Greetings

Season's Greetings

Letter from Shenzhen (21-19)

I have been rather remiss in not having written a Seasonal Greetings earlier. Here in China, there is no Thanksgiving, and Christmas has only a slight commercial presence. Of course, merchants would latch on to any way that will promote sales, so, aside from big supermarket and department stores, one does see a smattering of window decorations. The presence is much less than in Hong Kong, and there is indication that the government frowns upon celebration of Western holidays.

With Covid hovering still above us, and Omicron in the news, I am not sure what to say other than wishing you all well. Be vaccinated, get your booster shots, and exercise caution. Enjoy music rather than equipment.

Our Mumbai friend Vivek, whose writing I have used before, had sent me some videos of her daughter's compositions, played by the excellent Russian teachers at the SOI Academy. As a Greeting, I embed below Night in Jaipur. There are another two:

https://youtu.be/TK6vBhx__MY

https://m.youtube.com/watch?v=_TRHP1xy1-U&feature=youtu.be

goodsoundclub Podcast

Editor's Note: mrgoodsound's Podcast

We have all enjoyed mrgoodsound's articles. Now, he has started a Podcast with his friend Tom:

goodsoundclub podcast ep1: what is good sound? - YouTube

It is long but worthwhile. If you want to sample, move your cursor on the timeline and you can see the various topics discussed: Turntables, Streaming, Art Dudley etc.

Shortly, we shall have a link on the right hand bar for the latest episodes.

Tea

Click pics to enlarge. Try not to focus on the Girls. Note the stone slab on which the utensils sit, just in front of the Tea Mistress of the moment.  Behind, various tea cups used by regulars. In the back, packages of Tea. There are actually more male visitors than females, but I take my picks.

 
Letter from Shenzhen (21-18): How I Live, Part IV, Tea

Tea is said to have originated 5000 years ago in China. It was only much later that it went on to Japan, and even later that it was culturally appropriated (to use a currently popular term) by the English and Dutch. Its history is fascinating and you are urged to research it on the net.

Although Westerners (especially the English) drink tea sometimes, due to the dominance of coffee, they don’t consume as much as it as the Arabs, Indians and, of course, the East Asians. In China, Tea is consumed vastly more in the Southern provinces, but that is changing rapidly as the standard of living has steadily improved (the South had long been more economically advanced).

In China, Tea as a leisure pastime is a relatively late arrival but it has certainly blossomed in recent times. Tea Ceremony of variable complexity is performed at the dedicated tea table, with accessories designed for such purpose. Tea sellers do this of course, but a large number of retail businesses do this too as hospitality for their customers. So it is a booming business. The Tea Ceremony has blossomed in economically more advanced Taiwan and Japan long before China. And surely the more complex Tea Ceremony is found in Japan (chanoyu).

Near my home is the largest Tea Retail complex in Shenzhen, 国际茶都 the (“international tea capital”,) that comprise hundreds of shops selling all kinds of tea and associated paraphernalia.

After introduction by a friend, almost every afternoon I go to one of the shops for some tea, and I have made some new friends. This is likely only Part I.

Shop selling accessories, which can range greatly in price.

Tea Furniture is serious business. I'd love to have some of this.

Huge Complex. The whole thing smells of Tea, which is wonderful.

Shenzhen Bay Opera, Qianhai, Mahler, Roast Pig and Snail Soup Noddle

Click pics to enlarge. Above and below show mostly view from the library.

Letter from Shenzhen (21-17): How I Live, Part III, Concert and More

Dec 2, 2021, Bay Opera of Shenzhen 深圳滨海艺术中心
Shenzhen Symphony Orchestra - Lin Daye 林大叶
Mahler 6th Symphony

The Venue
Although I am a die-hard fan of the SSO, I remain flabbergasted by their haphazard approach to concert management. Their last-minute dissemination of concert info is highly irritating, made more so during these covid times. It was a mere 2 days before the concert that I learned of it. It was a Thursday, as they would travel to Guangzhou the next day for the same concert.

It was a big hassle, as this concert took place in a just recently unveiled new venue far from me, the Bay Opera of Shenzhen, which is in the Baoan Qianhai 前海 CBD area (official link). The area is one of the poshest and trendiest now in SZ. As per the usual for this city, the cultural complex is in a less trafficked area, right next to the district government, and comprise a District Main Library, Youth Center 少年宫 and Concert Hall. In planning, it is highly similar to the older Futian and Longang complexes that I have chronicled, but it is clear that it is more modern, lavish, and “forward-looking”. This complex was invested in by the mega commercial group 华侨城，which is a major player in many of Shenzhen’s mega-venue developments. See my photos below. The “high-class” area is in its last phase of development, seeing a construction of Book City 书城, which will bring in much needed traffic and “culturally related” paraphernalia, as well as middle-class mass-oriented food courts and the likes. It is part of a massive waterfront development that is very impressive, and I have not explored it much. In the distant is a theme park and Ferris Wheel. More later.

The interior of the library feels like a hotel

Below is the less impressive exterior of the Opera House.

vs Hong Kong
The whole complex, which I have not even begun to explore to the full, gives me a sense that Hong Kong’s days are limited. True, there is not much traffic yet, but the infrastructure is at least HK’s equal, and more efficiently dispatched. For a long time, I have been disgusted by HK’s commercial intrusions into ostensibly cultural projects. I personally have long vehemently disfavored the West Kowloon Project. The planning and design had been pretentious, by “prestigious” western firms that have little identification with the Chinese population. Everything smacked of remnants of HK’s colonial past, and its self-aggrandizing international ambitions (an oxymoron these days), have been gravely costly, and will play little role in the future within the Greater Bay, especially now as Western anything is frowned upon by the powers that be. Mind you, I have been saying this long before the current HK scene plays out (it is likely already endgame).

