear, particularly those between amplifiers. My reaction has usually been: "Why didn't they invite me to participate? I would have heard the differences under their double-blind listening conditions." I could make that assertion with supreme confidence because I had never been involved in any such test.
J. Gordon Holt  |  Feb 26, 2010  |  First Published: Mar 26, 1987  |  0 comments
Everyone knows music is a good thing. More than merely good, it appears to meet some kind of human need, because every race in every land has a musical tradition going back to before recorded or recounted history. Some of their music may not seem like music to our unsophisticated ears, but as soon as someone discovered that two sticks of different sizes produced different pitches when struck on a venerated ancestor's skull, he advanced beyond mere rhythm to what must be considered music. (Two sticks would, presumably, play binary music: the first precursor of digital sound.) In fact, were there no music at all today, humankind would probably find it necessary to invent it on the spot, along with a mythology relating how it was created on the eighth day, after ingrown toenails.
J. Gordon Holt  |  Jan 30, 1987  |  0 comments
1987 will mark Stereophile's 25th year of continuous (if initially sometimes sporadic) publication. And while we haven't yet decided what we're going to do in celebration, the first issue of 1987 does seem to be as good a time as any to contrast the state of the audio art when we began publication with what is routinely possible today.
J. Gordon Holt  |  Mar 03, 2010  |  First Published: Jan 03, 1987  |  0 comments
Some time ago in these pages, Anthony H. Cordesman observed rather ungraciously that the whole line of Hafler electronics "could do with reworking." This was interpreted by many readers—including the good people at the David Hafler Company—as meaning that AHC felt the entire Hafler line to be mediocre. In fact, he does not. (He had given a Hafler product a positive review a few issues previously.) Tony's comment, however, did express a sentiment that most of us at Stereophile have shared for some time: a feeling that Hafler products had slipped from the position of sonic preeminence which they enjoyed during the 1960s and '70s to one of mere excellence in a field where only preeminence is acclaimed.
J. Gordon Holt  |  Jul 19, 2012  |  First Published: Jan 01, 1987  |  0 comments
Most audiophiles know Mobile Fidelity as the record company with the philosophy of resurrecting old, important, recorded performances and re-releasing them with (hopefully) the kind of sound they should have had in the first place. Few audiophiles are aware that Mobile Fidelity is also the name of a (different) recording company which collects sound effects in four channels for motion picture and television post-production.
J. Gordon Holt  |  Nov 18, 2013  |  First 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  |  Jan 02, 2017  |  First Published: Dec 01, 1986  |  3 comments
The Danish Bang & Olufsen firm is the undisputed leader in audio when it comes to dramatic product styling and ease and versatility of use. Their designs have won more design awards than those of any other audio firm, and each new lineup of B&O models seems to offer even more control convenience than the last batch. Sonically, none of their components to date has been any better than "very good," and some have done significantly less well than that. In reviewing them, we have had to compare them with their pricewise competition among the brands we normally think of as "high-end," and B&O's components have not stood that comparison very well.
John Atkinson, J. Gordon Holt  |  Nov 25, 1986  |  0 comments
The Question of Bass: J. Gordon Holt
A few issues back, in Vol.9 No.3, I used "As We See It" to clarify what Stereophile writers have in mind when they use the term "transparency" in equipment reports. This time, I'll do the same thing for the performance parameters of bass reproduction.
J. Gordon Holt  |  Nov 18, 2013  |  First 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.

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