BBC Music Magazine

[lazinov]

Antonin Dvořák – Symphony No 9 in E minor Op 95,
As you have never before heard it. As it should be heard.
Presumably, like me, you already have a CD of the Symphony No 9 by Antonin Dvořák.
However, I doubt that you listen to it very often.
There are literally hundreds of different recordings. Some, where the playing is excellent.
Some, where the recording is excellent. Some, where both playing and recording are excellent. There are others where both playing and recording are totally unacceptable.
However, whenever I listen to one particular recording it is like hearing the piece for the
first time - every time.
There are no dramatic changes of tempo, no extremes of any sort, just a perfect performance and a perfect recording. It is like looking at a painting after restoration.
It is profoundly Czech, why would it not be? It is played by a Czech Orchestra and conducted by a true, Czech giant.

Norman Lebrect said of the recording:

Why am I listening to a 43 year-old live performance of a symphony I’ve heard more often than Happy Birthday? Because the Brno Philharmonic in 1966 was a real Czech orchestra, unlike the modern soundalikes, and the conductor Jiri Waldhans is unafraid to let his brass let rip in organic style. This may not be everyone’s glass of Pilsner, but I found it marvelously refreshing. Norman Lebrecht, LA SCENA MUSICALE ONLINE, 8th December 2009

“Engineer and producer Geoffrey Terry has captured Jiri Waldhans at his most colorfully magnanimous, a real cornucopia of sound.” [Rating ****]
—Gary Lemco, AUDIOPHILE AUDITION, 26th October 2009

“The dynamic range and depth of sound achieved by Geoffrey Terry make these stereo recordings amongst the finest ever made in the Royal Festival Hall.”
—CZECH MUSIC DIRECT

“I agree [that] your recordings are really excellent fidelity and much better than most commercial ones.”
—John Sunier, Editor/Publisher, AUDIOPHILE AUDITION, October 2009

“Your CDs [...] are spectacularly good. The sound is the best I have ever heard: so clear, vivid and natural.”
—George Schatzkamer, New York, August 2009


Once, whilst traveling on tour with the Brno Philharmonic Orchestra in the UK I was asked what BRNO signified, was it perhaps the British Railways Northern Orchestra? And that was a serious suggestion.
To the English ear it is a strange sounding name, Brno. Probably not many appreciate that Brno is the second largest city in the Czech Republic, the capital of Moravia. It is just a short journey north of Vienna, in fact nearer to Vienna than to Prague. Now we have all heard of Prague.
The Brno Philharmonic Orchestra is one of the largest in Europe. It is one of only three orchestras ever to have played for the Pope - now he’s fussy.
I once heard the Czech Philharmonic performing Dvořák’s Stabat Matter in Prague. The following evening I heard the same work performed by the Brno Philharmonic Orchestra in Brno. To my surprise I enjoyed the second performance more than the first. The conductor, Antonio Ross Marba, directed both performances, so a difference in style wasn’t the reason. The Czech Philharmonic is of course a wonderful Orchestra, one of the greatest in the world; the point is that the Brno Orchestra should be considered in the same category.
The Brno Philharmonic Orchestra, with their principal conductor, Jiři Waldhans gave a performance of Dvořák’s 9th Symphony in the Royal Festival Hall on the 22nd October 1966. If was a live, public performance on the very first tour of the UK by the orchestra.
The concert was also recorded and the recording technique employed was CNSTR. What is that? Certified, natural, sound, technique recording; (more below).
The string section, on that historic occasion, constituted of: 16 first violins, 16 second, 16 violas, 16 cellos and 8 double basses, with a normal compliment of woodwind, brass and percussion. A full, Symphony Orchestra indeed.
The opening pp bars of the first movement set the scene, controlled and electrifying. Then the French Horns brief comment followed by the woodwind, responding with heartrending clarity, as if drifting across a calm lake.
The calm is then broken by a snapped announcement from the strings, followed by a crisp triplet on the timpani – the unmistakable sound of wood striking skin, of that there is no doubt. (It seems that capturing that particular sound creates difficulty for many CD publishers, not so here).
The short strings, followed by timpani, phrase is repeated several times then followed by the deep, rich sound of the basses and cellos all - 24 of them, their rosined bows exciting the strings of their instruments to produce a sound that is precisely reproduced on the recording. Then several more short statements from each of the sections of the orchestra
before the introduction leads to the first theme.
Waldhans draws beauty, drama, elegance and most of all nuances from the highly skilled team under his command.
The elegiac second movement emphasises the nostalgia of the composer for his homeland.
The staccato opening of the third movement reminds us that we are sitting in the Royal Festival Hall, perhaps the centre of the 5th row from the front. If we close our eyes for a moment we could easily be mislead into believing that to be the case. By now the professionalism of the orchestra has been clearly established. Once again the attack of the
timpani resonates in uncanny realism.
The full dynamic range is wholly due to the direction of the conductor since no adjustments were made to the level during the recording process. The only electronic alterations made to the recording at all were to remove any extraneous noises, even then providing that the music was unaffected. The end result is a unique experience. A truly,
natural, acoustic, mirror image of the glorious sound of the Brno Philharmonic Orchestra in a realistic representation of the sound that evening in the Royal Festival Hall.