The Concert
Per my previous experience with conductor Lin Daye in Mahler 5 (here), I expected a terse and efficient delivery, and sure it was the case. The first movement was certainly energico, though the more tranquil episodes were less well conveyed. The Scherzo lacked a little of the macabre (though that is not foremost in this work.) Only in the Andante did Lin bring out pathos, and it was up-heaving at times. It was here that we discerned the world was about to change. In the Finale, Lin kept up the tension, but did not fully differentiate the increasing devastation the consecutive blows had inflicted upon, so the passages with common themes that led up to the 3 hammer blows did not quite yield a cumulative effect, much unlike what Simone Young did so artlessly with the NYPO (here). However, overall, I was pleased by the performance. A note, the First Oboist seemed not the usual first desk, and had his unevenness, and didn’t quite blend in with the excellent First Clarinet, Yi Cheng 衣丞. So, the winds were a little below par, but the horns and brass played very reliably. As a whole, they played valiantly in tutti, but floundered a little in more intimate and expressive passages, where colors were sometimes not quite idiomatic (this is after all not quite yet a Mahler orchestra). I was gratified that a few in the audience yelled “Bravo”, which was a little warmer than the usual crowd in the Shenzhen Concert Hall in Futian.

In these covid times, The SSO has been hard to track, but I am glad to have caught up with them this time. No doubt, given China’s very strict covid guidelines, they have been faced with cancellations and sudden green lights. They scrambled, so did I!

Problem: The Acoustics

The hall did not sound very bad, but neither did it sound very good. From my seat, sound was somewhat constricted and overdamped, but better than the old and dry-sounding Longgang Cultural center. Tidy, but not expansive nor engrossing. Death Trap: My seat (Balcony, 4th row left) had a deadly ringing/reverberated distorted sound when the violins played forte (and louder) that sounded like distorted and overloaded upper harmonics. NOT a good job. Acoustically, it certainly fails to hold a candle to the Shenzhen Concert Hall. The hall was acoustically designed by Australian Marshall Day, which I think was just a big mistake. Judging by their consultation in HK's uneven to lousy sounding venues, they are imposters who know nothing about what music should sound like. Most of these so-called acousticians turn out garbage products that sound much inferior to traditional designs. Believe me, I know. In NYC, we had Avery Fisher, whose remedial efforts were failures. 

My Day
I started out in my home in Nanlian 南联, Longgang 龙岗 around 9:30 am. I took the Metro (Line 3) to 爱联 (3 stops) and transferred to the Express Bus E23, which travelled by highway all the way to Nanshan/Baoan. Weather recently has been absolutely lovely, and I voraciously took in the scenery along the way. Large swaths of industrial complexes are juxtaposed to some very nice scenery, reservoir and lakes around neighboring Dongguan 东莞. Previously, these were backwaters, but now one can see urbanization encroaching upon the landscape in every direction.

At Lingzhi Park 灵芝公园 I transferred back to the Metro and arrived at the Arts Complex a little short of 2 hours later. It was a 15-minute walk from the Metro to the Complex but I relished it, taking in the new scene.

The reason I had started out so early was to grab a concession ticket. The venue is very generous in offering a limited number of RMB 50 tickets, which can only be purchased in person at the Box Office (a correct policy). It being a working day, Thursday, I could have gone much later but I was not taking any chances, especially with Mahler! Concession tickets are in the balcony, which is usually favored by me for less acoustic anomaly (think HKCC).

I had researched some detours around the area, but improvised a little. With a lot of time to spare, I took a local bus which coursed through local (un-gentrified) neighborhoods before arriving at a nearby Metro Station. It went through an old part of town. On the bus, at the big wet market 上川市场 I caught sight of an enticing Crispy Roast Pig 烧肉 and I got off and patronized the restaurant (see pics below). It was very good (as was the chicken), though still not quite up to the previously chronicled charcoal-grilled standards of my HK home-ground Yuen Long’s 添记! They told me they are a Guangzhou franchise.

Basically the belly coelomic lining. Owner told me they sell three a day.

I made my way by bus to IKEA to return something. With a little time to spare, I ventured via the elevated Metro on to Longhua 龙华 Wuhe 五和 and had a bowl of snail rice noodle at the specialty’s most famous venue in Shenzhen 周氏螺蛳粉. At 4:30 pm, the place was packed. My verdict? It was good and the soup had real snails in it (see pics), and the fermented bamboo shoots were of great quality (I am a bamboo shoots aficionado).

I then made my way back. Near the Metro Station, amid the highly posh malls and glitzy restaurants, a small alley (part of the structures), lined with small restaurants, that is semi-hidden, caters to the workers (this being a new area - there are no “locals”; but contrast this with HK, which would only put generic mediocrities like Starbucks near its venues). I had a beer at a Convenience Store. There are two, 711 and the local 美宜佳. As usual, 711 is more upscale, and sells beers like 1664 and mostly canned beers and small bottles, but as I am a fan of the large 500-700 ml glass bottles seen only in China, I always opt for the local chain.

People in squeezed HK may not know, in places like SZ and Taiwan, some larger Convenience Stores have Seating Areas, where one could consume some fast foods (noodles or boiled items 关东煮 麻辣烫or drinks.) Next to me, the young fellows wolfed down some noodles and proceeded to smoke, which is highly irritating (rule says no smoking indoors but there is no enforcement at local joints.)

A tiring day, but well worth it. You shall hear more about this venue.

Capital Audio Festival 2021

pic from Stereophile.

Stereophile's Report on Capital Audio Festival 2021  

Ken Micallef's Report

This is a brief posting alerting you to one of the first Audio Shows around these days. It is, as usual, well written by Ken Micallef. From his musician audiophile series, I know he has a youtube channel, and you may want to search there for some videos (I rarely use VPN to surf youtube here in China, so I'd not know)!

I have never been to this show, even if I have relatives in D.C! Have always wanted to go, and then covid hit. But I have read all the reports, and Stereophile has always done a great job with this one. It seems to me the Show is changing a bit, with more upscale stuff and less bargains. I hope that's not a permanent trend. As an example, I probably know why VK Music, a regular at the show, is not there this year. During these stressful times, it can be a combination of logistics and personal factors.

