Music to test systems

The manic tempo in the last movement of the Concerto for Orchestra is in the score. Solti takes it at the marked tempo and even went so far as to examine the autograph score before the recording to resolve some tempo discrepancies between the parts and the conductor's score. Microdynamics, to use that audio term, in a live performance of Bartok's Concerto played in a dry hall like Orchestra Hall Chicago will show the gap between live and the best system. That piece is my favorite to see if a piece of equipment is an improvement or not.

The gap between live and the best system is indeed huge. We are in agreement, Pls1, about the merits of the Bartok/Solti. As concerns the tempo of the finale, you are quite correct; in absolute terms. By "probably too fast" I meant probably too fast for the strings to play confortably, hence the manic feeling. To my ears the strings sound as if they are collectively about to lose control. This creates a feeling of wildness which is actually quite exciting in a way, clearly not as controlled as Reiner's reading. Moreover, I'm sure you would agree that adherence to a specific metronomic marking is only one way to potentially capture a certain feeling in the performance of a piece. In other words, sometimes a slightly slower tempo combined with exciting use of dynamics can be more effective. In this particular case I'm torn, for as I said, I rather like that feeling of wildness in this particular reading. How about that brass section though? Talk about power and excitement. Regards.

I’ve spent quite a bit of time considering this one. Limiting to only 5 is difficult. I also agree with many of the comments about how you would take what you had been listening to recently—it establishes a base line that you are familiar with at that time. That too makes this question more difficult. One thing I’m sure of, I would take a variety of music that fits my tastes. This would include: female vocal, jazz trio or quartet, orchestral/symphonic music, piano solo, and guitar solo, upright bass, and something dynamic. When I say solo—it would not have to be entirely solo, enough so that the individual instrument can be heard similar to a solo passage. Also, there are seven selections, but any one album may contain 2 or 3 of the areas I would need.

CD:
1. Bobo Stenson Trio “War Orphans” ECM
2. Elliott Fisk Classical Guitar works by Bach and Scarlatti Mark Levinson Recording
3. Bach “Goldberg Variations” performed by Ito Ema on M*A
4. Eiji Oui “Mephisto and Co” Reference Recordings
5. Patricia Barber “Companion”

LP
1. Jacintha “Autumn Leaves” Groove Note
2. Harry Belafonte “Belafonte Sings the Blues” 45RPM Classic Records Reissue
3. Respighi “Church Windows” 45RPM Reference Recordings
4. Michael Newman Classical Guitar on Sheffield D2D
5. Pete Townsend “White City”

Sorry if I sounded testy. I heard virtually every Orchestra Hall performance of the CSO ( and many at Ravinia) from the late sixties to the mid 80's. I also had a fair amount of personal contact with Solti and was at several of his recording sessions. Solti was a student of Bartok and every November near Bartok's birthday Solti played an all Bartok program. The manic intensity was certainly a Solti trademark. My only real regret about moving to the SF Bay area was giving up my multiple series season tickets in the first row of the balcony at Orchestra Hall. Now I only hear the CSO live two or three times a year when travel on business.

No need to apologize Pls1; and no you did not sound testy. Yor obvious experience and knowledge of the subject at hand entitles you to be confident with your comments and opinions. You are an asset to this forum. By the way did you have occasion to get to know Larry Combs or Ray Still? Two of my favorite wind players. Regards.