The programme included a little known masterpiece.
Jan Novák Philharmonic Dances (18:28)
Jan Novak was the only pupil of Bohuslav Martinu and, being tutored by such a distinct master, Novak could not fail but be influenced by the individualism of the newly rediscovered genius.
The Philharmonic Dances were written for large orchestra. By good fortune the orchestra fulfilled the composers requirements.
The first movement, Allegro, opens with the side drum dictating a staccato beat, which is then taken up by the strings and horns in counterpoint announcing the two themes which hop around amongst all the sections of the orchestra.
The development becomes slightly grotesque but reverts to sanity intermittently.
By contrast the second movement, moderato, is gentle and lyrical. The hurdy-gurdy imitation of the central passage leads to the first, short example of syncopation, almost a trademark of Novak.
The final movement, vivace, as with the first movement opens with the side drum and quickly settles to syncopated rhythms that grow, utilising all the facilities available in the orchestra.
The composition is full of melodies, colourful orchestration and all the diverse sounds are captured on this recording with remarkable clarity.

“[Jan Novák’s] music has hints of Martinů, but also has real character of its own, and the work is well played here: I know of no other recording of it, and lovers of Czech music should try to hear it.”
“…the live sound is excellent…”
—INTERNATIONAL RECORD REVIEW, April 2009

Out of deference to their host country two very English pieces by Frederick Delius were chosen to close the concert.
One might expect that Irmelin and Koanga from La Calinda need to be performed by a British ensemble to achieve a musical picture of the English countryside. Here the Czechoslovaks, as they were at the time of concert, undertake the task and achieve perfection.
The CD described above is the first CD ever to carry the CNSTR approval. It is also the
first to be published by http://www.orchestralconcertcds.com A visit to the site will give you
the opportunity to judge the sound quality, from sound samples of the CDs currently
available.
CNSTR
Category: Sound Recording
Subcategory: Sound Recording Technique
Industry Standard
CNSTR, the acronym for Certified Natural Sound Technique Recording, is a newly introduced, (September 2008), standard for the commercial recording industry, directed in particular at manufacturers of classical music CDs.
It is a voluntary code of practice for CD publishers, however, the addition of the CNSTR logo, to published CDs, provides assurance, for the purchaser, that the recording was undertaken to conform to a minimum standard.
There has been an ever-growing, general consensus of opinion that recordings of classical music are being over engineered, resulting in a sound quality that is not entirely relevant to the original.
CNSTR has been expressed in layman terms since it is a reference intended for the public.
With the rapid advance in acoustic technology the majority of recording studios have, in an endeavor to keep breast of the times, introduced ever more complex equipment and procedures into the sound recording process. A trend which has resulted in an ever increasing difference between natural and recorded sound.
In the majority of recordings of symphony orchestras a considerable number of microphones is employed, positioned at stratigic points amongst the players.
The sound, picked up by the microphones, is fed to a control panel where an engineer constantly adjusts the level in an endeavor to establish what he considers the composer intended in the score.


The engineer is undertaking to correct the directions of the conductor who, from a
musical point of view, is better qualified to perform the task.

With CNSTR only two microphones are utilized. The task of the recording engineer is to establish the best positions for the microphones so that: 1. They faithfully capture the full spectrum of the orchestra and simulate a left and right image that would be heard sitting in an optimum position in the auditorium. 2. Prior to the recording the engineer should establish the maximum level of sound likely to be produced by the ensemble. The level controls being set to that position and no corrections or alterations being made during the performance.
Following completion of the recording process any extraneous noises, tape hiss or coughing should be removed. There the process terminates, the resultant recorded sound being a Natural Sound, by virtue of the fact that it has not been transformed in any way electronically. Multiple reproductions, CDs, of the recording can then be produced
without any additional electronic process.

Examples of recordings made, using CNSTR, can be heard by going to the foot of the webpage: http://www.orchestralconcertcds.com/info/cnstr.html
There, you will find, sound samples of:
Solo instrument - RFH Organ,
Trio - piano violin and cello
Chamber orchestra
Symphony Orchestra
Enlarged Symphony Orchestra
Opera, in a live performance.