The borrowed pic shows a horn with field coil driver that took 240 hours to make. It is not cheap, but if you ask me, much more deserving of its price than the many machined and assembly line manufactured loudspeakers. Still, no, I'll stick with much cheaper horns...

I was surprised by the many Linear Array Loudspeakers (all very expensive). Given that my NYC friends who whole-heartedly embrace classic Infinity's and I have heard them to great effect, I am pleased.

I cannot help but notice that Ken mentioned some manufacturers refrained due to mask mandate. As a physician and a civically minded individual, I can only sigh. Yes, if this covid thing drags on (likely) it will polarize even the audio world! You have heard me. I was entertained also when I read that Ken was asked to remove his mask among friends who all have been vaccinated to share cocktails. Wonderful, but this also illustrates the tenuousness of "post-covid" (we're not quite there) contact. I personally regard wearing a mask as respect for others. Here in Shenzhen, we have currently no cases. When I am on the street I wear no mask, but when I enter a mall or shop I don one as a courtesy.

Anecdote: I have a personal connection to this Show. I have exchanged emails and spoken with Victor of VK Music many times, but to this date I have never met him. My friend Richard C, whose system and endeavors have been featured in this blog, who is an essential worker in NYC, went  to the 2019 show and met VK and took back an Elekit amp for me to play with (still, many thanks). Forward to 2020, a reviewer for a trade magazine encountered a minor hiccup in the system. After a barrage of phone calls, Richard C knew a technician nearby and helped solved the problem in no time. Rescues off the scene! Bravo, audiophiles

Books in China

Trenchant scene from Marjane Satrapi's Persepolis. Click pics to enlarge.

Letter from Shenzhen (21-16): How I Live, Part II, Books

"Aujourd'hui, maman est morte. Ou peut-etre hier, je ne sais pas...". I learned this at my third term French at Brooklyn College. I shall never forget it. To this day, I have a special fondness for Camus.

In previous episodes, I drew a crude sketch of the environment “I find myself in”, often examining myself in the mode of an “expat”. Just as Americans, and increasingly Europeans and many peoples around the world, who find the more they ask who they are, the more questions they have and the more they revolt against the status quo, it is the same for many people of Chinese origin, who are often not from “China”. It is also clear (to me) that the more we distinguish ourselves, the more we create subdivisions, the more fractious and unstable the world becomes.

A methodical expose of one’s current life is not possible. After contemplating writing more about basic amenities (its quirks here are actually interesting), which is honestly a bit of a chore, I chose to skip this time and touch upon a little a more ephemeral topic, some sort of spiritual fulfillment, which governs my routines.

The Power of Music
There are a lot of things that I miss. It is one thing to not have seen a bagel for a year, it's another of a completely different magnitude to endure being bereft of my substantial audio and LP collections (in NYC). Although I am satisfied with my humble systems here, I know there is a divide. But as I write, I'm listening to Bruckner (Hrusa, Bamberg, Accentus; loud, there is no other way) and I remain totally entranced by the master's music. Readers who have gone along with me during these covid times would know even in NYC I mostly streamed music on smaller systems than went through the ritual of FMJ on the big rig. So, in that respect, being in China is not that much different. Classical music as spiritual fulfillment (at least at home) is not a problem here at all (other genres too, as you wish). I can have, at will, as I prefer, Bach in the morning, Brahms or Bruckner when the light dims. Note: it is important that one finds one's own path; music knows no borders and is a life-long companion and spiritual nourishment. However, the average audiophile may be the last to know.

Of course, I’d prefer to listen to live music, and I have a few times here, chronicled in my companion blog. Problem is, given the super-strict protocols here, these seem to have disappeared recently. My favorite local orchestra, Shenzhen Symphony, has basically used their limited slots to support national and local interests, like concerts for young and emerging composers, which I both support but would not attend. Not much chance to hear Bruckner and whatever. But I also notice that in NYC concerts are happening at full capacity. Should I be in NYC, would I attend? I wonder, but personally I’d hesitate, as I cannot be assured of the vaccination status of everyone else (of course I am vaccinated), and we all know enforcement is difficult, even perilous. The brave new world...

Having less audio means more time for other things and that means I read more now. Given that this is China and that even in translation I prefer to read in English, finding the right books to read can be challenging, but it can be done.

The Library
As the libraries here are mostly open (QR Health Code always needed; with only occasional closings or capacity restrictions), I have resumed my habit of going regularly (true for my time in pre-pandemic Hong Kong and NYC).

In a way, the library is the most cosmopolitan, and international, place on earth, where one can read about all sorts of things. Would you not be curious what a library (or a bookshop) in a communist country looks like? Here's the gist:

Local Authors and Publications Books are of course in Chinese. Unlike the West, where publishing (aside from university presses) is controlled by a few international mega firms, China has a huge number of publishers, and each province (and many cities) has its own (sometimes several). Mind you, we exclude digital platforms here. Of course, given the government censorship, variety and true ingenuity, not to mention penetrating analysis and satire, are limited. One will not find any account of June 4th, 1989, nor will one find non-official-sanctioned biographies of government figures, even party idols. As monopolistic politics pervades everyday life, self-censorship takes a toll on creativity. Non wonder many innately talented political writers “choose” to take to analyzing ancient dynasties, particularly the Ming, when China was particularly prosperous. These historical reconstructions are ubiquitous, but perhaps they serve as a commentary on how writers circumvent censorship - if they cannot freely speak about the now, they can do more with the past. Overall, I’d say the quality of offerings, particularly in more strait-jacketed non-fiction, is a rung down from the best in the West. One other thing that I find utterly frustrating is the utter lack in English citation in things as simple as proper names, be it a city or a park. Let’s face it, English is a world language; at least its alphabets are familiar to everyone. Chinese pinyin word input uses alphabets and are universally taught, and that is why I learnt it and use it to write Chinese. Here in China, even the almost illiterate knows some alphabets. So it’s doubly frustrating to read in an otherwise fine article in a Chinese magazine only the Chinese transliteration for proper names. In most cases, I can re-construct it, but it can be exasperating sometimes, especially when it comes to Greek Gods (often seen in school texts) and exotic little towns mentioned in travel mags (given the rise of middle class, a thriving sector) that one wants to know about.

Books in Translation Ever since the toppling of the last Qing dynasty, in 1911, translations of western books have never ceased. You will be shocked how many books in translation are available in the local library. A great number of authors, past and recent, of many nationalities, from Updike to Cheever to Oates, from Unamuno to Borges to Marquez, from Edna O’Brien to Ichiguro, to the many rather obscure Nobel laureates, are all available. I don’t usually choose to read these translations, which BTW are officially sanctioned. Even more amazing are the sheer number of “Classics”. In the USA, Romain Rolland’s Jean Christophe, modeled after Beethoven, is long oop. But in China, it has always remained in print in an ancient translation by Fou Lei, father of renowned pianist Fou T’song (who recently passed of covid in UK). I have a personal relationship to this work. In my youth, during the summer vacation, all the desirable books had been borrowed from the Hong Kong library. I was left with “classic” literature, foreign and Chinese (yes, they were not popular even then) and so I checked out Jean Christoph. Forward 10 years, in NYC’s great Strand bookshop, I chanced upon an oop Vantage paperback 3-volume edition, and I still have it. Needless to say, even the local Queens library does not have it and I still haven’t been able to finish it even having 2 chances. There are also tons of books by almost forgotten authors, like Somerset Maugham, which are likely not available in the average US library. Fiction books in translation seem to have as a safe haven, as it should be. I discovered the beautiful book Memoires de la rose, by Consuelo de Saint-Exupery, wife of one of my favorite writers, her famous husband Antoine (translated from the French). I read all the marvelous books of Marjane Satrapi (whom film buffs will know from her most famous work, Persepolis, made into an animated film; one scene above), with all the dialogues in Chinese!

Books in English The branch libraries have some bilingual children’s books. My local branch has no English books for adults, but does have the magazines National Geographic and, surprisingly, Time. Um, sorry, no New Yorker. The district Central Library has several racks of English books, a Hodge-podge of old classics and various trade books. This was where I got my Virginia Woolf’s Mrs Dalloway. If I have the determination, Proust’s Remembrance of Things Past is available.

Book Cities Aside from the library, there are 2 mega book cities near me. Each offer a whole lot of books (see pics below). I often browse for what I’d like to read, then borrow from the library.

One rack from the district Central Library's English Book Collection. I highly recommend

this book by obscure Emma Reyes, which I have read before.

If you haven't read the deadly serious, indeed "deadly" period, "comics"

 of Marjane Stratapi, you must. 

A lousy draft at the local Pizza Hut, reading Murakami's Killing Commendatore.

My Local Library. The Chinese magazine is one of my favorite for years.

A notice that a page from the Time magazine had been removed due to violations. 

Pics of the Local mega Bookseller Book City.

Books in translation: Romain Rolland's Jean Christophe.

Albert Camus' L'etranger, La Peste and a lot more.

Teodor Currentzis Conducting HiFi

Click pics to enlarge.

Letter from Shenzhen (21-15): Conducting Hi-Fi

Streaming Classical (21-5): Teodor Currentzis

Revised 9/29/21: Minor corrections. And, article in question identified with help of reader.

Most musicians don't go to great lengths for music reproduction. Indeed, many sneer at audiophiles (they are right in most instances). Classical musicians, especially those who primarily play in orchestras, should be the most skeptical as, frankly, most audio systems fail miserably in simulating the full orchestra. Jazz is much easier to reproduce, which is likely why we find many jazz (and pop) musicians, such as those profiled by Ken Micallef in his excellent Stereophile and Youtube series, with decent systems. Another reason is these musicians are likely to be much more in contact and in sympathy with amplification and technology in their various routines.

Classical musicians, especially conductors, spend a huge amount of time studying the scores, which cannot be aided electronically. Unlike instrumentalists, who can work out the score on their instruments, the conductor has to use his imagination on how to combine the myriad strands and, of course, sometimes listen to how others do it (maybe).

I am not aware of any report on conductors with "high-end" systems (if you know some, give us a shout). But, yesterday, in resurrecting a phone I had not used for months, I discovered in it a snapshot of a magazine page (above), which I must have taken in Hong Kong late last year. I must have wanted to write about it, but now I have no recollection (maybe I was intoxicated but, hey, my hands were not shaking when I took the pic!) ! By its looks I had  guessed it was a page from Grammophone and I thank reader Harald for confirming it (full article link here).

Teodor Currentzis is a star. He is director of the MusicaAeterna Orchestra in Perm, Russia, a Siberian city known for its culture (after St Petersburg and Moscow). He has single-handedly put this orchestra on the map with his "sensational" recordings (Sony mostly, with a few on Alpha). You should stream a few of them. Try first the Stravinsky (my first encounter with him, and recommended in this blog; what marvelous cover art!), Mahler and Tchaikovsky (followed by Beethoven 5th). Now, this is a conductor who micro-manages everything, including the recording. Not everyone will take to him or the sound. I follow him, though I may not like everything he does. In a way, he can be compared to Khatia Buniatishvili on the piano, but I can still follow his whims in ways that I could not for the latter.

It's astonishing that the article says he has six hi-fi setups!!!!!! The speakers listed include Tannoy Westminster, Wilson, B and W, Focal. He swears by ANUK amps and cables, and would love to get Western Electric. Holy! He should bring his formidable orchestra to HK and I'll make sure my friends arrange demonstrations of WE for him.