Something special. From Orchestral Concert CDs,

25% discount from now until 25.12.09
Select any 4 from the following titles and pay for only 3!
There are now 9 superb ‘Audio Mirror Image’ CD’s to choose from on our website.

CD1/2008. Brno Philharmonic Orchestra, conducted by Jiri Waldhans
Dvorak Symphony No 9, Jan Novak Philharmonic Dances, Delius Irmelin & La Calinda
CD2/2008. Prague Symphony Orchestra conducted by Zdenek Kosler and Vaclav Smetacek
Walton Scapino, Prokofiev Piano Concerto no 3, Ravel Rhapsodie Espagnole & Dvorak Slavonic Dance no 15
CD3/2009. Alfredo Campoli & Peter Katin
Sonatas by Mozart, Beethoven and Brahms
CD4/2009. The Czech Trio, Palenicek, Sraus & Vectomov
Piano Trios by Beethoven, Dvorak and Martinu
CD5/2009. The Hungarian State Symphony Orchestra conducted by Janos Ferencsik
Beethoven Egmont, Kodaly Dances of Galanta, Brahms Symphony No 1 in C minor & Berlioz Rakoczy March
CD6/2009. Berliner Staatskapelle Orchestra with Kurt Masur
Bruckner Symphony No 7 in E major
CD7/2009. Josef Suk Asrael Symphony
Brno Philharmonic Orchestra conducted by Jiri Waldhans
CD8/2009. Leipzig Gewandhaus Bach Orchestra
Bach, Mozart, Haydn
CD9/2009. Sasa Vectomov playing the Dvorak Cello Concerto
Dvorak In Nature’s Realm, Dvorak Cello Concerto in B minor and Suk Raduz & Mahulena Op16

If you visit http://www.orchestralconcertcds.com you can hear Samples and read the excellent reviews published so far.
To place an order email your choice to orchestralconcertcds@yahoo.com

Wishing you all a Very Merry Christmas and a Happy New Year
Geoffrey

[massenetman]

Ooooo,
Would the high quality of these CDs be anything to do with the fact that you're trying to sell them to us?
It seems that most of your posts are attempts to sell things lazinov. However, as few people seem to post here, I suppose that's better than nothing.

[lazinov]

It's the opposite of that.
Because I have enjoyed the sound for the past 40 or so years and am now 74 years old, I concluded that it was time to share with others the possibility to enjoy the particular representations of live orchestral concerts that I am able to offer. Certainly when I am gone the recordings will die with me.

I am subsidising the CDs whatever happens but I am pleased to say that the few people who have received copies so far seem to have appreciated them very much.

I'm disappointed that you should consider my devoted efforts to be only just 'better than nothing'. You cannot imagine how much effort I have invested in this project with only financial loss as a reward.

Ciao.
Geoffrey.

[sanfranhansen]

Thank you for posting this. I am 76 years old and have been listening to recordings since the 1940s, including, of course, many of the Dvorak 9th. On the basis of your recommendation I have just ordered the Brno Philharmonic recording. After listening to it I'll give you my feedback. Thanks again!!

[lazinov]

Good morning,

Thank you for your curiosity and interest.
I shall post the CD today and look forward very much to your reaction, especially considering your lifetime of experience.
I feel confident that you will not be disappointed and might even consider that you have given yourself a Christmas present to treasure.

Kind regards,
Geoffrey

[sanfranhansen]

I have now heard the CD of the Brno Philharmonic at the Royal Festival Hall. These must be the best sounding recordings ever made in this acoustically troubled venue. Everything is bright, clear and rich, and the performances are outstanding. The Dvorak grips from the very opening and has now become my favorite version of the work, closely followed by Toscanini. There is little or no reverberation (much like Toscanini's Studio 8H recordings) so everything stands out. Highly recommended.

[abraxax]

It may seem perverted to single out "moments in music" that have had the most lasting impression on the ear, heart and soul; but if I were to do that - if I were to single out some of those finest moments, the climax of the first Allegro of the New World, by Solti and the CSO, would rank right up there with some of Mozart's, Schubert's and Beethoven's finest. I seldom listen to this CD, for fear that I will explode.

[nizhum]

A new turntable of this potential encourages a trawl through all the oldies. Like most of us, these days I buy CD in preference to LP, even though I still prefer the sound of a good LP-based system by quite a signifcant margin. This does mean that most of my LPs are from way back when, and with this deck I was spurred to dig out a whole range of old faves played so often that their sound - including blemishes - is imprinted indelibly upon my mind.

[wyuguy]

I dont know how to descride this CD.
Its amazing sound I never heard before when I am at my friend home . Do you still offer to sell ?

[lazinov]

Thank you for your interest and kind words.

The CD, along with others published by www.orchestralconcertcds.com can be ordered by visiting the webpage