By extrapolation, you can see where his sympathies lie. Tubes in general and ANUK would not be a good match for Wilson, B and W and Focal. So, we know he likely likes high-efficiency loudspeakers, like Tannoy. I predict he will eventually get into horns.

The article also reveals him as a tinkerer. He obviously thinks a lot of time should be spent on post-production. I am sure he'd love to spend days equalizing the multiple feeds of the recording. This is a conductor who not only conducts on the podium, but also at the console (he'd not be the only one; early on, Stokowski took greatest interest in this area too).

We catch more hints of Currentzis' ways in JVS' review of Tchaikovsky Pathetique in Stereophile: "...(in the booklet) Currentzis extends his thanks...to Peter Qvortrup and Audio Note UK Ltd. I don't know any details, but it's possible Audio Note had something to do with the huge amount of air that surrounds the remarkably three-dimensional, studio-recorded orchestra, as well as the notably strong bass foundation that underscores Currentzis' understanding of Tchaikovsky's intent. You can hear every musical gesture and, when the going gets especially intense, some of the conductor's breathing..."

JVS waxes lyrics about the "devastating" impact of the account. While I agree it is very hifi, even intense and worth hearing, I am not so sure it is all geared towards emotional connection. The comments are interesting as many readers and colleague Kal Rubinson posted. Personally, regarding the music, I am glad I heard it but, in contrast to many of the reviewers, I am not sure Currentzis has added much to my understanding (same with his Beethoven). To be fair, this recording is almost universally praised by all the classical magazines!

The thread is also interesting in that JVS and many readers commented on the sonic aspects. Many find it unsatisfactory and too close-up. In my system, I have no problem with it; in fact, I enjoy the extra details on offer. Sony almost always does a great job in recording. One can do a good recording with plenty of hall sound, but one can also do a good close-up recording. An audio system must be able to bring out the virtues of both - if it does not and cannot tolerate more upfront recordings, it is likely too lean sounding and in need of tempering.

If you are interested, please stream this Tchaikovsky and post what you think of both the interpretation and the recording! I'd love to hear from you.

And then there is Currentzis' Mahler 6th, which again JVS calls "devastating". It is of the same fabric as the Tchaikovsky, but at twice the length of course. I liked it, but, again, did not find the emotional connection. In fact, often the sound conjured seem to me more suitable to Tchaikovsky than Mahler. JVS is a nice fellow, and emotionally generous, but I think that hampers him as a critic of both equipment and music (memorable critics all have their own quirks and sardonic moments). Of course, I look at it with tainted glass too, as I frown upon the type of equipment he (meaning JVS)  has and is called upon to review. Honestly, I'd not know how to write reviews on that type of equipment...All that said, the Mahler is still quite worth hearing (because it is very different), but emotionally it is a far cry from many other accounts. I grew up with Nonesuch LPs (of UK Unicorn origin) of the Swedish conducted by Horenstein. Critics had problems with the level of playing and aspects of interpretation, but I still don't after all these years - it just seems emotionally connected! More recently, I recall the devastating live performance by the NYPO conducted by the wonderful Simone Young (who stood in for Jaap van Zweden, my luck). No individual episodes that are supposed to shock, but an account that had a truly inexorable momentum. When Young finally lowered her baton, I watched the first violist wiped off a bit of tears from the corner of her eye. Now, that was devastating!

It seems that parallels can be drawn for conductors and hi-fi. Some conductors prefer warmth and comfort (tube); some like precision and a sharp leading edge (some solid state; though some SET is not far behind); others are more eclectic (hopefully the case for Currentzis).

It is important to note that these, to me, are excellent sounding recordings that give thrills, important to us audiophiles. Try them and have your opinions!

Pics from my favorite restaurant in Shenzhen, Shanghai Food 老大昌

Spicy Eight Treasures 八宝辣酱 and real Hot and Sour Soup 正宗酸辣汤

（note the clear broth, which has slivers of sea cucumber 没有酱油，有海参)

 

Jelly Fish 海蜇头 and braised gluten 烤麸

Stir Fried Eels 炒鳝糊 and Fish in Wine Sauce 糟溜鱼片

Streaming Classical 21-4 Ladies II

Streaming Classical (21-4): Ladies Under the Radar, Part II, Pianists

Part I

For Part II, I shall focus mostly on lesser known ladies, past and present. Since many current players have made new recordings, they do have some press exposure. However, I do think most of them deserve to be better known.

Pianists

Given my long held preference for Russian pianists, I shall start with them. Tatiana Nikolayeva, Maria Grinburg and Maria Yudina are veritable legends who need no mention (For the latter, who survived Stalin against all odds, here is an incredible expose that will bring you to tears) . For those living, this blog has long sung praise of the great Elizabeth Leonskaja, who was highly regarded by no less a piano great than Sviatoslav Richter, has a vast repertoire and amassed quite a discography (on various labels) and there are virtually no duds among them. If I have to single out favorites, it'd be her Schubert (earlier on Teldec; now on eaSonus). Another whom I worship is Eliso Virsaladze, whose recordings are hard to find even on regular streaming platforms (youtube is best). She is very old now and and I am very happy to have heard her in Hong Kong.

Among the younger generation, there are quite a few that I avidly follow. Foremost is Zlata Chochieva. After hearing her magnificent album of transcriptions, some rarely heard, (re)creation (Accentus), I streamed her excellent recordings on Piano Classics, even dug out the few in big boxes (Brilliant Classics). Anna Vinnitskaya, whose wide affinities don't prevent her from making everything sound fresh, can be heard in excellent recordings on Alpha, Naive and others. Ditto Ekaterina Litvintseva, whose few recordings on Profil are musically solid and sonically fabulous. This excellent label also records Ekaterina Derzhavina, whose Bach, Haydn and Medtner are pristine. It is a shame Dina Ugorskaja, daughter of famous pianist Anatole, had passed away from cancer. Her unremittingly dark Schubert D.960 (CAvi-music) was her last testament. She has recorded a lot of Bach and Beethoven; while she interpretations can sometimes be wayward, I find a probing intellect, rather removed from the wanton distortions practiced by the likes of Kathia Buniatishvili. A bit off the beaten track is Olga Paschenko, whose brilliant recordings of Beethoven and Mozart (Alpha) on fortepiano are ear-openers, not a wee bit less interesting than her many male predecessors, like Badura-Skoda, Demus, Schiff and her own teacher, Lubimov. In fact, I like hers more, especially given the quality of her piano and the usual sonic excellence of Alpha.

If there is one thing many of these ladies have in common, it is that, though trained in Russia, they are all not based there now, rather in Western Europe, particularly Germany. That says a lot about state of the arts (and economy) in Russia. It also says a lot about state of the arts in Western Europe, as it seems there are now not that many German and French women pianists (other countries like Italy have always produced even fewer) of note (perhaps eclipsed by the Russian influx). It's interesting to note that Natalia Trull, who is a teacher in Leningrad, made only a set of highly acclaimed Prokofiev sonatas (Sorel). Perhaps if she had been based in the west, we'd have heard more of her.

While we are on Europe, quite a few outstanding pianists of Asian origin are based there. I'd like to recommend to you Germany trained and based Taiwanese Pi-Hsien Chen, who is an acknowledged modern music stalwart. But her Bach is valedictory, which I prefer to the well reviewed (and good) France-based Chinese-born Zhu Xiao Mei (I never take to Angela Hewitt, not to mention Rosalyn Tureck). Chen's first Goldberg Variations (Naxos) garnered much praise, her second (phil.harmonie) a little less, though I surely prefer the latter. Both are highly worthwhile renditions that I prefer to most, and that says a lot, as I never give up an opportunity to hear this piece, on any instrument or by any ensemble! Among the younger generation, my heart belongs to Chinese American Claire Huangci, whose wide repertoire is well recorded (Berlin Classics). Her Scarlatti is stunning, second to none (other than those 4 ancient EMI recordings by Horowitz). Regarding Chopin, her Concerto No. 1 is the best of its class, and I have heard them all. Her well-reviewed Nocturnes are very different from any other (this musicweb review goes into technical aspects) and demands attention: those looking for expansive romanticism may demur but those with an open mind may find it challenging. Very different from the Engerer mentioned below. Her Scene by the Brooks in Beethoven/Liszt is mesmerizing. I will follow this pianist as closely as I can. Finally, I am impressed by the pianism of Chinese Zuo Zhang, pianist of the formidable Z.E.N. Trio (DG); I hope the pandemic shall not fracture these precious alliances. She does not have many solo recordings but I am going to hear her solo concert in Shenzhen in a few weeks.

The odd woman out here is nominally French Bridgette Engerer, who passed away too early due to cancer. Born in colonial Algeria, educated in France; BUT, in 1969, at the height of the cold war, when she was 17, already quite accomplished, she went to Moscow to study with the likes of Henryk Neuhaus. She was a sensation in Moscow, where everyone wanted to get out, not in. Needless to say, her style was not the venerated French Jeu Perle of Jean-Marie Darre, but rather much fuller sounding. Neuhaus had high regards for her, and she should be considered in the Russian tradition. She made many recordings for many labels and most are excellent. Sample her Chopin and Schubert transcriptions to start. I cannot but help to quote an Amazon reader who gave 5 stars for her "Transcendant pianism" in her  wonderful set of Chopin Nocturnes (Harmonia Mundi): "...While browsing youtube snippets of Chopin and Rachmaninov I often come across their famous compatriots, Frederik Chopping and Surge Toomuchof - even in the hands of acclaimed interpreters! What a relief, then, to come across Brigitte Engerer's wonderfully played accounts of the Chopin Nocturnes. No unwanted chopping or surging here! why cannot so many fine pianists retain their rhythmic discipline when it comes to a repeat - enter the great Surge! Or when they embark on fast runs up and down the keyboard - enter the mighty Chopping! Here, with the first notes of the first nocturne, you know you are in safe hands. There is a wonderful lyricism tempered by gravitas; a weight of utterance that yet never drags the music down. Surely a good sign is when you feel the pianist has taken you on a significant journey, even if only a couple of minutes long. Brigitte achieves this again and again, leaving me with a sense of having visited another world. Have Rubinstein et al achieved better than this?..." Incidentally, her sister-in-law is Anne Queffelec, a very good pianist (Erato and Virgin).

And now back to the legion of accomplished ladies of the "French school" (classification of ephemeral nature; just consider how different Cortot is from Nat, and they were both major pedagogues; and neither play in jeu perle fashion). Legends include Yvonne Lefebure, Jean-Marrie Darre (who US listeners are more familiar with as many of her recordings were issued on Vanguard LPs,) Youra Guller (Nimbus did musical heritage a great service in recording 2 jewels late in her life, as they did for the incomparable Vlado Perlemuter) and Marcelle Meyer. The latter is one of my favorites and I have long treasured her Les Introuvables EMI boxes (incidentally, French EMI had done very good work all around in re-issuing their Pathe vaults). You only need to compare her non-pareil Rameau and Couperin with that of the more recent and rave-reviewed Alexandre Tharaud and you will hear the great divide, not to the latter's favor. Moving on some decades, DG recorded the wonderful Monique Haas in excellent sound (now in a box; you may want to begin with Ravel's concertos, conducted by the great Paul Paray) and there are other wonderful live recordings on SWR Classics. Another great, Monique de la Bruchollerie, who commanded a vast repertoire, had mostly been forgotten until recently (the bargain 9 CD MELO Calssics box is a must for collectors). And then, 2 pianists unfortunately shadowed by their husbands. Yvonne Loriod had always been a formidable pianist (and pedagogue), known for a wide repertoire, but she later devoted more and more time to playing modern music, particularly those of her husband. Fortunately, many of her piano recordings on European Vega have been gathered into a highly valuable megabox (Universal). Many items have long been out of print. Her Mozart, Chopin and Albeniz are all in technicolor, though the solo recordings are somewhat tubby in the bass (you may want to start with the wonderfully evocative Nights in the Gardens of Spain, under the great Manuel Rosenthal). Even if she recorded little under her own name, the same needs to be done for Gaby Casadesus, who most know only as wife of Robert and his piano duo partner (sometimes triple piano with son Jean). Theirs is one of the best duo partnerships ever (move way over, Labeque sisters) and their Schubert Fantasie in F (Sony; excellent mono) is desert island material for me, having listened to its indescribable beauties since the 80's (so far, I have listened to every version, but none, including big names like Perahia/Lupu, can come remotely close to supplant this one). I have an old LP of hers in Mozart Piano Concerto No. 25 (Polydor; Lamoureux, Bigot), which I think is Mozart playing at least as good as her husband! Another forgotten figure, Germaine Thyssens-Valentin, fortunately had her unsurpassed artistry in Faure (rare in my opinion for this most difficult of composers) preserved for posterity (Testament; the original Ducretet-Thomson's fetch astronomical sums)) and one can find more of her in the composer's chamber music with strings (Edition Andre Charlin). Equally forgotten is Jacqueline Blancard, of whom I became a fan after I bought a dollar London LP of her Schumann. She made the first recording of Ravel's Left-hand concerto with Munch, and then 2 remakes. She needs to have a megabox as too few of her recordings are available. So little info is available; imagine my surprise when I hit on this Swiss site. As I read some French it is a delight. Bravo! Then there is the younger, and under-sung Annie d'Arco, who is just as neglected as those above and in need for re-issue (her available Calliope recordings don't sound very good; and she made many recordings for other labels, like the excellent Weber sonatas for L'Oiseau Lyre). Compared to string players, among the younger generations, there are fewer prominent French women pianists. Lise de la Salle is one, and her recordings mostly please (I have heard her in NYC once and she was as good live).

On a recent Eloquence release (part of its Ansermet series), coupled to Blancard is Canadian Ellen Ballon, whom I have never heard of, in a good Chopin Piano Concerto No. 2. An early prodigy who eased out of the circle.

When it comes to Americans, meaning those raised and educated in the US, their emergence began only after the Great Wars. The first generations were largely forgotten. In Part I we rediscovered the great Ruth Slenzynska. Contemporaneous with her is Constance Keene, who was once a famous performer admired by even Horowitz and Rubinstein. though she later concentrated on teaching and judging competitions. Her most famous recording was 1969 Rachmaninov Preludes (ironically seemingly out of print), but late in her career she recorded a lot of discs for Protone (now on Newport Classic) but those have fallen into oblivion. While the Weber sonatas (also Hummel) and Bach Italian Concerto are scintillating, the Chopin Preludes are slow and rather grave, even gray. She was for sure past her prime, so take your pick. A little older is Rosalyn Tureck, who we know only as a Bach specialist, but I don't take to her numerous recordings of the Goldberg. Later generations include Ruth Laredo, who helped revive Scriabin; and Ursula Oppens, known for her promotion of new music. Among the current players, I like Ann-Marie McDermott, who has a large repertoire. Aside from being known as a modern music champion, her Prokofiev (Bridge Records) is well reviewed. For the label she is also in the middle of a Mozart concerto cycle with the Odense Symphony. What I have heard have all been excellent. Young Simone Dinnerstein is already a star, and more of her recordings (Sony) give pleasure. Though in most I wish for more details, her heart is in the right place and I am sure she will mature with age.

There are surely many more women pianists worth promoting, but this is it for a while. Next will be women string players and more.

Gotham GAC4 vs Grimm Audio TPR

Letter from Hong Kong (21-5): Eric L on Gotham GAC4 vs Grimm TPR

Lately I haven't been posting much since I have been quite content with my current setup and understand the virtues and limitations of it. As long as it has all the essential elements that l want and only limitations that I can live with, I'm perfectly fine!

Recently, I bought a pair of Grimm Audio TPR, which for many years has been raved by a lot of pro studios as being neutral and dynamic. A very nice DIY guy prepared a pair for me.

I will skip the initial impressions. For 3 months I used it sparingly to let it run in. Finally one day I decided to replace my Gotham GAC4 with the TPR and have a prolonged listening for a week.

The different was not that obvious initially but I sensed a reduction in bass quality and quantity, which GAC4 has in abundance.

Putting the Symposium Rollerblocks under my iCon4 did help with clarity and separation. Music played through the TRW was neutral but I kind of sensed something had been missing from the get go and I thought maybe it was the Emerson's Swiss sound that was the culprit. My feet hardly tapped...

After more than a week had passed by, I decided to change back to GAC4 and, voila, everything was back!! How I had missed the sound. The difference, so subtle on initial AB tests, had become much more pronounced now. I would say the music had woken up again!

Timing, rhythmic progression , musicality were back totally and the ripe, taut and sinewy bass resurfaced! GAC4 wins hands down which I had not expected at all!

I also ordered a pair of speaker wire 54240 from Gotham and would try to replace my most reliable Mogami cable for comparison. Brought it home and connected it to my system. First impression shows that it's very comparable to my Mogami, which is a good sign! Shall let it run in for a few weeks and see how it will develop! Eager to see who's the winner!!

Ed: Your experience mirrors that of mine! For me, it was the Belden 8402, so championed by Jeff Day et al. It is just plain boring, and slow at the leading edge. My theory is that these kinds of cables are suitable for people whose systems are already too sharp or edgy, or just plain like music to sound slow (here). These days, I'd take anything that crowd says (including Positive Feedback) with a big grain of salt.

Eric L: Please also visit my IG @ericlovesfuji  for my photography works!! 

Yamaha B2 NS1000X ARC SP10

From Our Readers (21-3): Roy C on Yamaha NS1000X with Yamaha B-2

Ed: As a longtime admirer of the NS1000 (which I'd gladly re-own any day given the right circumstances), and having penned many articles in this blog on these legendary loudspeakers, I enthusiastically welcome this article from a fellow reader, and it's a delight to encounter the equally legendary B-2!

BACKGROUND

Yamaha NS1000M & NAD 3020B has always been my favourite combo in the small 100sf audio room. I enjoyed the sound so much that I finally got hold of the bigger NS-1000X from Hifido Japan… & then the journey began!

ABOUT THE YAMAHAS
Yamaha NS1000X speakers (84'~88'), heavier (42kg) & newer model of the well known NS1000/1000M series. Similar high/mid BE drivers with 12" fibre carbon woofer. The In-line drivers layout is a copy of the higher model - NS2000. NS1000X was used by Luxman Japan as reference speakers up to 1979, along with a pair JBL K2 M9500! Some recognition there… at least in Japan domestic market. [Ed: see vintageknob)

Yamaha B-2 power amp (76'~80') uses 4x VFET per channel, 2x100w (8 ohm), dual mono design, separate transformers & twin volume pots. Some feel that VFET is the "most emotional" power transistor and having triode-like character similar to 300B. The VFET had ceased production since 80's due to its high cost. [Ed: see vintageknob]

THE SYSTEM
Power amp : Yamaha B-2
Preamp : ARC SP10 and Preamp section of NAD 3020B
Digital : Sony SR200P<DAC (Sparkler S306 or Micromega Mydac)
Analogue : Kenwood 600<Jelco<Denon DL301ii
Cables : Gotham & Belden

THE JOURNEY
My original NS1000M/NAD 3020B combo was musical and non-solid state sounding. Though different, it was as enjoyable as my other SET tube system. However, when I got the NS1000X and paired the 3020B with it, the magical synergy disappeared. Perhaps the NS1000X 6-ohm design and carbon fibre woofer calls for higher power than the 20w/ch 3020B is capable of. [Ed:1]

Next came Luxman SQ507X. Someone in Japan had great success with 1000X after auditions against various amps. Having 60w/ch, modeled after the highly acclaimed Luxman SQ38FD, the sound was more powerful, more 3D, but warm & soft just like old tube amp… but to my ears, it was just OK [Ed:2]. As the preamp section of the vintage NAD 3020 series has been praised by collectors [Ed:3], I was convinced to use 3020B as preamp with the power amp section of the Luxman driving NS1000X…Things seemed settled. But searching for ways to improve 1000X has always been on my mind.

In early 2021, a mint & reasonable priced Yamaha B-2 came on board. Paired with the preamp section of the 3020B, with the Yamaha B2 Vol pots arbitrarily set at 12 o'clock, there were more low level detail; mids/high have faster transients, and mico-dynamics had improved…the system appeared very much modern sounding. Still, to someone exposed to years of tube & SET, I felt something was still lacking – musicality.

I then tested B2 with my old ARC SP10 preamp, with the B2 gain pots set at the same 12 o'clock. It was an obvious mismatch (maybe impedance?) as there was unwelcoming high freq edge that was wearing, even with short listening sessions. The 3020B was then back as preamp. Sounded good again with some CDs, just OK with others, but still not as great as I have hoped from a B2/1000X combo.

The breakthrough came about when I recalled how we tested the B2 for function at the dealer's place: no preamp was used, DAC directly connected to B2 & gain pots set at 8 o'clock, A full range sound was audible in the big 350sf showroom. This implies the B2 works well even at low gain pot setting!

I then reconnected SP-10, lowered B2 gain pots to 9 o'clock & upped the volume control of SP-10. The sharp high frequency gone, hall sound & imaging came back, background noise lowered, more space in-between instruments. I felt the energy of piano keys & vibration of drum skin. Transients, attack, rhythm N pace all improved!

CONCLUSIONS

Ability to use power amp gain pots with preamp volume control adds a wonderful new dimension in system fine-tuning. [Ed:4]

Tube preamp SP10 improves musicality for sure. Maybe high-end SS preamp like Spectral DMC-12 or Krell KBL could do likewise or even better with B2, but that has to be tested. [Ed:5]

Tube Pre with SS power is exciting and rewarding. However I still gladly return to my other full tube SET setups for totally different sonic enjoyment. I am very fortunate and delighted to have different setups for different music & listening moods.

Footnotes
{1} Yamaha 1000X placement is of great importance. Huge Improvement achievable by mere repositioning. Great patience and muscle needed. Unlike conventional speakers, 1000X (2nd order X'over sealed box) has to be placed closer to a solid front wall, no toe-in.

{2} Yamaha B2 generates lots of heat. To protect and prolong the VFET lifespan (great pity not replaceable), suction fans are placed on top of B2 casing and ON after 30 mins into operation.

Editor's Postscripts: [1] Both rated at 90 db, the lower 6 ohm rated impedance of NS1000X is certainly less benign than the 8 ohm of the NS1000M. That said, the 20 wpc of the NAD is marginal even for the NS1000M, though the synergy is surprising indeed, as I had enjoyed this combo in a smallish space for 6 years; [2] Luxman usually sounds softish; never consider their preamps - no dynamics; [3] actually, I think few use the preamp section only. I am one who had praised it, as did my friend Hoi. That said, the standalone 1020, which is basically the same, does have a good reputation; [4] your results can be used to argue by some that a passive preamp will work just as well, if not better, though I don't think so. The B2 is likely of high input sensitivity, which is why it does not work well with the high gain SP-10 (a whopping 26 db just for linestage) initially. Then, there is the issue of the volume knob of the preamp, which at low settings besides not tracking stereo linearly often does not sound so good. It should be noted that many preamps, including the ARC SP-11 (but not the SP-10) have both Level and Gain controls, allowing one to finely tailor. That said, when 2 components both have volume knobs, it always pays to experiment with settings; [5] I doubt it. Certainly Krell has never made an outstanding preamp.